Here, again publishes several of those Eisenstaedt pictures, as well as a number of equally strong, charming photos that never appeared in the magazine.As if her outfits couldn’t get any sexier, Lily rocked a cap-sleeve black Chanel bodysuit with a low-cut neckline and a keyhole cutout on her chest styled with mid-rise vintage boots from Cherry Vintage. Published one month before Dark Victory was released, the article featured a number of portraits by the great LIFE photographer, Alfred Eisenstaedt. Conversely, acting ability suggests an arty personality and young movie actresses should conceal it more carefully than a craving for cocaine. ![]() Directors might be interested in a girl who was noted for her love affairs or able to balance a peanut on her nose, because these accomplishments would suggest that she had an interesting personality. Since the ability to act is comparatively unnecessary in Hollywood, it is regarded with suspicion. One marvelous example of the tone of the piece: That the article’s writer, Busch, was genuinely impressed with Davis especially in light of what passes for talent in Hollywood is abundantly clear throughout. She conducts herself with more dignity than most stars.”) (It also pointed out that “Miss Davis is Warner Bros.’ top box-office star. LIFE’s 1939 cover story, meanwhile, featured the actress not as some sort of raving prima donna the image that has, bizarrely, attached to her in the decades since her death in 1989 but as a remarkably grounded, albeit supremely driven, artist. someone with genuine acting chops, rather than merely a gorgeous face or outrageous figure) who was instrumental in defining what it meant to be a screen idol in the Golden Age of Hollywood. ![]() Like James Cagney, Katharine Hepburn, Clark Gable and a handful of other legitimately iconic figures, Bette Davis was a spellbinding talent (i.e. A powerhouse actress she was the first person ever to receive 10 career Academy Award acting nominations Davis was unique in her appearance (those eyes) and in what a New York Times critic once perfectly described as her recognizable, inimitable “tensile” acting. In the decades since her great work of the 1930s, ’40s, ’50s and even into the ’60s, Davis has remained one of the seminal figures in Hollywood history. For sheer, melodramatic perversity, Davis’ Mildred is one of film’s most riveting, revolting creations: a vicious, self-absorbed viper who also exudes a magnetic and for the film’s protagonist, an addictive carnality. High praise but anyone who has seen the film knows what Busch meant. ![]() Busch called Davis’ turn as the rough, vulgar London waitress Mildred Rogers in the 1934 version of Somerset Maugham’s classic, Of Human Bondage, “probably the best performance ever recorded on the screen by a U.S. In fact, in its 1939 article, LIFE’s writer Noel F. What many fans and most critics (even those who dislike her) consider Davis’ signature work in movies like Dark Victory, The Little Foxes and Now, Voyager was still ahead of her, but there was no question that the Massachusetts native was one of the most electrifying movie stars of any era. By the time LIFE magazine put Bette Davis on its cover in January 1939, the 30-year-old actress had already appeared, as a star and in supporting roles, in more than two dozen films and won two Oscars (for 1935’s Dangerous and 1938’s Jezebel).
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