MENTAL MONTAGE: The Direct-ators Part I

Joan Crawford unleashes a little pent up frustration on Lucy Marlow
in Queen Bee. When you push an actor too far, sh*t happens.

The diva temper tantrum is not an unfamiliar phenomenon. Nay, it is generally expected. As we gawk at the super-celestial stars above, we make apologies for their erratic behavior, irrational demands, social faux pas, because we find their eccentricities just as-- if not more- entertaining than their films, albums, etc. When Prince demands that his hotel room at the Roosevelt Hotel be carpeted entirely in purple (this happened, I was an employee at the time), it is so absurdly ridiculous that we find the trivia delicious. As such, it feels like a press release present when Reese Witherspoon-- who is supposed to be the Southern debutante of moviedom-- utters the immortal words "Do you know who I AM?!" to the cop who has just pulled her and her husband over for a DUI. It's nice to know, I suppose, that while these people may be richer than we, they are also abysmally, stupidly, embarrassingly superficial. As such, it boosts the confidence when our "stars" reveal themselves for what the majority of them actually are: burning balls of gas.

However, they're not all bad eggs. In fact, a lesser discussed evil is that of the maniacal director. Safe behind the camera, where he can force the sad, dancing monkeys of the acting profession to perform his most sadistic desires, many of these filmmaking artistes get drunk with the power that comes with the director's chair/throne. The man holding the megaphone is God on the set, and those underlings who question his authority will be destroyed. Or shamed. Or whatever it takes to get his rocks off and make him feel like he is invincible (and not the little boy who used to get pushed into his locker in high school because he liked Star Trek.) Fortunately, just as the misbehaving movie stars endured humiliatingly public slaps on the wrist for their misdirected naughtiness, the Dictator-style directors of Hollywood past have also occasionally gotten their comeuppance, and often from the very object of their attempted subjugation. Here are some of my favorite stories of badass bitch slaps and hot shot throw downs:

One of cinema's all time favorite heroes and tough guys is the incomparable John Wayne (right).  The mythology of the Western seems almost to have been created for him, around him, from him, because of him... His effect on the public remains fascinating. An odd duck with a distinctive, staggered delivery and super saucy walk, "the Duke" matured through his films from a young buck, with an innocent face and a reluctant penchant for honor, to a hardened cynic, who didn't take no sh*t off nobody but whose stone heart could sometimes be melted by the "Mattie Ross" types. When this guy was in the saddle, America was the safest place on earth. Ironically, such was not the case off camera. A fairly bashful man when operating without the social lubrication and liquid courage of alcohol, John was a fairly easy guy to push around. Due to his severed relationship with his mother, he always preferred the company of men and consequently looked up to the men who directed him as father figures. He worshiped no one more than John Ford. Unfortunately, as with many directors, Ford had the habit of counteracting his incredible talent for visual storytelling with almost consistent, semi-A-hole behavior. 

John Wayne seeks shelter behind Robert Montgomery during
They Were Expendable.

While Ford and Duke would forge a strong relationship that would span several films over several years, the director often took advantage of the actor's unwavering allegiance and surprising timidity. Their first meeting set the bar for the rest of their relationship (see here), but despite the hard knocks, Duke determinedly took on the Sisyphean task of staying in Ford's favor. On one occasion, he would have a little help from Robert Montgomery (left). During the filming of They Were Expendable, Ford was being particularly nasty and critical of Duke, his chosen whipping boy on the shoot-- Ford always had one. Duke could do nothing right in the clearly frustrated and unhappy director's eyes, and Ford insulted him constantly, calling him a 'clumsy bastard' and 'big oaf,' and mocking everything from his line readings to his salutes. Finally, the uber-professional and ever-focused Montgomery, who had a very low tolerance for BS, became over-irritated by the incessant immaturity and bullying. Thus, the normally introverted and pensive actor rose to his feet, walked right up to Ford, and hovered menacingly over his Director's chair with an icy glare: "Don't ever talk like that to Duke again. You should be ashamed of yourself." You could have heard a pin drop. No one, but NO ONE, talked to Ford that way. Yet, instead of getting fired up, Ford slumped guiltily in his chair like a school child who had just been reprimanded by his favorite teacher. There were rumors that, after filming wrapped for the day, Ford actually cried. Duke, on the other hand, probably slept like a baby.

Carroll Baker (right) also had a run-in with John Ford, with whom she filmed both How the West Was Won and Cheyenne Autumn. However, perhaps due to her talent and toughness, Ford took a liking to her and never set out to undermine her confidence. In fact, he seemed impressed with her work, and she eventually forged enough of a bond with him to started calling him "Pappy." Carroll was a smart cookie who realized that if she wanted to earn a place in "the boys' club," she had to play by their rules. Observation taught her that she needed to adhere to the Fordian principles of honor, duty, and utter obedience to the task at hand if she wanted to stay on his good side. She adhered. However, life has a habit of throwing curve balls, so despite her preparation, Carroll hit a snag during Cheyenne Autumn. When driving her wagon across a river for one tough scene, the current proved to be too strong. Carroll could feel herself losing control, and as she had two small children on board (who could not swim btw), she determined to steer out of the line and proceed with the current before she and the kids were totally capsized. Unfortunately, two stuntmen dressed as Indians tried to straighten her out to save the shot-- as per Ford's instructions. Carroll, feeling the wagon about to turn over, tried to call to them and tell them to stop, but they couldn't hear her over the sound of the rushing water. So, she did what her maternal instinct told her, stood up, and started lashing them with her whip! Needless to say, it ruined the shot.

'Pappy' (left), who had been filming from atop a mountain to capture what was supposed to be the amazing, panoramic shot, drove  all the way down from Olympus with his eye patch and unlit cigar in place. He approached Carroll, clearly miffed at losing the shot-- which had taken ages to set up-- and said, "Well, that's great! So in keeping with this film. I have a marvelous shot of two Indians being horsewhipped by a Quaker girl." (Quakers, in case you don't know, are a very nonviolent sect of people). As Ford glared at Carroll, she knew that he was reading her. She also knew that if she ratted the stuntmen out, Ford would judge her for being a "bad sport." She opted to stay mum and take the blame. Judging from the penetrating but knowing look in Ford's good eye, she also determined that he understood exactly what had happened and was testing her. Her silence proved to be golden, which maintained her membership in his boys' club. After the stuntmen stepped up and admitted their error, Carroll garnered further validation. "Well, I guess we have a heroine on our hands," Ford said with a twinkle in his eye. And that was the end of that. Well played, Carroll. Well played.

Barbara Stanwyck (right) was another tough cookie when it came to her profession. The true Panther Woman of Hollywood, due to her fabulously cultivated, in-control strut, Babs played her cards close to her chest until the call to "Action" came. At that point, her co-stars were just lucky if they could keep up with the intensity levels of her acting. Nearly every director she ever worked with became a salivating puppy at her feet due to her almost masochistic dedication to her craft. Cecil B. DeMille-- not an easy man to please-- was floored by her, and Frank Capra fell head-over-heels in love with her. Babs was not just a "broad" with brawn, however. She had an incredibly loyal streak, and as a woman who had worked her way up from poverty the hard way, she always had a soft spot for underdogs and those who were not lucky enough to have landed in her fortunate position of luxury. She often stuck up for other actors on the set, particularly the unknown, struggling ones. She was equally known to throw a punch or two for the big timers. 

Robert Cummings (left) would never achieve the stature of leading men like Cary Grant or James Cagney. He was an able, attractive actor, but he lacked the edge and hint of danger that would have made him as intriguing as his peers. Sadly, he was hopelessly wholesome. His place in film history is generally thought of as a reliable supporting male lead opposite the likes of Deanna Durbin, however, his distinctive resume illustrates his impressive career. He worked with the big guns likes Alfred Hitchcock in both Saboteur and Dial M for Murder, not to mention Babs Stanwyck in The Bride Wore Boots. The latter collaboration was a definite plus, but it wasn't all gravy. Apparently, filming the dismally generic and hack-job comedy was no laughing matter, and Barbara in particular was not at all impressed with director Irving Pichel, who seemed to be purposely making a bad situation worse. Boots turned out to be one of her least pleasurable career experiences (and also her last comedy). However, as a professional, she stuck out her chin and did her job. Yet, when she saw Pichel torturing her co-star with repeated and unnecessary takes of a very dangerous stunt atop a horse-- over, and over, and over again-- she finally took the gloves off, telling the director from Hell that if he forced poor Bob to perform the potentially neck-cracking feat one more time, he wouldn't get another scene out of her. As everyone at the studio and on set was utterly loyal to Queen Stanwyck, the message was received, they moved on, and the film was quickly "in the can." 

Clara Bow (right) was hardly the testy femme fatale. She lit up life onscreen and off with her vibrant and loving personality and supercharged sex appeal. A woman insecure about her lack of education and haunted by her tragic, impoverished past, Clara preferred to "kill 'em with kindness." Sadly, the favor would rarely be returned. Despite all the odds, which predetermined her as "Least Likely to Succeed" in the graduating class of life, her genuine nature and jaw-dropping talent got her all the way to Hollywood and soon placed her atop the superstar totem. Her struggles to this position were not easy. Talked down to and brushed aside as just another pretty face, trashy dimwit, and struggling actress wannabe, it was hard for her to make her mark and even harder to make it stick. The scenes from her first film, Beyond the Rainbow, all hit the cutting room floor. 

Luck started turning her way after her work in Grit earned her a plethora of kudos, and she was immediately handed a ticket to L.A. Unfortunately, when she arrived at Preferred Pictures to sign with B.P. Schulberg, the West Coast partner of the studio and her soon-to-be biz-nemesis, he took one look a her, turned to her agent, and asked, "Is this a joke?" He decided to torture Clara and put her through her paces, essentially humiliating her by demanding that she prove herself to him before he agreed to sign her. Dressed shoddily and deemed overweight, Clara was obviously slighted by BP's rebuff, but before she could even react, he was barking out orders and playing director: "Be happy! Be angry! Now cry!!!" Clara could have caved under the emotional duress, but she played his self-masturbatory mind game and won. A born actress who knew there was no other job for her on earth, she gave the goods-- her face would light up with exuberance, her brows would furrow in fury. The ace up her sleeve was her instantaneous access to tears. She could turn them on and off at will, and her sobering emotion at BP's cry of "cry!" left him stunned. Thus, Clara put the top dog in his place with no backtalk or sass. BP nearly wet his pants, then handed her the pen.

The director Lon Chaney is most associated with is Tod Browning-- a filmmaker with a penchant toward the odd and the macabre who understood the actor's genius and used his own adept creativity to develop a story that let the ravenous Chaney animal out of its cage. Naturally, as friends and frequent collaborators, the two bull-headed men had their share of disagreements. There were countless times when they would get into arguments on the set, mostly with regard to a certain scene and how it was to be played. The third parties-- assistant directors, cinematographers, etc-- would often try to intervene just to get the camera rolling again, but such was a mistake. In the middle of their yelling matches, Tod and Lon would simply turn to the intruder and tell him to "mind his own business" or, more forcefully, "Oh, f*ck off!" At the end of the day, they respected each other and their individual visions, so after the temper tantrums had been exorcised, they got down to business and put their latest genesis of genius on the silver screen. It's hard to find a shared piece of work between the two that isn't fascinating, if not utterly compelling and wonderfully disturbing. (Tod, Marceline Day, and Lon on the set of London After Midnight).

Strangely, the film for which Lon is most often remembered is one that he did not make with Browning. His great love child was The Hunchback of Notre Dame, which he made with Wallace Worsley, but it is The Phantom of the Opera that boasts the face that launched a thousand future fans for the "Man of a Thousand Faces!" A dedicated actor and true artist who molded his many movie mugs with nothing but plaster and vivid imagination, Lon needed a director who understood and trusted the gifts he brought to the table, which included his lifetime experience of both acting and directing. He was not to obtain such synchronicity from Rupert Julian, the director he had once worked with in his early, struggling years in The Kaiser, the Beast of Berlin. Lon found the tyrannical, self-important, trumpet-tooting actor/filmmaker had lost none of his pomposity when shooting on Phantom began. Julian had become something of a von Stroheim wannabe, wearing absurd boots and walking around the set like the Prince of Persia-- or some equally ridiculous, self-important monarch (see left). It was this pretentious indulgence in egomania that Lon the everyman found... distasteful to say the least. 

As Lon took his work seriously and was committed to embodying his characters honestly, and Julian was more interested in flash, their all-out brawls on the set could be heard from Hollywood to Holland. It grew to a point that the two wouldn't even speak to each other and would need the same third party substitutes to deliver various messages between them. Cameraman Charles van Enger was often stuck with the job. He would walk over to Lon and deliver Rupert's "direction" for the forthcoming scene; Lon would listen patiently, then deliver his response: "Tell him to go to Hell." (Ha. Hahaha). Lon won in the long run. In addition to helping direct his co-stars, who trusted him far more than Julian, he also communicated his aesthetic ideas to those on the production side, thereby secretly directing the film himself. Today, people still remember the Phantom's face and are touched by his private, internal Hell. No one, except for perhaps the most steadfast of silent film junkies, even know who the heck Rupert Julian was. (Nor do they care).

Lon makes history as Erik the Phantom. Burn Rupert!

To Be Continued...

MENTAL MONTAGE: Psychotic Fanatics

Clara Bow arms herself against a dangerous threat (in Call Her Savage)!

A commonality most performers share is the need for love and attention. This desire, when misdirected, leads them to a life in front of the camera, wherein they are certain that they'll achieve the devotion and ardent admiration they so crave, thus making up for whatever vacancy they have in their lonely hearts. All too often, they get what they wish for and then some. Barraged by photographers, accosted en masse by crowds of people, and occasionally clawed and scratched by desperate, groping fans, more than one movie star had stopped to wonder what the Hell she has gotten herself into. Most people tend to simply admire and respect from afar when they find a screen persona that they somehow identify with. Others get a bit tearful and worshipful, hanging photos on their walls and perhaps even participating in a harmless bout of stalking in order to gain an in-the-flesh peep at their hero or perhaps his autograph. Still, others... Others go batty! The line between fact and fiction is completely blurred and fanaticism quickly turns to all out obsession. Here are a few hot stars that turned ice cold with fear when the love they sought on the big screen transitioned to something more sinister, or at least wildly unexpected:

At one point in time, Clara Bow (left) was the most popular movie star in the world. She and her male counterpart, Lon Chaney, were voted the two names most likely to sell tickets by theater owners across the nation. For the little, loveless girl from Brooklyn who had always wanted to "make it," life was now like a dream come true. But Clara soon saw the sour side of celebrity life, which manifested itself in multiple ways. One of the most peculiar things to grow accustomed to was the fan attention. Film celebrities were still a moderately new sensation by the 1920s. The public was familiar with the life-altering, screen presence phenomenon, but they were far from jaded, and their attention to their stars was vastly different from the more scathing and bitter focus we give our celebrities today. Thus, saying Clara was merely "famous" is an understatement. To the general public in her own time, Clara might as well have been God. 

A few people coincidentally deemed her as such, becoming so obsessed with her that life became a bit fearful. Before the days of the bodyguard, before the days when celebrity stalking was understood and more protected against, there were far more up close and personal threats that the average film celeb had to endure. For her part, Clara was once alarmed by a large, beefy blonde man from Iowa pounding on her door in the middle of the night. He had traveled a long way to tell Clara that he loved her and was not leaving until they were married. Another day, her secretary and friend Tui Lorraine was run off the road by two pursuant fans, who had been following Clara's car. They gents blazed off quickly when they realized that they had been stalking the wrong person, leaving Tui shaking in the driver's seat. Clara also received a mysterious note from "Mr. Rand" of the Secret Service, who claimed that a mental patient had escaped from Illinois State Hospital and was coming for her. The escapee believed that Clara had "the soul of a flying horse" and would soon "give birth to Jesus Christ." Ummm... The agent offered his protection. Only problem was that there was no Mr. Rand in the secret service. Paramount supplied Clara with hired guards instead.

The most notorious example of Clara's brush with celebrity obsession came via the dashing Robert Savage. Robert was a charming playboy from a prominent family in Connecticut. He was certainly the black sheep of the upper crust bunch, which he proved when he left behind the expected ivy league education to marry Ziegfeld girl Geneva Mitchell. Of course, even this coup wasn't enough for someone with his skewed ambition. He lacked the work ethic of a successful businessman but possessed the unstoppable desire for fame, money, glory, etc. As such, he wouldn't be satisfied until he had obtained the "It" girl. Through his conniving, he was able to gain an introduction through a mutual friend, and met up with Clara at her personal cabin for one of her parties. Clara was friendly, flirty, but her interest ended there. She though Robert was nice enough, but apparently she was turned off by the fact that he seemed to do nothing but talk about himself. She said "good bye," but it was far from the end. Robert publicly bragged that he and Clara had enjoyed much more than conversation, and that she had bit his lip so hard that it had bled. This only served to irritate the starlet, but things got worse. Robert started calling repeatedly, hounding Clara, and soon enough threatening that if she didn't see him, he would kill himself. Finally, after she'd had enough, Clara agreed to meet Robert for lunch, hoping she could at least calm him down. Instead, he picked her up and drove her to the marriage licence bureau. Clara's eyes bulged! Luckily, they arrived too late and were not joined in holy matrimony that day. When she begged him to leave her alone again, he staged an elaborate "prank." He wrote her a lovely poem, surrounded himself with Clara's photos, and then slit his wrists, allowing the blood to drizzle on Clara's picture. Of course, he had alerted his friends to what he was doing, so the cops showed up to find him smugly smoking a cigarette, "bleeding to death" on the couch. He was sentenced to a psych ward, but when brought before the jury, he admitted that he hadn't really wanted to kill himself, but had simply been trying to get Clara's attention. He vowed that he'd get it still! The case was thrown out of court. Luckily, Robert seemed to have sucked up enough of his fifteen minutes of fame, and after his family yanked him back in tow, he thankfully seemed to disappear from Clara's life.

Charlie Chaplin also endured a none-too-savory suicidal fan. In 1922, while in the midst of his affair with the ever dramatic Pola Negri (together right), he was confronted by Marina Varga, a Mexican spitfire of a woman, who had left her husband in Vera Cruz and crossed the border into the United States dressed as a boy in order to meet her true-true love, Chaplin. She went directly to the Chaplin Studios, where she was of course turned away, but then she showed up at his house. Somehow, she managed to sneak in, and while Charlie, Pola, and friends dined downstairs, she was found by his Japanese servant, Kono, lying comfortably in Charlie's bed dressed in his pajamas. Kono was clearly disturbed to find the strange, mentally uneven woman in his employer's room, but managed to calmly coax her back into her own clothes. He summoned Charlie from upstairs, and the comedian took on a serious tone, talking to Marina, calming her down, and eventually getting her to leave the house. As a naturally sympathetic soul, Charlie-- who was always in awe of his incomprehensible celebrity and effect on fans-- felt only pity toward the poor woman. His girlfriend, Pola, was much less entertained by the episode, which only made matters worse when Marina showed up again. This time, she staged a great death scene, decorating Charlie's porch with a smattering of roses, then sipping poison, and lying down to die on his lawn. Luckily, the poison wasn't really poison, and she had merely passed out from-- it appears-- her own hysteria. When she came to, she and Pola got into a nasty yelling match, which turned into a fight. At some point, Chaplin's concern for the whole thing seemed to turn to farce, for he later turned the water on the two women when they wouldn't cease their cat fight. The good news for Marina is that, while she didn't get Charlie, she did become front page news, and she gladly posed for a photographs for the press. She left Charlie alone afterward, which proves it was probably more the fame than ol' Chuck that she wanted in the first place.

Silent film cowboy William S. Hart (left) had another interesting altercation with a stalking female. An unlikely mark for a desirous woman, the lanky, eagle-faced actor was hardly what one would describe as a heart-throb. He still managed to make an effect, it seems. When in Chicago, Hart was in talks to contribute to what would later become known as United Artists with Mary Pickford, Douglas Fairbanks, Charlie Chaplin, and D.W. Griffith. (He later declined the offer). Joining him on his journey through the Windy City was, as always, his sister Mary and also tag-along pal Norma Talmadge. One day, the trio were sitting around the hotel suite, probably planning what to do with the rest of their day, when a strange woman unceremoniously swept in and interrupted their conversation. One can imagine the moment of silence and confusion as Bill, Mary, and Norma sat staring at the equally silent stranger, who gawked at Bill with eyes wide as saucers. Finally, after Bill addressed her, she stated: "I've come to take you home." Bill didn't know exactly where this lady thought 'home' was, but he didn't get too good of a feeling when he saw her menacingly reaching into her purse. Within a split second, Norma was ducking under a chair, Mary was reaching for a weapon-- a bottle-- and Bill quickly grabbed the woman gently on the arm and led her docile body out the door, which he promptly slammed behind her. And bolted. The scared group never learned what became of their strange visitor, nor did they discover what it was that she had had in that hand bag. 

Mary Pickford (right), as the first big movie star, knew better than anyone else the power that celebrity could hold. At its best, it was a tremendous benefit; at its worst, it was terrifying. Trying to learn why it was that so many people were interested in her and her life, why complete strangers adored her, was a difficult thing for her to wrap her mind around. She took on her role in the public eye with surprising responsibility and a bit of sadness: "I have learned that I do not belong to myself." Yet, this didn't mean that she was just going to roll over and let people do with her as they wanted. Most of her fans were harmless, including one homeless man who built a shrine to her in New York Park. His name was William Bartels, and he informed police officers that "America's Sweetheart" was truly his sweetheart. Of course, he too admitted that he and Mary were not yet on speaking terms. Then, alleged fan Edward Hemmer tried to extort money from Mary after he claimed that he had acted as a surrogate father to her during her youth. Mary didn't remember the guy, and had a court order filed to shut him up. 

Another event was much more bone-rattling. While Mary was traveling through Boston, she received letters for two weeks from a persistent man who claimed that he had information about a will. Clearly, this was fishy business, and Mary wasn't exactly hurting for money, so she chose to ignore the scam. Later, the author of the letters and his female companion were found camping outside Mary's hotel room door listening in. They were kicked out, of course, but only returned later. Mary's maid, God knows why, let the duo into her room, while Mary entertained guests in the sitting area. Perturbed, Mary left her friends and confronted the eerie duo, demanding that they leave at once! The man cowered, but the woman claimed that she had a "message" for Mary, and was there to offer "spiritual guidance." Mary clearly wasn't interested. She had them arrested. She believed that this was all part of a kidnapping scheme, and when she had to appear in court regarding their case, she had no qualms about letting them have it. The judge was surprised that he had to ask the red-faced pipsqueak to calm herself! Mary may have been small, but she was no shrinking violet. The religious duo never bothered her again.

Not all fan and star meetings were quite so threatening nor fearful. Some were just... surprising. Labeled as "The Screen's Most Perfect Lover," Wallace Reid (left) was constantly at the mercy of salivating women. To an outsider, this probably doesn't sound like an burdensome position for a person to be in, but it could be inconvenient. First of all, Wally was married to actress Dorothy Davenport, so the constant attention from the opposite sex was a bit stressful on the marriage. Thankfully, neither husband nor wife seemed to take it all too seriously. A charming, good-natured guy, Wally probably laughed off the majority of the adoring compliments sent his way. Yet, some of the "proposals" he received were more difficult to ignore than others. For example, he was ardently and persistently pursued by a high society matron who had fallen madly in love with him after seeing the handsome speedster in films like The Roaring Road. So infatuated was she that she wound up bribing his valet with $25,000 worth of jewelry for a mere peek at Wally's dressing room. She hoped to win at least one night of passion with Wally, and thus proceeded to woo him with love letters, expensive gifts, and photos of herself in the nude. She also sent him a mysterious key, which opened her boudoir. It was, needless to say, an open invitation. Wally RSVP'd, "No thanks." Other girls didn't have the same resources to get to Wally, although his employees were making a fortune off bribes that the desperate throngs offered to catch a glimpse of the star or see where he lived. He and Dorothy soon became accustomed to strange women popping out of hiding places in their home. They snuck in and hid under beds, in closets, cabinets, in the attic, the basement, and the garage. Wally and Dorothy were particularly shocked when a young girl popped out of the back seat of their car where she had been hiding under a blanket! Things were getting ridiculous, but since most of these lustful dames seemed harmless, Wally never took any major action to deter their infiltrations. It became a sort of running joke.

Carroll Baker (right) was also surprised by an unexpected guest. After giving birth to her first child, daughter Blanche Joy Garfein, (with no anesthesia, thank you very much), she was greeted by several fans within the hospital offering their congratulations. Mostly, everyone just wanted a peep at the "Baby Doll" with her new baby. Her entire delivery had been a bit of a production, being witnessed by several members of the staff including current medical students, who observed the event under the excuse of education. Afterward, while convalescing, Carroll's beautiful, personal moments was constantly interrupted with fellow patients and nurses stopping by to wish her well, despite the "Do Not Disturb" sign on her door. Since all a tired, new mother wants is peace and quiet, it was a bit irritating to say the least, but Carroll handled it well and appreciated the sentiment. Then, things took a more menacing turn. Late one night, around 10pm, Carroll was having trouble sleeping. She managed to waddle to the restroom in her open-backed gown, then re-entered her pitch black bedroom, where she was startled by a figure standing in her doorway. Leaning against the frame was a large man, grinning at her and eying her very bare legs. He also seemed to be holding something behind his back. Carroll panicked!  She dove for the intercom and screamed as loudly as she could. The man bolted, and the hospital staff and security came running to her defense! They never tracked down the intruder, who was clearly there long after visiting hours were over. Where he came from or how he got in was never discovered. BUT, they did find the stairwell where he made his escape. Also present was the bouquet of flowers he had been hiding behind his back. The card read: "To the Beautiful Baby Doll, from Your Fan." Carroll didn't mind the gift, but the giving had been a bit too much.

Monty Clift (left) was accosted by a somewhat unsettling fan, but as was his way, he found the episode much more entertaining than frightening. The predator in his story was a chubby, middle-aged German woman known only as "the Baroness." What she was the 'baroness' of remains a mystery. Apparently, she became totally fixated on Monty after witnessing his performance (and handsomeness) in films like The Search and A Place in the Sun. She had decided that she and Monty were meant to be married, and naturally she considered it her duty to find him and let him know that she was his soul mate. Thus, she traveled all the way from Europe to get to him, and wherever she stayed on her hunt, she covered her hotel room walls with his photos. She wrote the studios repeatedly asking for his address, but was strangely never answered. She finally made it to Beverly Hills, but was still unable to track Monty down, which is why she attended a press conference at the Beverly Hills Hotel where his former co-star Burt Lancaster was conversing with the press. When she brashly cried out and asked him where Monty lived, Burt raised and eyebrow and assured her that he hadn't the slightest idea. 

After eight months of stalking, the Baroness found herself in New York at Monty's brownstone. She knocked on the door, and when his assistant opened it, she caught a glimpse of her hero walking down the stairs. She was in awe and went into complete hysterics, throwing herself at his feet and weeping. Monty was floored... and confused. As he was personally undergoing his own mental and physical illnesses, he must have taken pity on the poor woman. As he had already wrapped on The Misfits, his acting career was pretty much over and, unbeknownst to him, time was winding down. He let the warped woman inside, and the two had a nice long talk, which turned into a friendship of sorts. She even let Monty read the journal that she had totally devoted to him, which he, of course, found fascinating. Monty was probably more intrigued by the woman's psychotic fixation than anything else, but she was allowed to come over for brunch from time to time, and Monty even gave her one of his silk shirts, which she religiously slept in until it was thread bare. To show her gratitude, Monty's "soul mate" even offered him the use of her brother, which implied that despite her feelings, she was aware of Monty's sexual proclivities. His reaction to this proposition must have been priceless, but he doesn't seem to have taken her up on it. In time, Monty introduced the Baroness to his mother, Sunny, whom he always enjoyed provoking. The Baroness introduced herself as her daughter-in-law. Sunny, suffice it to say, was not nearly as amused by the crazy woman as her son.

Sometimes crazy fans can come in handy, which is something both Bebe Daniels and Harry Richman discovered when they found themselves the recipients of Al Capone's steadfast loyalty. The allure of the mafia in the prohibition era is somewhat confusing today. Movie stars rubbing up against thieves and murderers??? In an "ignorance is bliss" kind of way, people abstractly admired these men of power, who were supplying them booze, while keeping themselves detached from the methods by which the Meyer Lanskys and Lucky Lucianos of the world did business. In addition, those who weren't so attracted to the power were fearful of winding up on the villain's bad side and played nice for their own safety, while maintaining a comfortable distance. Harry Richman fell into the former category, enjoying the attention and publicity that a relationship with Capone could offer. A "media whore" himself, who had for a time been engaged to Clara Bow (see right) for the fame it would offer him, this crooner was all about the angle and using any means necessary to stay in the press to become bigger and richer. For a time, he needed little help, with his own Club Richman doing hopping business for the well-to-do and his top hits like "I Can't Give You Anything But Love" and "Puttin' on the Ritz" maintaining his fan base. Capone was a fan, and he used to show up at the club at 17 West Fifty-Sixth Street often, always in his bullet-proof Rolls Royce with 32 bodyguards in toe. Capone was so appreciative of Richman's music that he offered him the greatest gift he could give: protection for life. Harry graciously accepted.

Bebe Daniels (left) on the other hand, was not too eager to hob-knob with known criminals, yet she too would reluctantly have Capone as an ally. When she was once traveling through the Midwest, she was shocked and upset to find that some of her expensive jewelry had been stolen. She, of course, reported the theft to the authorities, but the chances of ever seeing her priceless gems again were slim and she knew it. She resigned herself to their disappearance and hunkered down for the night. The next day, she received a surprise delivery. Her jewelry had been returned in toto on orders from Al Capone! How he knew they had been stolen in the first place, or how he knew where to go to obtain them, is left to history. But, for love of Bebe, an actress he clearly admired, he went the extra mile to see that justice was done. One wonders what form of intimidation he used on the original thief? It probably wasn't pretty... Then again, maybe he staged the whole thing simply to ingratiate himself to the starlet. Bebe certainly was glad to get her belongings back, but she couldn't help but feel a little uneasy with the knowledge that it was the most dastardly of fans that she had to thank for it. Not all that glitters is gold, particularly in Hollywood.

MENTAL MONTAGE: Inspiration

"Subtext"and "Clift" are pretty much synonymous. In The Misfits, Monty drew on his own

ever-complicated relationship with his mother to add layer to an early phone 

conversation his character had. He nailed it in one take.

Where do good characters come from? One could say that the genius lies in the writing, but that's only half the battle. A good idea is just a ghost of intention if there is never an actor to grab a hold of it and flesh it out. Every performer has his own way of getting to a character, whether it be through Method, Meisner, or raw instinct, but some of the pieces of life experience that inspire a characterization and bring it more fully to life are just as fascinating as the movies themselves. Actors are perpetual creatures of human study. Al Pacino made a brilliant documentary recording his own quest to find and create one of the most complicated characters in literary history, Richard III, in Looking for Richard. One of my own acting teachers, we'll call him JHR, entertained the class with an episode that he experienced with Marlon Brando. At a restaurant, he happened to see (a much older and fatter) Marlon eating at a table across the way. He then saw Marlon observe another diner, who was struggling with his meal due to a neck brace, which clearly handicapped his movements. Marlon stopped, pulled back, assumed the same posture, and tried to eat in the same crippled fashion. I guess an actor acts, always. The following is a series of more descriptive circumstances that stellar performers used to shape their roles into realities. Here are a few answers to the question: How did he come up with that?!

 Montgomery Clift had definite standards when it came to acting. His chosen profession was more than a job, it was a mission.  If anything worth doing is worth doing right, than to Monty anything worth doing was worth hitting out of the park. Thus, he took his characterizations very seriously. In addition to getting in touch with the inner mechanisms of the man he wanted to portray, he too would try to establish him physically. For example, when preparing for the role of Father Logan in I Confess (left), he studied the way that priests walk, noting that they seemed to push their long robes forward with their hands as they moved. His attention to detail and sense of conviction would drive certain directors and producers nuts, but no one could argue with his results. As always, the battle between money and artistry is tough-going, especially in the factory mentality of Hollywood. As Monty himself would say, "I'm not an actor out there, I'm called a 'hot property.' And property is only good if it makes money-- a property is lousy if it loses money at the box office."

Nonetheless, the mighty arm of studio mandates never broke Monty's artistic sensibilities. Throughout his career, he looked for motivations for his characters in unusual places, sometimes keeping observations in his pocket for years before he was able to put them to use. One example of this occurred in 1949, after Monty had just started to strike a chord with American audiences. Since he was hanging around friend and mentor Thornton Wilder a great deal, he steeped himself in brainy literature. Always an avid reader, he went on a rampage, consuming the entire works of Franz Kafka (right), with whom he had become absolutely fascinated. (His absorption in The Metamorphosis seems particularly uncanny, considering the parallel that he would later have with character "Gregor Samsa's" repulsive transformation). While on this literary journey, Monty became transfixed by a photograph of the author, which was taken in Prague the very year of his death. Something in the gaunt, bat-like face with haunted eyes seemed to move and disturb him, and the image certainly effected him enough that he felt compelled to rip it out of the book and carry it with him over the next nearly 10 years. He reportedly looked at it every day. 

Fast forward to his casting in The Young Lions after his own post-crash "metamorphosis." He was to bring to life the character of "Noah Ackerman," a Jewish soldier. In uncovering the nature of this man, he knew immediately how he wanted to flesh him out. In addition to losing 20 pounds and wearing purposely baggy clothing, he too made adjustments to his face to make himself look like Kafka in the infamous photo (left). Something about the author's tragedy and Noah's defiance against his own victimization made sense to him. He recalled his performance as his favorite role and the one of which he was the most proud.

Carroll Baker was one of many members of the Method crew that seemed to follow in the wake of Monty's naturally intuitive brand of acting. (Though he had never been a Method man himself, many of Strasberg's students would find themselves trying to create what Monty seemed to have invented). Carroll proved from the minute she arrived in New York that she was ready to go the distance in her acting. This soon got her noticed by Hollywood, who was interested in both her talent and beauty. Fortunately, she also had a brain. The wheels were definitely already spinning with regard to character "Baby Doll Meighan" by they time she began filming Baby Doll, yet there were certain behavioral elements she needed to round off. She found the perfect subject to study when she landed on location in Benoit, MS. No sooner had she set foot on Southern soil than she came into contact with a local woman named Ellie May. The typical Southern Belle, Ellie May was feminine, colorfully dressed, and also possessed a remarkable speech pattern that reflected both her Mississippi heritage and a blend of baby talk. Jackpot! For the remainder of her visit, Carroll kept Ellie May in close company and under even closer scrutiny. The way she was both delicate and assertive, coy yet calculating, gave Carroll all that she needed to use for her character (see right). The mimicry worked, and the role changed her life.

Carroll had another moment of divine inspiration when director Elia Kazan, known as "Gadge," was looking for a little extra oomph for one particular scene. Early in the film, Baby Doll sits and waits for her sexually frustrated older husband, "Archie," in their car. When he finishes his business and comes to meet her, the watching locals were supposed to start heckling him. Elia didn't believe that the scene worked without some sort of context, so he asked both Carroll and co-star Karl Malden for ideas. A light bulb when off: Carroll told Elia that her father had been a traveling salesman and that whenever she had to wait for him in the car somewhere, if she had been a good girl, he would bring her an ice cream cone. Elia loved it! The extra action of having Archie approach his young, ambivalent, untouched bride with a dripping vanilla cone provided a sexual undertone, an embodiment of the characters' power struggle, and also the blatant age difference. It totally worked. Thus, Archie stands in the hot sun sweating, while the object of his desire sits quietly lapping it up (left). Perfection.

James Cagney had a lot of personal material to draw on when he needed to add gravity to his performances. An easy touchstone for him was always his father. James Frances Cagney had been a lovable, tender man with an unfortunate penchant for alcohol. Occasionally, he would go into "fits," wherein he would endure severe headaches that left him moaning and howling uncontrollably. The only one who could calm him down was his wife, Jim's mother, Carrie. Meanwhile, the children in the family hid their eyes and covered their ears, unintentionally showing their fear of the man they loved so much. Jim  never forgot the sound... After several years in Hollywood as a leading man, he would tap into this particularly painful vein in order to deliver one of the most gut-wrenching moments of his career. In White Heat, his hard as nails gangster has but one soft spot-- for his mother, who ironically, is the only person who can calm him when he gets one of his "headaches." When later imprisoned, he is eating in the mess hall when he hears the news that his beloved mama is dead. His character, "Cody Jarrett," completely loses control of his senses, lets out an ear-splitting series of animal noises, and flails around madly about his fellow inmates (right). The extras in the scene had not been told what to expect, so when their star started braying desperately, many of them thought James Cagney had actually lost his mind! The stunned look of shock on their faces says it all. The noise Jim created was the same awful sound that he had heard growing up. He only watched the scene once, then refused to ever watch it again. It was far too painful. Yet, to him, it was worth it to cut himself open for the role.

Jim used his pops for a much more light-hearted gag in an earlier film he made, Taxi (left, with Loretta Young). When he used to horse around with his father as a kid, the senior fellow would sometimes wrap his arm around his son's neck in mock anger and lightly pepper his chin with fake punches, saying all the while, "Why I oughta..."  Thus, in a scene in Taxi when Jim is jealously teasing a paramour, he wraps his arm around her neck, taps her chin and spouts: "If I thought that..." The action was a way of paying homage to his old man. When his mother, Carrie, saw this moment in on the big screen, she started weeping right in the middle of the theater. It meant a lot to her that Jim would honor one of his warmest memories of his father.

Luise Rainer was one of a kind. A delicate, feminine creature who often portrayed women of great romance and modesty, she was also a thinker who refused to ever get caught up in the Hollywood game. She was never in it for the stardom, she was in it for the story, and was honored that she was one of the few people in the world who had the great privilege of bringing interesting women to life. Nonetheless, there was great controversy surrounding her casting as "O-Lan" in The Good Earth (right), if only because she had been chosen over Anna May Wong in the role of the Chinese heroine. Luise understood the resentment, but studio politics being what they were, she graciously accepted the role and vowed to make good in it. She refused elaborate make-up, which she believed would caricature the race, and determined to work from "the inside out" in building O-Lan authentically. Through the subtle, quiet movement she observed in the female Chinese community, she was able to establish the modest touch she was looking for. Yet, she wasn't quite satisfied. She had the structure of O-Lan, but in her mind, she hadn't "found her" yet. Ah, serendipity: one day on the set, Luise was dressed in character and surrounded by genuine Chinese extras. She accidentally dropped her pocket book, and when she bent to pick it up, she knocked heads with another women, who kindly handed her wallet back to her. Their eyes locked. Suddenly, the extra realized that she was standing next to the star of the film! Her eyes went wide and she blushed. She seemed to pull back inside herself a bit in humility. "There she is," Luise thought. "That's O-Lan!" She used this woman and her honest, demure reaction as a model for her characterization... and won an Academy Award for her performance, (for the second year in a row, btw)!

Lon Chaney was, of course, the consummate character researcher as the consummate character man. As he occasionally found himself in Chinese roles, he-- like Luise-- would go to Chinatown to observe the people and study their mannerisms. His ultimate test if he had mastered his movements and make-up, was to ride the electric car to Chinatown and back, as authentic Chinamen got on and off around him. During the ride, if no one noticed that he was some actor in make-up, he knew that he had it (see him in Mr. Wu, left). He also liked to visit the courts and watch the different criminals, convicts, and cretins come in for their verdicts. He always found a lot of material there for his own villains. His attention to detail can be seen in all of his films, and his work has gone on to inspire many other actors. In fact, he was directly used by one actor in particular during the filming of Full Metal Jacket. Vincent D'Onofrio is an accredited character actor of his own generation, as is evident in his lengthy, varied filmography. His role as "Private Leonard Lawrence" in Full Metal Jacket was at once annoying, child-like, and demented. An important scene comes when he reacts to the abuse that the fellow soldiers are inflicting upon him, and (spoiler alert) he subsequently loses his mind and shoots off his own head. The day before they were to shoot, Stanley Kubrick was conferring with the young actor about this heavy scene. "Make it big," he said. "Lon Chaney big!" Vincent did. His maniacal control and sinister presence sends chills down the spine. He totally delivers in this shocking moment by going over-the-top mad! It works. Lon Chaney clearly isn't the only creeper, but because he was the first, his followers are much better prepared.

I've seen that face before... (Vincent D'Onofrio goes full-on Chaney
 in Full Metal Jacket).

*My apologies to those of you who may have caught a glimpse of an early draft of this article. I accidentally pressed "publish" instead of "save." :-/ Hey, I'm allowed one blonde moment a day!