Hollywood Studio Magazine (1977)

Page scan 00047 from Hollywood Studio Magazine

Record Details:

Title:
Hollywood Studio Magazine
Date:
1977
Publisher:
San Fernando Valley Pub. Co.
Volume:
Hollywood Studio Magazine (March 1977)
Leaf #:
00047
Language:
English
Collection:
Hollywood Studio System and Fan Magazines
Contributor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Hollywood Studio Magazine was published out of the San Fernando Valley in various iterations (and various titles) from 1966 until 1992. What started as a local organ aimed at the workers of Hollywood ended as a nostalgic fan magazine about Hollywood Then and Now. The various title changes and revisions to its mission reflect not just the economic realities of magazine publishing, but a changing relationship to Hollywood and the industry itself. The earliest issues of Studio Magazine read like a house organ of a steady, entrenched industry documenting the comings and goings and notable events of the San Fernando Valley, with special emphasis on Universal. Fandom first became part of the discourse of the magazine through collecting. The Collectors’ Column page beginning in the early 1970s allowed memorabilia collectors to advertise their wares to each other. In 1983, the founder of the magazine, Dorothy Denny gave over the reins to Ralph Benner, the founder of Tiger Beat. This marks the clear separation between the original publication and its focus on Hollywood production culture and the move toward a publication centered on star narratives and fan culture. In covering the two and a half decades from the collapse of the system to the point where classical movie stars were phantoms instead of living people, the magazine offers insight into the transformation of old Hollywood from a lived reality to a memory to a myth.
-- Luci Marzola
Date Added:
June 12, 2025
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Efrem Zimbalist Jr. with Eva Le Gallienne who helped further his career back in the forties. Eva Le Gallienne JS theatre! She’s spent 62 years of her life in it. She was a little girl when she first saw Sarah Bernhardt . “‘From that moment on,” Eva recalls, ‘““The theatre became to me the all-important aim.” Ms. Le G. achieved stardom in “Liliom,” but gained immortality as the founder, producer and star of the Civic Repertory Theatre. To wish the illustrous lady a happy 78th birthday, Friends of the USC Libraries honored her with a luncheon at the Town and Gown on the campus. Following the welcome by Stan Musgrove, Friends’ President, and Dr. John Hubbard, USC President, four actors whose lives she influcenced remembered working with Eva. Karl GEORGE BARNES Howers 13205 VENTURA BLVD. NORTH HOLLYWOOD Malden was just starting when he was in “Uncle Harry” (42). Burgess Meredith presented Ms. Le G. with a poster from “Alice In Wonderland” (’32) with him in costume as Tweedle Dee. Efrem Zimbalist Jr. recalled working with her in “What Every Woman Knows’ (46). Peter Falk, who studied drama with her 22 years ago in Conn. admitted, “If I hadn’t met Eva, I would be a box boy at Food Giant.” Ms. Le G. received a standing ovation as Donald Seawell, chairman, National ANTA, and Lorne Greene, president, ANTA West, presented her with the National Artists Award, and everyone joined in singing “Happy Birthday.” ee ae Jackie Joseph and Earl Holliman were a surprise twosome at the Hellenic Society of Constantinople’s 10th annual Vasilopita dinner dance at the Beverly Hills Ramada Inn. Yani Begakis, founder and _ president of the organization, which benefits Orphans of Constantinople, introduced various VIP’s including Greek actor Michael Constantine (“‘Sirota’s Court’’), and those funny ladies from “Maude,” Hermione Baddeley and Rue McClanahan (with her Greek husband, Gus Fisher). ST.4-5739 PO.3-1752 877-4207 1977 BUICKS & OPELS NOW ON DISPLAY Come in now for a real low cost deal! LEASING ALL MAKES FLEET DISCOUNT TO ALL STUDIO EMPLOYEES This dealership has been personally contacted and has agreed to give employees of all Studios the best possible deal, consistent with ethical business practices. FINE SELECTION OF USED CARS Harvey Tyrrell Buick BUICK AND OPEL AUTHORIZED SALES OPEL MANTA & SERVICE COMPLETE MECHANICAL REPAIRS BODY AND PAINT DEPT. FREE PICK-UP AND DELIVERY 4645 Lankershim Blvd. North Hollywood, Calif. North Hollywood ¢ Los Angeles e West Valley 766-5211 — 877-5361 — 984-3430 48 HOLLYWOOD STUDIO Magazine “SCORCH Y’”’—American-International release of Hickmar Prods. Inc. film. Written, directed, produced by Hickmet Avedis. Executive Producers: Sam Chebeir, Marlene Schmidt. Starring: Connie Stevens, Cessare Danova, William Smith, Norman Burton, John David Chandler, Joyce Jameson, Greg Evigan, and Nick Dimitri. (Running time 99 mins.) “Scorchy”’ begins with a panoramic shot of Rome. The action quickly swings from Rome, to an airliner with Connie Stevens, looking appealing in her black-wig disguise. By the time the plane lands in Seattle, the mystery elements grip the viewer. From this moment on, the action never subsides. Connie Stevens effectively portrays als undercover-cop. She enacts her role with authority, proving she can change her personality as often as her clothes (she has a colorful wardrobe in this movie) as the situation demands. Heroin trafficking for mobster Philip Bianco (Cesare Danova) involves taking plenty of chances. Danova takes more than his share this time around. Stevens sweeps into Danova’s posh mansion dressed fit to kill, carefully concealing the real reason for her image of a jet-set playgirl who loves to travel to class resorts, as well as to bed with available males. One highlight of the movie is a motorcycle and sports car sequence that takes the movie-goer on a hairraising chase through downtown Seattle. “‘Scorchy’’accurately depicts the risks women must take if they are to serve in the dope detail, and Connie Stevens takes them all in this actionpacked picture. A couple of “‘nudie” scenes could have been clipped to good advantage, as this picture has universal appeal of great scenery, continuous action, sharp photography—which makes it fine family fare, minus a sexual romp, and one stripper stripped. Musical background is effective, never obtrusive. Some fight scenes were prolonged too much, minimizing suspense. The concluding chase sequence utilizing Seattle location landmarks via helicopter was unique, and gripping. Hickmet Avedis doesn’t believe in letting time lag, and ‘“Scorchy’s”’ tempo proves it. (G. Dimitrios) TS