Hollywood Studio Magazine (1983)

Page scan 00027 from Hollywood Studio Magazine

Record Details:

Title:
Hollywood Studio Magazine
Date:
1983
Publisher:
R. B. Productions
Volume:
Hollywood Studio Magazine (November 1983)
Leaf #:
00027
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:
August 21, 2025
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a MODERN TIMES Paulette prefers to discuss her great film success with Charlie Chaplin in Modern Times (UA, 1936), a solid silent film hit utilizing only sound effects and a musical score when the silent era was passe, and The Great Dictator (UA, 1940), another resounding classical hit in which she was a sultry washerwoman romantically involved with Chaplin. From 1936 until today Paulette has been a glittering success, proving she could stand on her own two pretty feet, ignore the proper “‘thing to do” and fight back potential scandals with silence. She was both pert and beautiful and she 28 HOLLYWOOD STUDIO Magazine RUSSELL, CRAWFORD, CUKOR, SHEARER, GODDARD, BOLAND & FONTAINE from MGM's “THE WOMEN” 1939. ecall usually got her man, both on screen and off. She had impeccable taste in husbands: Charles Chaplin (1936-42): actorgenius Burgess Meredith (1944-49): and distinguished novelist Erich Maria Remarque (1958 until his death in 1970). Like many of her screen heroines, she also became very wealthy with one of the grandest j ewlery collections in the world. BEAUTIFUL FIGURE With her verve and vivacity plus a figure that six artists declared the most beautiful in the world, Paulette became even more ambitious for a career and was equally at home in costume or comedy, as nice girls or minxes. She was quite good with Lana Turner and Luise Rainer in Dramatic School (MGM, 1938) and was excellent in The Women (MGM, 1939), equalling and often excelling the performances of co-stars Norma Shearer, Joan Crawford, Rosalind Russell and Joan Fontaine. She was a leading contender for the Scarlett O’Hara role in Gone With The Wind (MGM/Selznick, 1939) until the moment the job was given to Vivien Leigh. Paulette became a top star at Paramount throughout the forties. Her film career blosssomed in The Cat and the Canary (Par., 1939) in which was was sheer perfection as Bob Hope’s frightened girlfriend in the light horror classic, and she was eminently effective paired with him again in the sequel The Ghost Breakers (Par., 1940). Cecil B. DeMille dubbed her his favorite leading lady and she emoted dramatically and romantically in a series of DeMille Paramount spectacles: Northwest Mounted Police (1940) with Gary Cooper; Reap the Wild Wind (1942) with John Wayne, Ray Milland and Robert Preston; and Unconquered (1947) with Gary Cooper. She photographed magnificently in the three film classics and practically stole the movies from her formidable leading men. Since each of these men were legendary lovers and Paulette was an “‘I don’t care’? sexy woman, rumors of torrid love affairs emanated with each film and Paulette fought the rumors with her favorite weapon—silence.