We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
Next time you start wishing for the “ good old days,” remember that if your wish came true, Jane Russell, Jayne Mansfield and Jane f onda would be forced to hide their curves under bolts and bolts of binding.
68
H
FROM A STOOL AT SCHWABS:
Bobby Darin would have been a nice challenge to Will Rogers. I’m certain Bobby would try to prove to Rogers that Will had finally met up with someone he didn’t like — even a little.
Basically, Bobby is a nice guy but ever since he first entered show business, he’s worn the protective covering of an obnoxious personality. He’s had that who-needs-to-be-liked attitude for years and it’s done much to make him an individual in the entertainment jungle. Now that he’s made it big, maybe he’ll relax and drop the act.
You may not believe this, Jayne Mansfield, Jane Russell, Jane Fonda and all you other Janes who know that large bosoms are standard equipment for a movie sexpot — but once-upon-a-time it was considered sexy for an actress to be flat-chested. “Boyish-form,” it was called.
Clara Bow, one of the all-time sexpots of the movies — so sexy they called her the “It Girl” — was strapped flat under her gowns and sweaters so tightly she could just barely take a breath.
So don’t you go wishing for the good old days until you know the facts, sir!
This reminds me of Elizabeth Taylor and “Cleopatra.” You know what I mean. You’ve seen those shots of Liz. Well, I don’t know of any actress in the history of the movies who had so much depending on her as Elizabeth Taylor in “Cleopatra.” It has been stated and restated that if “Cleopatra” isn’t a hit, you can kiss the 20th Century-Fox Studio goodbye. And “Cleopatra” can’t be a hit if Liz isn’t a hit as Cleo. No matter what else the picture has.
The closest any actress or actor ever came to Liz Taylor’s frightening responsibility was when Deanna Durbin in “Three Smart Girls” made it possible for the Universal Studio bookkeepers to stop writing in red ink, and A1 Jolson sang great enough in “The Jazz Singer” to become the talk of the nation . . . lead the way to the talkies . . . and solidly establish Warner Brothers.
But even though Deanna (practically forgotten today) did supply Universal with much (Continued on page 95)