Hedy Lamarr

Оглавление

Ruth Barton. Hedy Lamarr

Contents

Acknowledgments

Introduction: Waxworks

1. A Childhood in Döbling

2. The Most Beautiful Girl in the World

3. Ecstasy

Ecstasy in America

4. Fritz Mandl

5. The Most Beautiful Woman in the World

6. To the Casbah!

7. This Dame Is Exotic

8. The Siren of the Picture Show

9. The Rather Unfeminine Occupation of Inventor

10. Enter: Loder

11. Exit: Loder

12. Independence

13. No Man Leaves Delilah!

14. Acapulco

15. Houston, Texas

16. A Filthy, Nauseating Story

17. Final Years

Appendix: Lichtwitz Family Tree

Filmography

Notes. INTRODUCTION

I: A CHILDHOOD IN DÖBLING

2: THE MOST BEAUTIFUL GIRL IN THE WORLD

3: ECSTASY

4: FRITZ MANDL

5: THE MOST BEAUTIFUL WOMAN IN THE WORLD

6: To THE CASBAH!

7: THIS DAME IS EXOTIC

8: THE SIREN OF THE PICTURE SHOW

9: THE RATHER UNFEMININE OCCUPATION OF INVENTOR

10: ENTER: LODER

11: EXIT: LODER

12: INDEPENDENCE

13: No MAN LEAVES DELILAH!

14: ACAPULCO

15: HOUSTON, TEXAS

16: A FILTHY, NAUSEATING STORY

17: FINAL YEARS

Bibliography

Articles

Unpublished Theses

Documentaries

Library Files

Index

Отрывок из книги

Screen Classics

Screen Classics is a series of critical biographies, film histories, and analytical studies focusing on neglected filmmakers and important screen artists and subjects, from the era of silent cinema to the golden age of Hollywood to the international generation of today. Books in the Screen Classics series are intended for scholars and general readers alike. The contributing authors are established figures in their respective fields. This series also serves the purpose of advancing scholarship on film personalities and themes with ties to Kentucky.

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Granowksy was inundated with offers of more film work after the release of The Trunks, but he had meanwhile married a wealthy German woman and moved to Paris to found his own company. “His first picture, Le Roi Pausolle[actually Les Aventures du Roi Pausole or The Adventures of King Pausole], a musical revue, was the most expensive picture made in Europe up to that time. And his private life was as sumptuous as his films. The waiters at exclusive Paris bars hadn't seen such tips since the legendary champagne bouts of the Russian grand dukes in Mont-martre.” But, “All the luxury and success did not make Granovsky happy or deaden his longing for Russia. He refused to admit it. The close air of the dictatorship made it impossible for him to work, he said, but in the free atmosphere of Paris and London he could not breathe.”24 His wife left him and he died in 1938, a poor man.

The Trunks opened belatedly in Vienna on 4 June 1932. The critics were delighted; several compared it favorably to We Don't Need Money or Fun and Finance (Man Braucht Kein Geld), Hedy's next film. Indeed, it seemed that appreciating Granowsky's film suggested that Viennese society possessed a more cultured outlook than Berlin: “We have heard that in Berlin it was pretty unanimously dismissed. But we savages are better people and for us Granowsky's grotesqueries were a delightful surprise.”25 Although Hedy remained mostly unheralded, one critic offered that Hedy Kiesler was supposed to look pretty and she did, and another mentioned her as part of the excellent cast.26

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