List o’ the Week: My Favorite Pre-Code Actresses

•February 18, 2018 • 21 Comments

Can’t get enough of Norma Shearer and The Divorcee.

Today’s List o’ the Week is an easy one – my Top 20 favorite pre-Code actresses.

Because I couldn’t possibly rank them in order of how much I love them (Stanwyck vs. Crawford vs. Blondell vs. Shearer!?!? Come ON!), I put them in alphabetical order. And to spice things up a bit, I listed my favorite pre-Code film in which each appeared (which was no cakewalk, let me tell you!)

Here goes:

1.  Constance Bennett: The Easiest Way (1931)

2.  Joan Blondell: Blondie Johnson (1933)

3.  Nancy Carroll: Hot Saturday (1932)

4.  Ruth Chatterton: Lilly Turner (1933)

5.  Mae Clarke: Waterloo Bridge (1931)

6.  Joan Crawford: Possessed (1931)

7.  Ann Dvorak: Three on a Match (1932)

8.  Kay Francis: Mandalay (1934)

9.  Ann Harding: Double Harness (1933)

10. Jean Harlow: Bombshell (1933)

11. Miriam Hopkins: Design for Living (1933)

12. Leila Hyams: Men Call It Love (1931)

13. Carole Lombard: Twentieth Century (1934)

14. Anita Page: Under Eigheen (1931)

15. Dorothy Mackaill: The Reckless Hour (1931)

16. Ginger Rogers: Upperworld (1934)

17. Norma Shearer: The Divorcee (1931)

18. Barbara Stanwyck: Night Nurse (1931)

19. Helen Twelvetrees: Millie (1931)

20. Loretta Young: Born to Be Bad (1934)

Who are your favorite pre-Code actresses and films?

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The 2017 TCM Film Festival: Revisiting Adventures in Paradise — Part VI

•January 24, 2018 • 4 Comments

The anticipation builds . . .

It’s about that time – time for another installment in my monthly look at the 2017 Turner Classic Movies Film Festival! And this month I’m taking a look at one of my favorite experiences of the festival – the Hand and Footprint Ceremony featuring Carl Reiner and his son, Rob.

(Before I dive into my reporting of the actual event, let me just say that in order to be allowed to cover it as a member of the media, I had to submit a special request – which was turned down. BUT, an angel appeared in the form of my fellow blogger and pal, Aurora of Once Upon a Screen, who allowed me to attend in her stead. I’ll be forever grateful. Forever.)

The ceremony involves the placing of the honorees’ hands and feet in cement, to be installed in the forecourt at what I will always know as Grauman’s Chinese Theater. This year’s event was impressively peppered with a number of celebrities who were on hand as special guests – Kevin Nealon, Cary Elwes (who’s still as gorgeous as he was as Wesley in The Princess Bride), Norman Lear, and Barbara Bain (who literally walked right in front of me. I mean, I could have pulled her ponytail as she passed by – that’s how close she was. Not that I would have done that. Of course.) And that’s not all! But I’m getting ahead of myself.

Billy Crystal was a delight, as usual.

TCM’s Ben Mankiewicz opened the ceremony, telling the gathered audience of media and lucky passholders that “few fathers and sons are as accomplished as Carl and Rob Reiner, and none are as funny. Carl’s version of slowing down is writing just one book a year.”

Also at the event were Carl Reiner’s longtime friend Tom Bergeron, who called his pal “humor’s greatest blessing,” and Rob Reiner’s BFF Billy Crystal. Crystal recalled that when he was a new comedian in 1975, he had a gig at L.A.’s Comedy Store and Carl Reiner and Norman Lear were in the audience. After Crystal’s set, Carl introduced himself and two weeks later, Norman Lear offered him a part in an All in the Family episode, playing the best friend of Rob Reiner’s character.

“In the rehearsal, I was watching Rob and the seeds of what would become a great director,” said Crystal, who would later be directed by Rob Reiner in The Princess Bride and When Harry Met Sally. “He always has the perfect answer as a director: ‘Let’s try it.’”

The Reiners’ mutual regard was heartwarming and smile-inducing.

Crystal had the honor of introducing Carl and Rob Reiner, whose obvious love and high regard for each other was beyond heartwarming – it makes me smile, even now, to remember their mutual displays of affection. “I’ve known this guy almost all of his life,” Carl Reiner jokingly said of his son, adding that he has three favorite films that he likes to share with others:  The Count of Monte Cristo, Random Harvest, and The Princess Bride. “And this has nothing to do with the fact that Rob is my son,” Carl said. “Any time you feel low, put on The Princess Bride and you’ll go away smiling.”

Hope to be back for the 2018 ceremony!

“I think we should not only put our hands and feet in the cement,” Rob Reiner jested. “We should also put our bald heads.” On a more serious note, Rob went on to share why the ceremony meant so much to him: “We are the first father and son to do this together at the same time, and also, my father was my idol. He stood for everything I wanted to be in life.”

I hope to be able to cover many hand and footprint ceremonies at TCM film fests in the coming years, but this one will always hold a very special place in my heart. It was truly a highlight of the festival for me.

Stay tuned for the next installment of Revisiting Adventures in Paradise!

Pre-Code Crazy: Millie (1933)

•January 15, 2018 • 7 Comments

I don’t remember the first time I heard the name “Helen Twelvetrees,” but for many years she was, for me, just an unfamiliar actress from the 1930s with an interesting name – like Gwili Andre or Jobyna Ralston. I never really thought about seeing her in a film, or even trying to.

And then came Millie.

I’m not even sure how I came across this movie, but I fell in love with Helen Twelvetrees the first time I saw it, and I’ve been a fan ever since.

Millie opens on the campus of Willows University, and only a couple of seconds pass before we know that the title character is one hot mama. We discover this because a group of college lads are in a local diner when a car approaches, and when one fella speculates that Millie’s in the car, the six of them practically perform a circus act just to wave as she passes. (“Boy, what a qualifier she is,” one boy exclaims, “and just rarin’ to go!”)

Millie wasn’t exactly batting a thousand when it came to picking men.

When we meet her for ourselves, we quickly discover that although Millie is a free spirited, fun-loving girl (“I want excitement! I want to live to go everywhere and see everything and do everything!”), she’s still an old-fashioned girl at heart – when her date, Jack Maitland (James Hall), suggests that she accompany him to New York, she doesn’t give it a moment’s consideration until she realizes that Jack is proposing marriage. And she’s not the worldly wise dame she’d like others to think she is. After their ceremony at the Justice of the Peace, she and her new hubby check in at a roadside hotel and poor Millie looks like she may pass out any second – especially when she catches a glimpse of the bed. She’s really just a sweet, young girl on the inside, who insists on calling her mother to tell her the news, and then can’t stop crying.

Fast forward three years, and Millie’s a wealthy but unhappy wife and mother to a small daughter whose governess whisks her away after allowing Millie just a few minutes with her each day. Her husband is remote and constantly leaving town “for business,” and Millie has transformed into a whiny, pitiful creature, begging her husband for more passionate kisses and constantly referencing the way their lives used to be.  (Of course, it doesn’t help that her husband is a rather officious ass whose appeal I was unable to discern even when she first married him. But I digress.)

This look says “What the hell?!?”

Millie gets a reprieve from her listless existence when she gets a call from Angie Wickerstaff (the always wonderful Joan Blondell), a hometown chum, who invites Millie out for cocktails with her and another girlfriend, Helen Riley (Lilyan Tashman). Unfortunately, the outing turns out to be more than Millie bargained for when she spots her husband there, billing and cooing with another woman. You won’t be surprised to see that Millie is devastated by the discovery – but I’ll bet you won’t be expecting to see her confront her husband’s side chick and clock her on the jaw!

All of this happens in the first 20 minutes of this hour-and-a-half long film, and believe me when I tell you that there’s a whole lot more drama, pathos, and are-you-kidding-me moments ahead. But I’m going to let you discover them for yourself – tune in to TCM on January 22nd.

And in the meantime, here’s some trivial tidbits to tide you over:

Blondell and Tashman. A winning combination.

  • Joan Blondell and Lilyan Tashman steal pretty much every scene they’re in. Many reviews of this film assert with confidence that their characters are lesbians, but I just don’t see it. Just because they live together and, in their first scene, are in the same bed – I mean, really? But whatever. I just thought I’d point that out. And while I’m pointing things out, if you know me at all, you might know that I’m a ginormous Lilyan Tashman fan. If you’d like to read more about her life on and off the screen, click here.
  • Four of the film’s stars Twelvetrees, Tashman, James Hall, and Robert Ames – and the director, John Francis Dillon, all died before the age of 50. Isn’t that weird?
  • Speaking of the director, Dillon directed Clara Bow in the unforgettable Call Her Savage (1932). If you’ve never seen this one, do your best to track it down. It has to be seen to be believed. He also directed The Reckless Hour, starring Dorothy Mackaill, which was the first film I selected for the Pre-Code Crazy series when Kristina and I started it more than three years ago. (Three years ago!?!? That’s crazy. Pre-Code crazy, if you will.)

    And don’t forget about Female!

  • The film was based on a novel written in 1931 by Donald Henderson Clarke. Clarke also wrote Female, which was made into a film starring Ruth Chatterton in 1933. According to numerous sources I found on the Internet, the novel Female was declared obscene by the New York Supreme Court, a decision that was upheld on appeal. What I couldn’t find was exactly what that meant. It certainly didn’t stop the movie from being made, so. . .

Be sure to tune in to Millie on TCM January 22nd you won’t be sorry!  and don’t forget to pop over to Speakeasy to find out what gem Kristina is recommending for the month!

The 2017 TCM Film Festival: Revisiting Adventures in Paradise — Part V

•December 30, 2017 • 9 Comments

As 2017 comes to a close, it’s the perfect time for my next entry in my ongoing look at this year’s Turner Classic Movies Film Festival. And what better topic than one of the first events I attended – “Remembering Robert,” which was presented on April 6, 2017, exactly one month after the passing of TCM icon Robert Osborne, described during the event as “the face, the voice, and the heart and soul of TCM.”

“Remembering Robert” featured heartfelt remembrances from numerous network staffers, including TCM host Ben Mankiewicz; Osborne’s longtime director Ann Wilson; Gary Friedman, who produced Osborne’s intros; and Charlie Tabesh, head of programming, as well as one of Osborne’s oldest and closest friends, actress Diane Baker. Mankiewicz, who labeled Osborne as “distinguished, funny, unfairly charming and smart as hell,” started things off by introducing a brief video that used to air before Osborne spoke in front of a crowd – it was both hilarious and touching and served as the perfect kickoff to the event.

Diane Baker shares memories of her close friend.

Diane Baker told the packed theater how she first met Osborne – she’d been living with her parents in San Fernando Valley and Osborne lived near her. She was testing for a Fox contract and someone suggested that she do the scene with Osborne. He later joked with Baker that her voice during the test was so high that “dogs can hear it.”

“He was just a nice guy,” Baker said. “They guy next door that you want to see and be with.” Baker also shared with the audience her last visit with Osborne, shortly before he died. “I knew this was going to be the last time I was going to see him,” she said. “He said, ‘No sad songs for me. I’ve had a great life. It’s been a wonderful, wonderful life. So don’t be sad.’ So I’m trying real hard.”

Several staffers recalled how much they had learned from Osborne – Gary Friedman said that “no one has taught me more about art and film and culture,” and Ben Mankiewicz shared that he learned that “imitating [Osborne] would be a catastrophe.”

A packed crowd showed up to pay homage to our beloved Robert Osborne.

“What you saw on the air from Robert was Robert,” Mankiewicz said. “There was this authenticity that came through the television screen. Robert showed me that being yourself is the best possible way to connect with a fan base that craves authenticity and sniffs out phonies.”

Osborne was also remembered for his extensive expertise and his respect for the stars of yesteryear. Charlie Tabesh said that Osborne’s knowledge of classic film made him “the real deal,” and VP of Talent Darcy Hettrich stated that there was “a humanity to him – he cared about the stars that Hollywood had basically forgotten. They saw in him a true respect and love for what they did. For me it was such a pleasure and an honor to find talent for him. It was a glorious 23 years with him.”

One of Osborne’s favorite stars in his favorite movie.

In addition to the tributes and reminiscences, several fun facts about Osborne were shared, like his fondness for TV’s Judge Judy, who once served as a guest programmer; his excitement over meeting actor Jean-Paul Belmondo at the second TCM film festival; and his particular love for films of the 1940s, stars Gene Tierney, William Holden and Susan Hayward, and such favorites as the Rob Reiner mockumentary This is Spinal Tap, A Place in the Sun, All About Eve, and his number one movie, The Razor’s Edge.

Finally, the staffers assured the fest-goers that TCM will continue to foster the connection that it has with its viewers and offer the same high-quality classic film experience that has become the hallmark of the network.

“Robert left this place in a strong position and more ready to face the future than the network has ever been,” Mankiewicz said. “There’s no replacing Robert, but there also is no stopping TCM.”

Stay tuned for the next installment of Revisiting Adventures in Paradise!

Pre-Code Crazy: Two Seconds (1932)

•December 7, 2017 • 10 Comments

Before I decided to choose Two Seconds (1932) for this month’s Pre-Code Crazy pick, I’d only seen the first five minutes of it – I’d never made it any further.

Boy, was I a dope.

This is a really good one, y’all. Trust me.

What’s it about?

To be honest, it was really hard for me to do the write-up for this one – I didn’t want to give away a single plot point or unexpected twist. But here goes. The film centers on John Allen (Edward G. Robinson) who, at the film’s start, is on his way to death in the electric chair. We learn from the prison doctor that after the current is turned on, his body will be paralyzed, but his brain will continue to function for approximately two seconds – “long enough for him to relive his whole life.”

Not exactly a gleesome threesome, if you know what I mean.

The rest of the film is a flashback that shows how John came to such an end. We learn that John and his best friend, Bud (Preston Foster), work as riveters on a skyscraper. One night, after Bud’s steady girl shows up with a gal pal for John who looks like “a truck horse,” John exits stage left and winds up in a local dance hall. There, he meets Shirley (Vivienne Osborne), a seen-it-all, take-no-crap taxi dancer who takes a liking to John.

And that’s where I’m going to stop my description. I really want you to discover every bit of this gem the way I did – with no clue about what was going to happen. (Unless, of course, you’ve already seen it, and in that case . . . well, never mind.)

What’s good about it?

First off, it’s got a real noirish feel to it – knowing from the start that John Allen is fated to die puts an undeniable air of doom over the proceedings. You can’t help wondering what could possibly happen to make such a stand-up guy commit a crime that would lead to his conviction and execution.

John and Shirley. A match made in …?

As an Everyman who thinks he’s got it all together but gets more than he bargained for at the hands of a woman, Edward G. Robinson indulges in a bit of scenery chewing – but he’s never boring, that’s for sure.  I’ve seen Robinson in countless films, but this film gave him a role that he could really sink his teeth into. And he wraps up his performance with a nearly four-minute monologue that you simply have to see to believe.

Vivienne Osborne was a revelation. She was in a few of my favorite pre-Codes (and she played the mother in one of my most beloved MST3K movies, I Accuse My Parents), but she was really something here. Shrewd, sexy, and self-absorbed, and as hard-boiled as they come, she spit her lines out like she didn’t like the taste. She was absolutely riveting.

One of the best things about the film was the pre-Code lingo and fantastic lines. Here are just a few of my favorites:

“Say, big boy – you sure are a swell little hoofer.” (It’s not an unusual line or anything – I just love the use of the words “Big Boy,” “swell” and “hoofer.”)

“What have you got to live for, that you’re so afraid of dying?”

One of the most chilling shots in the film. (Thanks to Danny at Pre-Code.Com for his skills!)

“I know her kind – she’s a softy. She got tired of grubbin’ for her own keep and you looked like three squares and a flop to her, so she hooked ya.”

“Since when did you examine a dollar to see who its father was?”

“Don’t make me laugh – it’ll crack my lips.”

“When it comes to playin’ around with a dame or poundin’ on a stick of dynamite, the real smart guy chooses the dynamite.”

“I know your kind. And so do lots of other guys, I’ll bet.”

“The worse thing you ever did was gettin’ born!”

“Any time I take a dame out, she knows what it is to be out. I satisfy.”

This is Peggy Joyce.

Anything else?

Early on, Bud and John are talking. Bud’s girl, Annie, is going to fix John up with a blind date, but John is reluctant – Annie doesn’t exactly have a promising track record in this area. Bud assures him that this latest date has class, but he admits, “I ain’t promisin’ you no Peggy Joyce.” Joyce was an actress and model who became known more for her personal exploits than her professional achievements – she was married six times (and, according to her, engaged more than 50), had affairs with such notables as Charlie Chaplin and Walter Chrysler, and was an extravagant spender who once proclaimed that “true love was a heavy diamond bracelet, preferably one that arrived with its price tag intact.” It’s reported that on her wedding night to husband number three, she locked herself in the hotel bathroom and refused to come out until he’d written her a check for $500,000! (There’s a book out on her, released in 2000 – called Gold Digger: The Outrageous Life and Times of Peggy Hopkins Joyce by Constance Rosenblum. It’s totally going on my Christmas list.)

Check out Two Seconds on TCM December 12th. You. Will. Not. Be. Sorry.

And don’t forget to visit Speakeasy to find out gem Kristina is recommending this month!

Day 30 of Noirvember: Trivia Tidbit Thursday

•December 1, 2017 • 5 Comments

Young Ava.

It’s hard to believe that another Noirvember has come and gone – it flew by like a bird on the wings of night. For my final post of this year’s month-long shadowy celebration, I’m serving up some trivia about some of our favorite noir performers. I hope you’ll learn something you didn’t know before about some of the fabulous men and women who made film noir come to life. Read on!

At the age of 17, Ava Gardner enrolled in the Atlantic Christian College in Wilson, North Carolina, where she studied business education and secretarial science. But her career plans went in a new direction the following summer when she visited the New York home of her eldest sister and her husband, Larry Tarr, owner of a photography studio. After Tarr placed a picture of Gardner in the window of his studio, it caught the attention of Barney Duhan, a clerk for the legal department of MGM. At Duhan’s request, Tarr delivered a dozen portraits of Gardner to MGM’s New York office, which ultimately led to her first screen test. Shortly afterward, the studio expressed interest in offering Gardner a contract, and as she later stated, “Movies may not have been a dream of mine, but I admit, straight away, that when I compared the idea of a secretarial job in Wilson, North Carolina, with the chance of going to Hollywood and breathing the same air as Clark Gable – well, the choice was not hard to make.”

Sterling Hayden’s final television appearance was in the 1982 mini-series The Blue and The Gray. He played John Brown and sported the wild, gray beard he’d worn since the late 1970s. On several occasions, he’d been asked to shave the beard for a role, but he refused. “Sounds silly, huh? But I like being bearded,” he told an L.A. Times reporter. “If I take it off, it reminds me of those old Hollywood days when I was a male starlet. And I don’t care to remember them.”

A face that would melt in your mouth. Heh.

Speaking of male starlets, early in his career, handsome, curly-haired Victor Mature was tagged with such labels as “Glamour Boy,” “Beautiful Hunk of a Man,” King of Beefcake,” and “A Face That Would Melt in Your Mouth.” The monikers didn’t faze Mature a bit. “I don’t mind being called ‘Glamour Boy’ so long as that check comes in on Friday,” he once said.

When Jean Hagen was a struggling artist in New York, she supplemented her meager income by selling cigarettes at a nightclub and ushering at the Booth Theatre, where she got her first big break. The play on stage at the Booth was Swan Song, authored by Ben Hecht and Charles MacArthur, and one night Hecht asked the attractive usherette what she thought of the play. “’It stinks,’ I told him quite frankly,” Hagen recalled. “He argued with me, and asked me how I would like to appear in it. Did I!” Hagen was given a small part in the play, replacing a departing cast member, but before she was able to assume the role, she contracted appendicitis and was hospitalized. After her recovery, she took over the part, making her Broadway debut in 1946.

George Raft quit school and left home when he was 13, sleeping in subways and mission homes, and making ends meet by performing odd jobs like shoveling snow or delivering orders for local stores. After an unsuccessful attempt at a minor-league baseball career, he put his street fighting prowess to use as a professional boxer, but after fewer than 25 bouts, he switched vocational gears again. This time, he capitalized on his natural dancing ability, first landing a job as an instructor at the Audubon Ballroom and later working as a “taxi-dancer” in local cafes.

Annie Laurie Starr as Amber?

Following a much-ballyhooed search for an actress to play the title role in 20th Century Fox’s production of Forever Amber, the part was given to 19-year-old Peggy Cummins. But just a few months into filming, Fox head Darryl F. Zanuck halted the production – he later explained: “We realized that Peggy could act the role, but she could never look it. She was too young. So we decided to start all over again.” Cummins seemed to view the experience philosophically, saying “You can let yourself ache over your loss – or you can think instead of how wonderful and exciting it was while you had it.” Although the film – with Linda Darnell as Amber – was a box office hit, it was totally trashed by critics, and years later, Cummins admitted, “When I saw it, of course, I just felt relieved.”

George Macready got his distinctive facial scar while a student at Brown University. While Macready was riding in a Model T Ford with six of his frat brothers, the car hit an icy road and struck a telephone pole, and Macready went through the windshield. The only doctor around was a veterinarian, who sewed him up, but Macready contracted scarlet fever because the vet hadn’t washed his hands properly.

While a student at Western High School in Washington, D.C., Jane Greer was president of the dramatics club, but her budding interest in the arts appeared to be forever thwarted when she awoke one morning, at the age of 15, to find that the left side of her face was completely paralyzed. She was diagnosed with Bell’s palsy, a neurological disorder. Determined to overcome this obstacle, Greer later stated, “I had always wanted to be an actress, and suddenly I knew that learning to control my facial muscles was one of the best assets I could have as a performer.” She was cured by undergoing strenuous physical therapy and by age 16 she had resumed her activities as a model.

Thanks for helping to make Noirvember the best month of the year!

After rising to fame as a crooner in more than 30 Warner Bros. musicals, Dick Powell transformed his screen image from “pretty boy” song and dance man to hard-boiled tough guy, then switched gears again, tackling directing and producing, and becoming the head of a television empire. “I started out with two assets,” Powell once said, “a voice that didn’t drive audiences into the streets and a determination to make money.”

And that’s it for another year!

Thanks so much for joining me and making this the best Noirvember yet! I appreciate each and every one of you.

See you in the shadows!

Day 29 of Noirvember: The Battling Bogarts

•November 29, 2017 • 2 Comments

The beginning.

Every film noir lover knows about the era’s favorite couple, Humphrey Bogart and Lauren Bacall. They’re like shadowy elegant royalty, with almost a dozen noir credits between them. But before Bacall, there was Mayo – Mayo Methot, that is, Humphrey Bogart’s third wife, to whom he was married for seven years.

As I’ve mentioned here previously, one of my favorite possessions is my collection of old movie magazines, one of which – the November 1943 issue of Silver Screen – contains a fascinating article about Bogart and Mayo entitled “How to Keep Your Marriage Alive.” Today’s Noirvember post takes a look at this article and the relationship between Bogart and Wife Number Three.

Bogart and Mayo Methot met in 1937, on the set of Marked Woman, a Bette Davis vehicle in which they both were featured. (Incidentally, if you’ve never seen this film, try to track it down – it’s really good stuff.) The couple married the following year, but their union was a volatile one from the start. Literally. During their honeymoon stay at New York’s Algonquin Hotel, Bogart and Mayo got into a huge fight that caused $400 worth of damage to their room. Before long, the duo became known as “The Battling Bogarts” – they frequently indulged in both public and private brawls, including one occasion when Mayo stabbed Boagart in the back, and another when she fired a gun at him.

Bogart and Mayo met on the set of Marked Woman.

The couple’s boisterous skirmishes became almost commonplace among their friends as well as the press – in the New York Times, columnist Earl Wilson once recounted a phone conversation he’d had with the actor, during which a crashing sound could be heard in the background. “My wife just missed me with an ashtray,” Wilson quoted Bogart. “I don’t know what’s wrong with her aim lately.”

The Silver Screen article didn’t shy away from referencing the Bogarts’ explosive relationship, although it did offer a flowery spin, calling the marriage “provocative” and stating: “Their delectable arguments are the talk of the town. Their differences of opinion are like legends.” The majority of the piece is one long interview with Bogart, during which he waxes philosophic about what makes a good marriage. Among his sage offerings are that a married couple shouldn’t have too much in common – “Too much sweetness and light can get pretty cloying after a while,” he said. He also claimed that couples should “argue and keep on arguing if you feel like it. Arguments keep your minds active and alive.” And Bogart insisted that separations among married couples were no good – his wife accompanied him “everywhere,” he said.

Happier times.

“We are never apart. It may give us more chances to argue, but that’s the way we like to live,” Bogart said. “When a husband goes away by himself, there’s always temptation for him to face.” Toward the end of the article, Mayo joined the conversation, sharing her views on the topic of jealousy and frankly admitting that she was jealous of her husband: “He thinks that there is really no need for jealousy until there’s a reason for it. I say it’s too late then. But why shouldn’t there be jealousy in marriage? How can you help it?”

From The Battling Bogarts to Bogie and Bacall.

Well, as it turned out, Mayo had plenty of reason to be jealous. Not long after the publication of this article, Bogart met Lauren Bacall on the set of their film To Have and Have Not (1944).

I don’t know where Mayo was at the time, but suffice it to say that Bogart and Mayo divorced less than two years later, on May 10, 1945. Bogart married Bacall 11 days later.

So much for keeping your marriage alive!

Join me tomorrow for (sniff, sob!) the 30th and final day of Noirvember!!