By Eric Gans
Regardless of showing in twenty-eight videos in little over a decade, Carole Landis (1919-1948) by no means particularly turned the main Hollywood famous person her onscreen presence must have afforded her. even supposing she acted in such enduring movies as A Scandal in Paris and Moon over Miami, she was once customarily relegated to helping roles. even if she performed the foremost position in a function, as she did within the Powers lady and the movie noir I get up Screaming!, she used to be billed moment or 3rd in the back of different actors. This biography strains Landis's lifestyles, chronicling her beginnings as a dance corridor entertainer in San Francisco, her profession in Hollywood and in a foreign country, her USO performances, and finally her suicide. utilizing interviews with actors who labored with Landis, modern motion picture magazines and journals, and correspondence, biographer Eric Gans unearths a sad determine whose existence was once all too short. Landis's great holiday got here in 1940 with Hal Roach's 1000000 B.C. She seemed in 13 20th Century-Fox photos among 1941 and 1946. In 1942-43, Landis entertained troops in England and North Africa within the simply all-female USO journey. The journey ended in her memoir, 4 Jills in a Jeep, and a Fox motion picture of an identical identify. After her final American movie in 1947, she accomplished tasks in England whereas having an affair with married actor Rex Harrison. affected by a love which can no longer result in matrimony and depressed approximately ageing, she took a deadly drug overdose on July five, 1948. Eric Gans is professor of French at college of California, la. he's the writer of diverse books together with such a lot lately The Scenic mind's eye: Originary pondering from Hobbes to the current Day, and his articles have seemed in lots of periodicals.
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Additional info for Carole Landis: A Most Beautiful Girl (Hollywood Legends)
As one of many Warner starlets, Carole was too tall and mature for an ingénue—a role she would come closest to as a foil to Joan Blondell in Topper Returns—yet too young and insufficiently “domestic” to play married women. Thus, she could follow neither the path taken by Lana Turner at MGM nor that of Betty Grable, who had kicked around several studios before her 1939 Broadway triumph in DuBarry Was a Lady landed her a contract with Fox as Alice Faye’s musical-blonde successor—and Carole’s FIRST YEARS IN HOLLYWOOD (1937–1939) 35 permanent obstacle.
At this “prehistoric” dawn of her career, Carole incarnates an ideal very close to the one she lived by in the real world: caring and resourceful, sweet and strong, desirable and athletic, never happier than when she is bringing happiness to others. The reviews of the film were mixed, but “lovely, shapely and lightly clad” Carole made a strong impression. C. as a girl of fourteen. During this period, Carole lived a subdued life with her mother and often gave Jean a lift to the studio in her new car.
Having begun at Warners in May 1937 and signed her first contract on July 17, Carole stayed on until May 1938, her original thirteen-week contract at fifty dollars having been extended to forty-three and a half weeks without the customary increase in pay. As for the circumstances of her departure, Carole claimed that she chose to leave to seek work elsewhere; FIRST YEARS IN HOLLYWOOD (1937–1939) 37 other sources state that she was let go. The latter alternative seems more likely; the Berkeley relationship had dissolved and, with it, any protection he might have afforded her at the studio.