Because I was so involved with Barbara [Stanwyck], I was off-limits for other women, which was something of a problem for the studio. They wanted to promote the image of a carefree young stud—never my style—so I had publicity dates with young actresses around town like Lori Nelson or Debra Paget. This was a relic of the days when the studio system was in its prime. The studio would arrange for two young stars-in-waiting to go out to dinner and a dance and assign a photographer to accompany them. The result would be placed in a fan magazine. It was a totally artificial story documenting a nonexistent relationship, but it served to keep the names of young talents in front of the public. As far as I was concerned, it was part of the job, and usually pleasant enough. When reporters would ask me about my romantic life, which they did incessantly, I had to say things like, "If I go out with one woman a few times, it's considered a romance. If I date a lot of girls, I'm a Casanova. It's one of those 'heads-you-win-tails-I-lose' deals. I don't think it's anybody's business what I do." The last sentence contained my true feelings.
Robert J. WagnerTag: barbara-stanwyck
In most respects, Barbara [Stanwyck] was a man's woman, although her home was lovely. Like me, she was an animal lover—she kept poodles. Her son, Dion, was in the service at this point—I never actually met him—and she was hopeful that the Army might help him. She had adopted Dion when she was married to Frank Fay, one of the most dreadful men in the history of show business. Fay was a drunk, an anti-Semite, and a wife-beater, and Barbara had had to endure all of that. I don't think she was going to an analyst at this point, but she did make regular visits to a man who gave her sodium pentothal. It wasn't like the LSD therapy that came later, which Cary Grant tried and got so much out of. Barbara had a lot of things going on in her head, but she didn't put it out there for conversation, let alone public consumption. When I was with her, it was all about us. There wasn't a lot about anybody else, not Frank Fay, or even Bob Taylor. She had a small scar on her chest, where someone had once put out a cigarette on her. I think it was Al Jolson, speaking of sons of bitches. Jolson had been crazy about her back in the New York days, when she was a young actress on Broadway. She would talk about him once in a while, mainly about what an asshole he had been.
Robert J. WagnerTag: barbara-stanwyck
Spending time around her house, I came across a cache of 16mm movies in her basement. It turned out that Barbara [Stanwyck] had a lot of her own movies, and I convinced her to spend some time watching them with me. I ran the projector. She had prints of Union Pacific, Ball of Fire, and Baby Face, among others. She didn't particularly like watching them, but she did enjoy reminiscing about their production: how she got the part, what the location was like, that sort of thing. She liked people with humor and always spoke highly of Gary Cooper, Joel McCrea, and Frank Capra. Oddly enough, she wasn't crazy about Preston Sturges; she seemed to feel that he expended all his charm and humor for his movies and that there wasn't anything left for his actors. In broad outline, all this sounds a little bit like the scene in Sunset Boulevard where Gloria Swanson sits with William Holden and watches a scene from Queen Kelly, rhapsodizing about her own face. But Barbara couldn't have cared less about how she looked; as I watched her films with her, it was clear that, for her, the movies were a job she loved, as well as a social occasion for a woman who was otherwise something of a loner.
Robert J. WagnerTag: barbara-stanwyck
Occasionally, on screen, Barbara [Stanwyck] had a wary, watchful quality about her that I've noticed in other people who had bad childhoods; they tend to keep an eye on life because they don't think it can be trusted. After her mother was killed by a streetcar, she had been raised in Brooklyn by her sisters, and from things she said, I believe she had been abused as a child. She had lived an entirely different life than mine, that's for sure, which is one reason I found her so fascinating. I think her early life was one reason she had such authenticity as an actress, and as a person.
Robert J. WagnerTag: barbara-stanwyck
That era provided a profusion of wonderful actors and actresses to admire—and not always the ones remembered by posterity. Take Joel McCrea, for instance, a real cowboy and a good actor who could excel in westerns like Union Pacific or The Virginian, but who was also wonderful in comedies like The Palm Beach Story for Preston Sturges—and comedy is the hardest thing an actor can do.
Robert J. WagnerTag: joel-mccrea
Toward the end of her life a burglar broke into her house and pistol-whipped her. She was an elderly woman by then, and it sent her into a downward spiral. When she was in the hospital dying, I called, and she asked me not to come and see her; she wanted me to remember her as she was. I felt I had to honor her request. As we talked, she told me she was wearing the four-leaf clover necklace I had given her. Barbara [Stanwyck] was cremated wearing it, and her ashes were scattered over Lone Pine. The fact that a piece of me remained with her at the end was and is some consolation for her loss.
Robert J. WagnerTag: barbara-stanwyck
Barbara [Stanwyck] was the first woman I ever loved.
Robert J. WagnerTag: barbara-stanwyck
The first movie star I met was Norma Shearer. I was eight years old at the time and going to school with Irving Thalberg Jr. His father, the longtime production chief at Metro-Goldwyn-Mayer, devoted a large part of his creative life to making Norma a star, and he succeeded splendidly. Unfortunately, Thalberg had died suddenly in 1936, and his wife's career had begun to slowly deflate. Just like kids everywhere else, Hollywood kids had playdates at each other's houses, and one day I went to the Thalberg house in Santa Monica, where Irving Sr. had died eighteen months before. Norma was in bed, where, I was given to understand, she spent quite a bit of time so that on those occasions when she worked or went out in public she would look as rested as possible. She was making Marie Antoinette at the time, and to see her in the flesh was overwhelming. She very kindly autographed a picture for me, which I still have: "To Cadet Wagner, with my very best wishes. Norma Shearer." Years later I would be with her and Martin Arrouge, her second husband, at Sun Valley. No matter who the nominal hostess was, Norma was always the queen, and no matter what time the party was to begin, Norma was always late, because she would sit for hours—hours!—to do her makeup, then make the grand entrance. She was always and forever the star. She had to be that way, really, because she became a star by force of will—hers and Thalberg's. Better-looking on the screen than in life, Norma Shearer was certainly not a beauty on the level of Paulette Goddard, who didn't need makeup, didn't need anything. Paulette could simply toss her hair and walk out the front door, and strong men grew weak in the knees. Norma found the perfect husband in Martin. He was a lovely man, a really fine athlete—Martin was a superb skier—and totally devoted to her. In the circles they moved in, there were always backbiting comments when a woman married a younger man—" the stud ski instructor," that sort of thing. But Martin, who was twelve years younger than Norma and was indeed a ski instructor, never acknowledged any of that and was a thorough gentleman all his life. He had a superficial facial resemblance to Irving Thalberg, but Thalberg had a rheumatic heart and was a thin, nonathletic kind of man—intellectually vital, but physically weak. Martin was just the opposite—strong and virile, with a high energy level. Coming after years of being married to Thalberg and having to worry about his health, Martin must have been a delicious change for Norma.
Robert J. WagnerTag: norma-shearer
After Natalie [Wood] and I got back from our honeymoon, I began The Hunters, with Robert Mitchum, directed by Dick Powell. I adored both of them. Powell was one of the great guys of all time, and Mitchum and I became fast friends. He insisted that I call him "Mother Mitchum." One day we cooked up a juvenile practical joke—we hired a girl to sit on a bench at lunchtime without any underpants on. We were in Arizona, at an Air Force base, and from the reaction you'd have thought the men of the United States Air Force had never seen a woman's private parts before. As word spread, we gradually brought the entire base to a halt. The fact that it was juvenile didn't make it any less funny; actually, it made it funnier.
Robert J. WagnerTag: robert-mitchum dick-powell
Let me say something right here: Robert Mitchum was one fine actor. He belonged to that small tribe of actors who are more interesting in concealing emotion than expressing it. Most actors lunge to show you every card in their hand. That wasn't Mitchum's way. But that smooth, implacable surface hid things only up to a point. On those occasions when he let loose, in movies like The Night of the Hunter or The Friends of Eddie Coyle, the effect was powerful and startling.
Robert J. Wagner« prima precedente
Pagina 2 di 2.
Data privacy
Imprint
Contact
Diese Website verwendet Cookies, um Ihnen die bestmögliche Funktionalität bieten zu können.