Betty Hutton (1921-2007)

Betty Hutton, Paramount's incendiary blonde bombshell has died.

Most of the biographical information I know about her is in her entry on imdb, which you can read in its entirety, here.

Turner Classic Movies will pre-empt its scheduled programming on Wednesday (3/15) from noon through 8:00 pm (Eastern) for a memorial salute to Hutton. Click here for details. If you can, try and catch Robert Osborne's Private Screenings interview with her at 7:00. Hutton led a turbulent life and she speaks of it rather candidly.

I've been a Betty Hutton fan for most of my life, having seen Cecil B. DeMille's 1952 circus epic The Greatest Show on Earth when I was a kid. That movie holds the distinction of being the second worst Best Picture Academy Award-winner (right behindMichael Todd's Around the World in 80 Days in 1956), but it's still a great deal of fun. Hutton plays a trapeze artist in love with circus owner (or manager or something) Charleton Heston. She's finally earned the star spot in the center ring, but is bumped when bigger draw Cornel Wilde shows up. So there's your love triangle. Throw in James Stewart, who plays the entire film in clownface; Gloria Grahame as the assistant to an insanely jealous elephant trainer; Balloon Girl Dorothy Lamour (whatever that is); some honest-to-God Ringling Bros. clowns (including Emmet Kelley, who is photographed here for the only time without make-up); and one hell of a train wreck and you get 152 bloated minutes of fun, capped with a severely injured Heston yelling at Hutton, "Judas Priest, woman! You've got nothing but sawdust in your veins!" which can only be topped by our leading lady leading the finale with the film's title song.

She was marvelous in Preston Sturges's The Miracle of Morgan's Creek (1944) as Trudy Kockenlocker, a single girl with an over-protective father (an hysterical William Demarest). In her devotion for doing her part for the war effort, Trudy goes out on the town with some soldiers about to be deployed overseas and wakes up the next morning with a ring on her finger and (as she later learns) a bun in the oven - but no memory of what happened. So she enlists the help of 4-F Eddie Bracken. Another superb satire from Sturges.

I'll end this with Annie Get Your Gun (1950, George Sidney) because, to be honest, it's the only other Hutton film I've seen. Judy Garland began the film but had to pull out due to illness (she had already recorded the soundtrack, which has had several grey-market releases). Despite her Paramount contract, Hutton actively campaigned for what she knew was a perfect role for her, MGM or no MGM, ultimately winning it and delivering one hell of a star turn.

The New York Times Interviews Marni Nixon

Voice of the Many, but Rarely Herself

Frank J. Prial, New York Times, 6 March, 2007

The role of Mrs. Higgins, the mother of Prof. Henry Higgins in My Fair Lady, requires an actress capable of expressing hauteur, exasperation and motherly concern, sometimes all at once. What it does not require is a singing voice, as it is among that classic musical’s few roles without a song.

So who has been cast in the New York Philharmonic’s concert-style revival at Lincoln Center this week?

None other than Marni Nixon, perhaps the most famous singing-voice-without-a-face in the history of motion pictures.

“I’d love to have a song in the show,” Ms. Nixon said during an interview in her West End Avenue apartment in New York. “I’d love to be able to call up Alan Jay Lerner and Fritz Loewe and say, ‘Please, can you add something called ‘Mrs. Higgins’s Lament?’ But it isn’t going to happen, of course.”

Among her unseen roles were the singing voices for Deborah Kerr in The King and I, Natalie Wood in West Side Story and Margaret O’Brien in The Secret Garden — as well as, most famously, Audrey Hepburn in the Oscar-winning screen version of My Fair Lady. Most recently, in 1998, she was the animated Grandmother Fa in Disney’s Mulan.

For her part, Ms. Nixon, 77, said she understood perfectly why the studio moguls chose to place famous faces in the starring roles and relegate her to the shadows.

“Hollywood wanted recognizable stars,” Ms. Nixon said. “And the fact that a lot of the stars couldn’t sing was only a minor inconvenience to the big producers.”

Her first dubbing job was for Miss O’Brien in The Secret Garden. Miss O’Brien, 12 at the time, was one of Hollywood’s top child stars. Ms. Nixon was 19.

Her first major job, she said, was singing the role of Anna in The King and I. “Deborah was tough to work with, but she was a complete professional,” Ms. Nixon said of Miss Kerr. “We worked on phrasing, we worked on interpretation, everything. It’s hard to believe now, but each number took a week.”

A dubber, Ms. Nixon explained, doesn’t simply substitute her voice for the actress’s voice. “The important thing is to sound as the actress would sound if she were doing the actual singing,” she said.

It being Hollywood, of course, sometimes the jobs verged on the ludicrous. Her work with Marilyn Monroe, for instance, in Gentlemen Prefer Blondes (1953), consisted of just one phrase in one song — perhaps the musical’s most famous, “Diamonds Are a Girl’s Best Friend.” The phrase: “These rocks don’t lose their shape.”

If the studio bosses had had their way, Ms. Nixon said, she would have done more. “Actually, the studio wanted her entire voice dubbed,” she said. “They thought her voice was silly. I thought her voice suited her persona beautifully.”

In 1964, when Ms. Nixon was tapped to sing Eliza Doolittle in George Cukor’s screen version of My Fair Lady, one of her chief concerns was how the choice would sit with Julie Andrews, who had had great success with the role onstage but was passed over by Hollywood for the established star: Hepburn.

“I did the job,” Ms. Nixon said, “but I felt uneasy,” especially when she and Ms. Andrews later worked together in The Sound of Music.

The story is now part of Hollywood lore: Ms. Andrews came out ahead by starring in Disney’s Mary Poppins and winning the Oscar for best actress in the same year that “My Fair Lady” was released. [Ms. Nixon voiced the animated geese in "Jolly Holiday" in that film.]

Ms. Andrews seemed to harbor no grudges, Ms. Nixon said. When the two appeared in The Sound of Music, she said, Ms. Andrews made a point of seeking her out, shaking her hand and saying, “I like your work.” (Ms. Nixon played one of the nuns.)

When Ms. Nixon was cast as Eliza in a City Center revival of My Fair Lady, Ms. Andrews helped her overcome anxiety about handling the role.

Ms. Nixon received a modest reward for her highly praised dubbing work: stepping in front of the camera before millions of people as a presenter at the 1969 Academy Awards. The category? Best musical score.

Perhaps naturally, not all the people whose voices she dubbed were happy about it. When filming West Side Story, Wood refused to cooperate, and Ms. Nixon worked by herself on the musical numbers. It was not entirely Wood’s fault; the studio bosses were keeping her in the dark about Ms. Nixon’s true role.

“She thought I was there for backup and that she would be doing the entire picture,” Ms. Nixon said. “In fact, they didn’t like her singing, and, without telling her, proceeded to use my voice.”
And when Wood found out? “Well, she was enraged,” Ms. Nixon said. [Natalie Wood's vocals can be heard on the special edition DVD of West Side Story. The correct decision was made.]

Ms. Nixon will be surrounded by a high-wattage cast at this week’s Philharmonic staging of My Fair Lady, including Kelsey Grammer as Henry Higgins, Kelli O’Hara as Eliza Doolittle, Brian Dennehy as Alfred P. Doolittle and Charles Kimbrough as Col. Hugh Pickering. There will be four performances in Avery Fisher Hall, tomorrow, Thursday, Friday and Saturday.

Born in 1930 into a musical family in Southern California, Ms. Nixon started learning the violin at 4. Soon she had a singing act with her sisters. But young Marni had bigger plans. As a child she was an extra in dozens of films. As a teenager she joined the Roger Wagner Chorale (in which her best pal was another teenager, Marilyn Horne) and began to sing in local concerts. She won enough parts to make her solo debut at 17, in Carmina Burana, under Leopold Stokowski at the Hollywood Bowl.

Though the dubbing work has drifted away, Ms. Nixon said, she keeps busy. “I still do a lot of singing,” she said. “The idea is to choose the things that are possible for me to do well and to be useful to the play at the same time. It’s just too bad people know how old I am because my voice sounds like I’m much younger.”

She was in the Broadway musical James Joyce’s The Dead, with Christopher Walken, in 1999, and she has put together a one-woman show about herself, titled The Voice of Hollywood.

She describes her show as a stroll down memory lane. “I show some stills from the films I dubbed, tell some stories, sing a few things and answer questions about my life,” she said. “People always love to ask me questions. And why not? I’ve had a really fantastic life, I think.”


Nixon also dubbed for Deborah Kerr in An Affair to Remember. The liner notes in the remastered edition of The King & I's soundtrack feature more of Nixon's recollections of working with the great Deborah Kerr. The album also contains some material that was cut from the film, including Mrs. Anna's soliloquy, "Shall I Tell You What I Think of You?" The number shifts back and forth between dialogue and song, and Kerr and Nixon recorded it standing side by side at the same microphone, each pointing to the other when it was her turn to take over.

When I was in college, I took a film class on the genre of the movie musical. My professor told us that Barbara Cook dubbed Audrey Hepburn's voice in My Fair Lady. I tried to tell him he was wrong by asking, "Wasn't it Marni Nixon?" He assured me that it wasn't and I let it go. Don't I tell the best stories?

For further reading... Ms. Nixon has also recently published a biography, I Could Have Sung All Night: My Story, that was co-written with Stephen Cole, who has also written, among other things, the book and lyrics to a musical version of The Night of the Hunter.

Seriously. I have the album.

Katharine Hepburn: The TCM Spotlight Collection to be released on May 29th

It's about damn time!

Kate the Great, one of the finest actresses in the whole history of celluloid, is finally getting her due with her very own DVD collection, to be released 17 days after her 100th birthday (and *ahem* 25 days before my 31st birthday). This is not to begrude the Powers That Be (those who own rights to her films) on the number of her films that are available on DVD. We already have a Tracy-Hepburn collection (which was comprised of three films that had already been available for four years and a fourth that you could only get with the collection), three of her films were included in the Classic Comedies Collection, and numerous titles are available individually, including three stage performances. Compare this with the TWO Norma Shearer film currently available, and neither of them are from her richest years, before Irving died... but I digress.

But why quibble...more? Warner Home Video is bringing us six Katharine Hepburn films, all previously unavailable on DVD and all worth owning for the low low price of $59.95. At least, that's the suggested retail price. The cheapest I've found is DVDPlanet for $41.96, plus shipping. DeepDiscount has it for $43.52 and the shipping is free. The bastards at Best Buy have priced it above the SRP at $69.99, which apparently is how they make up for selling so many individual movies so cheaply. I'm really getting off track here. On to the movies:

Katharine Hepburn: The TCM Spotlight Collection:

The Corn Is Green (1979, George Cukor) is a made-for-TV remake of the 1945 Irving Rapper classic (currently unavailable, but it shows up on TCM from time to time), which featured Bette Davis as Miss Moffat, a spinster schoolteacher in a Welsh mining town. This is the only film in the collection that I haven't seen and I can only imagine that a 72-year-old Kate offers a much different interpretation of the role than did the 37-year-old Davis. Hepburn was nominated for an Emmy, and this was the last of ten films she made with Cukor, 47 years after the first. The Corn Is Green also offers the best tangential side note of the bunch: In 1974, Miss D agreed to reprise her role in a Broadway musical, entitled Miss Moffat. The show tried out in Philadelphia, where it closed. It seems the lading lady "hurt her back" and was unable to bring a ghastly show into New York. Stranger still is the fact that this would have been Davis's second Broadway musical. The first was 1952's Two's Company, which ran three months but was mercifully recorded and is now available on CD.

Dragon Seed (1944, Jack Conway & Harold S. Bucquet) is based on the novel by Pearl S. Buck. It's the story of a Chinese village and the most prominent Asian is the cast is the 14th-billed Clarence Lung, who may not even be Chinese (imdb didn't have any bio info). But this is Hollywood in the 1940s, so what can you expect? Caucasians aside, the acting is terrific and much less condescending than you'd think. At least as far as I can remember. I don't think I've watched Dragon Seed this century. The film received two Oscar nominations: Aline MacMahon (Supporting Actress) and Sidney Wagner (B/W Cinematography).

Morning Glory (1933, Lowell Sherman) features Kate's first Oscar-winning performance. She plays an actress trying to make it on Broadway. So she makes it with producer Adolphe Menjou. Luckily, this was made in the pre-code era, so everyone is very sophisticated about sex. Hepburn forgives Menjou for tossing her aside since she's much more interested in her career. The 1958 remake, Stage Struck, stars Susan Strasberg and Henry Fonda and is a prime example of the difference between the pre-code and enforced-code years. And that's really the only reason to ever watch Stage Struck.

Sylvia Scarlett (1935, Cukor) is the first of four movies Kate made with Cary Grant. Sylvia and her father (Edmund Gwenn) are on the lam from the law, so she cuts her hair short and poses as a boy. Every time you come across an article on Katharine Hepburn's sexuality, a still from Sylvia Scarlett will accompany the text (see top of this post). A very young, kind of goofy and very cockney Cary Grant plays an amiable con man who hooks up with the Scarletts for a time. You might say that the film captures Cary Grant at his most Arch.

Undercurrent (Vincente Minnelli, 1946) is the only time Kate worked with Vincente and the only film noir either of them made. Which isn't all that surprising considering the rest of their careers. Her co-stars are Robert Taylor and Robert Mitchum, with Edmund Gwenn once again playing Kate's father (one year later, he won an Oscar for playing Kris Kringle in Miracle on 34th Street, in case you were wondering Who That Was.) Honestly, all I remember about this film is that I think I liked it. I didn't even know Robert Mitchum was in it until I looked at the cast list, and I love me some Mitch.

Without Love (1945, Bucquet) is the lone film in the set that pairs Kate with Spencer Tracy. They're scientists who marry out of convenience instead of love (hence the title), but guess what happens? My memory on this one is a little foggy, too, but the supporting cast is pretty impressive with two of my favorite ladies, Lucille Ball and Gloria Grahame, as well as Keenan Wynn and Felix Bressart, who, even if you didn't know his name, you would likely recognize from his work in three Lubitch classics: Ninothcka, The Shop Around the Corner and To Be or Not To Be.

The Independent Interviews Diane Keaton

Diane Keaton: She wears the trousers

She became a star 30 years ago in Woody Allen's Annie Hall. Lesley O'Toole meets the resolutely kooky actress

The Independent, 09 February 2007

Diane Keaton is famous for many things: for her eclectic work as an often comedic actress; for her relationships with high-profile men (Woody Allen, Warren Beatty, Al Pacino); for adopting a baby as a single mother at the age of 50, and then, at 55, another; and perhaps, most notoriously, for her dress sense. It was Keaton's Oscar-winning turn in 1977's Annie Hall that turned the trouser-suit into a high fashion item. Since then she has often found herself on "worst-dressed" lists.

Her appearance, then, today, in Beverly Hills, the day after her 61st birthday, is a revelation. She is a vision in a tight-fitting white Gucci trouser-suit, her legs long and very skinny, with strings of clear crystal beads stacked around her habitually covered neck. Keaton's new glamour-puss image is surely a holdover from easily the best film she has made this decade, Something's Gotta Give (2003), with Jack Nicholson. It is surely no coincidence that she is on American television as the older face of L'Oréal.

"I don't know if that means society is changing, but I'm so happy to be a part of it," she says. "People my age do buy products. Give me some lipstick! Give me some powder!" L'Oréal revelled in her being famously anti-cosmetic-surgery. "I need to be authentic. My face needs to look the way I feel."

She says that she signed on for her new movie, Because I Said So, because it was "full of fun situations" that she doesn't often get to play. "I loved being able to play someone drawn from all the great wacky comedy characters like Lucille Ball, constantly interfering with everyone and destroying their lives with wonderful intentions."

Unsurprisingly, given the industry's ongoing allergy to women over 40, Keaton says that she receives hardly any scripts. "But then I don't think anyone does. I don't think there are that many films being made, so it seems that even if you're at the height of your career - if you're Will Smith - you still maybe have only five or six options."

Yet with two children at home (11-year-old "Dexter the girl" and Duke, six), Keaton apparently needs the work, and is unusually frank about what it takes to hire her for your film: "Financing."
Her children do not see her films, even perfectly suitable family fare like 1987's Baby Boom. "I don't want to have that infringe on their lives." She would rather have the family play Scrabble, Old Maid and Monopoly. "And I do like reading with them. I think that's been the most fun for me in a way, just guiding them and watching how they learn to read."

There is a certain irony to Keaton's Because I Said So character meddling in her unmarried youngest daughter's love-life. Daphne, apparently, doesn't want Milly to end up alone, like her, yet Keaton has spent much of her life solo. And if she has not always loved it, she appears fully functioning and undeniably happy without a man.

"Oh, falling in love feels much better, less frightening in the movies," she laughs, deflecting the subject. "I loved kissing Jack. And I loved telling him how upset I was that he didn't love me as much as I loved him." Keaton insists that Nicholson invented the widely-reported tale of their real-life fling as a ticket-selling scam, though she patently adores him. "I fell in love with him when we were making Reds. No. Not in that way. [Keaton was dating the director and star Warren Beatty when she made the film]. But I have always loved him. Look at him. Oi! He's the greatest. That smile!"

Since she's not a touchy-feely person, do movies also provide her with a bit of human touch? "Yeah, maybe I'm getting my fix in the movies." She is at it again in Because I Said So."
The particularly grating Dorothy is, mercifully, far removed from her own mother. Keaton was born in Los Angeles to Dorothy (a housewife and amateur photographer - Keaton's own photos have been published many times) and Jack, a civil engineer. She knew early on what she would be when she grew up. "I wanted to be a performer on so many levels, but I failed so often. No one was interested in my talent when I was 12. I was constantly heartbroken because, even at school, I couldn't accomplish what I wanted. But my mother was my co-conspirator. She enabled me all my life. She would always step back and let me find my way. I think you have to have some failure in your life. It makes you stronger."

At high school, she played Blanche in A Streetcar Named Desire and later studied acting at two California colleges before dropping out to try her luck on stage in Manhattan. "It wasn't that I loved cinema right away. It started with certain pictures. I can remember loving To Kill A Mockingbird as a teenager. And when I got older I started liking foreign films because that was really exciting. I liked actresses: Jeanne Moreau, Anna Magnani and people like that. I identified with and cared about them. I loved Vanessa Redgrave. I thought, and think, she's great. There were certain actresses I clung to because I thought they had such powerful emotional lives and they were such compelling people. Such humanity."

She spent her New York nights singing for her supper in nightclubs. In 1968 she performed as an understudy in the Broadway musical Hair and caused something of a ruckus by refusing to get naked (despite the offer of a $50 bonus if she did). And then she got the job which changed her life, in the theatre production of Play It Again, Sam opposite its writer and star, Woody Allen.

On film, she appeared in The Godfather 35 years ago. Annie Hall, meanwhile, is 30 years old. "La-de-dah," coos the real Annie, as she does in the film. "The passing of time is mysterious. But I think that's what life is. There's nothing you can hold on to."

Keaton says she has never been proposed to by any boyfriend, famous or not. I ask if having dated some pretty spectacular talents means that she has high standards now when it comes to lovers. "I have no standards at all. It's just about what anyone needs, a connection. " She is still in touch with Allen and Beatty but can't quite put a finger on why she is resolutely single. "My mother never really gave me any direction about men, which has made it interesting. So I think I picked people I admired. And it's too hard to manage people like that."

Okay, so it's not a very deep interview. I hated Something's Gotta Give and have no intention of seeing Because I Said So, but any interview with Diane Keaton is worth reading.

New Boxed Sets A-Comin' Our Way!!!

The Gloria Swanson Collection (Passport/Koch, 2/13/07)
Male and Female (1919, Cecil B. DeMille)
Don't Change Your Husband (1919, DeMille)
Why Change Your Wife? (1920, DeMille)
The Affairs of Anatol (1921, DeMille)
Sadie Thompson (1928, Raoul Walsh)
Indiscreet (1931, Leo McCarey)

Smiles and Spectacles: A Harold Lloyd Treasury (Passport/Koch, 2/13/07)
(That link will take you to a list of all 23 titles in the collection.)

The Ultimate Adventure Collection (Passport/Koch, 2/13/07)
(That link will take you to a list of all 12 titles in the collection.)