#hollywood scandal

[bitter69uk]

“Death or the nunnery: in her most memorable roles Ava Gardner seemed predestined for one or the other. Her powerful appeal takes its resonance from western civilization’s unstated obsession with death, and the implicit understanding that certain people – the beautiful, the passionate, the headstrong or the too truthful – are chosen to be sacrificed for the rest of us. In this lies much of Garbo’s appeal as well, but what gave Gardner’s personality its own distinction is the wonderful gusto with which she lives life while it lasts, leaving it without regret when the time is up. In all her finest films she possesses this sense of destiny: Snows of Kilimanjaro, Pandora and The Flying Dutchman, The Barefoot Contessa, The Killers and Knights of the Round Table.” / From Hollywood Colour Portraits by John Kobal (1981) /

Born on this day 102 years ago: tempestuous screen goddess extraordinaire (publicized in the 1950s as “the World’s Most Beautiful Animal”) Ava Gardner (24 December 1922 – 25 January 1990). For anyone interested: the definitive biography is Ava Gardner: Love is Nothing (2006) by the late, great Lee Server (who also wrote the definitive biography of Gardner’s erstwhile lover Robert Mitchum).

“You want a friend? You can’t do better than Ava Gardner. Good Lord, do not ask her a question, any question, unless you want the unvarnished, peppery truth. She will level you with honesty, kindness, appreciation, open and pure love. If you deserve it, of course. Do not get on her bad side. It takes a lot to get there, but don’t get there. In the name of God - or anything.”

- playwright Tennessee Williams

[bitter69uk]

“Legend has it that Howard Hughes stashed Faith Domergue in a Hollywood hideaway and almost forgot where he’d left her. True or not, he did keep her waiting around for years while he fashioned the ideal launching pad for her talents. But unlike Hughes’ greatest hype The Outlaw (1948) with Jane Russell, Faith’s premier effort Vendetta (1950) was the victim of its own massive publicity campaign. She ended up in Planet of the Prehistoric Women (1965) and worse. If Faith is remembered at all, it will be as another of Hughes’ Follies, his celluloid Spruce Goose.”

Author Penny Stallings’ casual dismissal of gorgeous starlet Faith Domergue’s Hollywood career in her 1978 book Flesh and Fantasy is pithy but also overly dismissive. If the destiny of Howard Hughes’ protégée (they met when she was 16) lay in in science fiction and horror b-movies (like It Came from Beneath the Sea (1955), The Atomic Man (1955) and Voyage to the Prehistoric Planet (1965)) rather than the A-list, it certainly wasn’t from lack of talent or beauty on her part. Domergue is absolutely spellbinding in the wonderful 1950 film noir Where Danger Lives opposite Robert Mitchum. And I’ve always yearned to see the Cult of the Cobra (1955), which isn’t streaming anywhere in the UK, damn it! I just recently watched Domergue’s second-last film So Evil, My Sister (1974) (aka Psycho Sisters. Tagline: “Death runs in the family”. She did one more after this: The House of Seven Corpses (1974)). Anyway, So Evil is a gloriously threadbare trashy no-budget exploitation flick in which Domergue (sporting impressive jet-black lacquered bouffant helmet hair) and Susan Strasberg play twisted sisters who constantly gaslight and double-cross each other. It’s a blast and it’s on YouTube! Coincidentally, Domergue (16 June 1924 – 4 April 1999) was born on this day 100 years ago.

[ablufox]

The Rise and Fall of Milli Vanilli and Life After Scandal

The narrative of Milli Vanilli is a rollercoaster journey filled with swift success, abrupt disgrace, and an endeavor toward personal and professional redemption.

Born out of the vision of music producer Frank Farian in the late 1980s, Milli Vanilli, comprising Rob Pilatus and Fabrice Morvan, became an emblem of commercial and overnight pop success.

Their first album “All or Nothing” (1988) achieved success in Europe leading them to release an updated version titled “Girl You Know Its True” in the United States. The album became a sensation. Propelled them to stardom resulting in three American Music Awards and a Grammy Award for Best New Artist in 1990.

Their dynamic stage presence and unique fashion sense made them true icons of their time. However, their image started to crumble when it was revealed that they hadn’t actually sung any of the songs on their album.

The video above showcases when their “live” performance was cut short when the audio malfunctioned by skipping during the concert. The duo rushed off stage. When this was headline news I thought to myself that many performances lip sync especially when a lot of dancing was involved. They were very active on stage with a lot of dancing. No big deal, right?

Wrong. The vocals were instead provided by actual singers Ray Horton, John Davis, Gina Mohammed, Frank Farian, and Brad Howell while Pilatus and Morvan acted as figureheads, for the group lip-syncing during performances.

The music industry and the public felt deceived, leading to a historic return of their Grammy Award. This was the first time in Recording Academy history to have any Grammy Award returned, for any reason. The scandal spurred a reevaluation of ethical practices within the industry, spotlighting the fine line between commercial success and artistic authenticity.

The question of who knew about Milli Vanilli’s deception remains a mystery. It’s possible that some people within the industry were aware of the facade. The desire for success might have outweighed ethical considerations. The scandal also ushered in a period of public ridicule and professional ostracism for Pilatus and Morvan. 

Pilatus‘ post-scandal life stood in contrast to the admiration he once enjoyed as a pop icon grappling with the disgrace, he spiraled into a life of substance abuse and legal issues, culminating in his tragic demise in 1998.

On the other hand, Fabrice Morvan demonstrated resilience as he tried to rebuild his life and career outside the haunting shadow of Milli Vanilli. Nonetheless, reminders of the past continued to cast their shadow over his endeavors.

The dazzling ascent and subsequent plummet of Milli Vanilli from the zenith of the music industry is a tale rich in irony and caution. However, amidst the debris of shattered dreams and stained reputations emerged a narrative of resilience and undying hope, epitomized by Fab Morvan’s journey post-scandal. While the world was quick to castigate and relegate the duo to the annals of infamous frauds, Fab Morvan embarked on a path less trodden, one that sought redemption through authenticity and a genuine love for music.

His efforts to rejuvenate his music career saw him venture into various collaborations, each endeavor a step towards carving a niche that resonated with his true musical essence. Fab sought to distance himself from the fabricated image that had once catapulted him to stardom, instead opting for a path that prioritized authenticity over commercial success. The road was arduous and laden with skepticism from critics, yet it was a road that Fab Morvan trod with unwavering resolve.

Parallel to his professional endeavors was Fab Morvan’s personal journey. He found love and embraced the joys of fatherhood, a phase of his life that perhaps provided the solace and grounding needed amidst the tumultuous professional landscape. His relationship with Tessa Van Der Steen and the birth of their children marked a new chapter, one that transcended the chaos that had once engulfed his existence.

Moreover, Fab Morvan’s engagement in discussions and reflections about the Milli Vanilli saga, as evidenced in recent documentaries and interviews, indicates a level of acceptance and introspection. He has become a voice of experience, offering a unique perspective on the intricacies and ethical dilemmas inherent in the music industry.

The essence of Fab Morvan’s narrative post-Milli Vanilli is a blend of professional resilience and personal growth. His journey embodies the quintessence of redemption, showcasing that even in the face of adversity, the human spirit’s quest for authenticity and genuine connection remains undeterred.

Through the lens of Fab Morvan’s experiences, the tale of Milli Vanilli transforms from a mere scandalous anecdote to a nuanced narrative rich in lessons about integrity, authenticity, and the indomitable human spirit. His life post-Milli Vanilli is a testament to the enduring essence of hope, resilience, and the inexorable drive to forge a genuine connection with the world, even when the odds are stacked against one.

I grew up in the 80s and was a huge fan of Milli Vanilli. Despite the shock heard around the world, I was in love with this duo and their fake vocals. The album had hits that resonated with my high school experiences and memories. Still to this day, I listen to their music even though they are the visual, I still enjoy the vocals of the original singers. Seeing this new documentary really reawakened my love for the duo. 

I feel that Frank Farain did not take much responsibility for creating this fraud and the fact that I feel record producer, Clive Davis, knew about it really hurts. Money makes the world go around and in the end, Rob is the one who lost most, his life. 

You can see the new “Milli Vanilli” documentary on Paramount Plus. 

[ladybegood]

Lucille Ball in a publicity photo for Roman Scandals (1933)

[bitter69uk]

The Bride Wore Green! 65 years ago today in showbiz history (12 May 1959), scandalous couple Eddie Fisher and Elizabeth Taylor married at Temple Beth Sholom synagogue in Las Vegas. (Taylor had converted to Judaism for the occasion). The newlyweds would go onto co-star in the film Butterfield 8 but divorced in 1964 following Taylor’s affair with Richard Burton during production of Cleopatra (1963) – which ushered in the hedonistic international jet set whirlwind “Liz’n’Dick” era!

Elizabeth Taylor and Eddie Fisher during their wedding ceremony at Temple Beth Sholom in Las Vegas on May 12, 1959.

[frostedmagnolias]

Sophia Loren on the set of A Breath of Scandal in 1960

[mediamatinees]

"I am Evelyn Hugo": Exploring Possession, Fame, and Freedom in "The Seven Husbands of Evelyn Hugo"

Lights, camera, action! Tonight, we're uncovering the painful secrets underneath the glitz and glamour of Hollywood with "The Seven Husbands of Evelyn Hugo".

Content Warning: The Seven Husbands of Evelyn Hugo contains open discussions of biphobia and homophobia, as well as sexual and domestic violence, misogyny, alcoholism, chronic illness, discussions of suicide, abortion, and traumatizing familial revelations. Reader discretion is advised.  If you’re under the age of 18, stay in a child’s place. There’s nothing for you here.  Spoilers for The…

[bitter69uk]

Recently watched: made-for-TV movie Death at Love House, originally broadcast on ABC 3 September 1976. Joel and Donna Gregory (Robert Wagner and Kate Jackson) are a husband-and-wife writing duo collaborating on a biography of the doomed Hollywood star Lorna Love, who died tragically young in 1935. (Coincidentally, Joel’s artist father had an impassioned affair with Lorna and painted a portrait of her). And for reasons never fully explained, the couple move into Love’s totally intact Hollywood mansion to research their book (Love House was shot on location at the former estate of silent movie star Harold Lloyd). Creepily, Lorna’s perfectly preserved, eternally youthful corpse is on permanent display – Snow White-style - in a shrine on the premises. Strange occurrences immediately start happening. Who is the ethereal “woman-in-white” Donna glimpses in the garden? Why are there macabre occult symbols everywhere? Who was Father Eternal Fire, Lorna’s satanic looking “spiritual advisor”? Obviously, almost anything produced by Aaron Spelling is bound to be campy fun. With its emphasis on occultism and lurid showbiz tragedies (Lorna is clearly inspired by Jean Harlow), Love House suggests a page torn from Kenneth Anger’s Hollywood Babylon. It will also remind you of other, superior movies: Sunset Boulevard (1950), The Legend of Lylah Clare (1968), Fedora (1978). And like 1944 film noir Laura, characters spend a lot of time staring, mesmerized, by an oil painting of a dead woman. For verisimilitude, supporting parts are played by actual classic Hollywood veterans like Sylvia Sidney, Joan Blondell, Dorothy Lamour and John Carradine. (The Gregorys’ literary agent is played by Bill Macy - Walter from Maude!). Less happily, zero effort is taken to make Lorna 1930s “period appropriate”. (She’s seen in flashbacks portrayed by Marianna Hill - cult movie fans will recognize her from The Baby and Messiah of Evil – with a feathered blow-dried 70s coiffure). And the ending is worthy of an old episode of Scooby-Doo! Smudged, murky prints of Love House are easy to find on YouTube.

[diogxnxs]

Anna (Donald Duck), don't do it. That man will ruin your whole career. @flakatita told me that I don't have art of Jose and Anna together so I had to fix that problem.

[bitter69uk]

“Originally trained in theatre and reluctant to act in movies, Gale Sondergaard scored a triumph in Anthony Adverse (1937), winning the first Academy Award for Best Supporting Actress for her first screen role. She was the choice of Mervyn Leroy, The Wizard of Oz’s original director, to play the Wicked Witch of the West. She made two screen tests: one as a slinky villainess (her preference) and the other as an ugly hag (the studio’s). Wary of the effect hideous prosthetic makeup would have on her image as a glamour girl, she turned down the part in favour of a role in The Life of Emile Zola (1937), a prestige picture and Academy Award winner that hardly anyone remembers anymore. She followed this role with many others, mainly exotic types. She played a Eurasian widow exacting revenge upon the “other woman” (Bette Davis) who shot her husband in The Letter (1940) and in Anna and the King of Siam (1946), she played a Thai courtier, a role for which she received an Oscar nomination.”

/ From William E Jones’ introduction to Cruising the Movies: A Sexual Guide to Oldies on TV (2015) /

“The screen’s sleekest purveyor of distaff villainy, Gale Sondergaard, was cast out of Hollywood by the blacklist. An Oscar for The Life of Emile Zola in 1937 (sic), the first awarded for a supporting role, could not ward off the evil spirits which swept through Filmland in the late forties.”

/ From Flesh and Fantasy by Penny Stallings (1978) /

“With her velvet beauty, high-arched eyebrows and broad-toothed smile, Miss Sondergaard managed, in her dozens of pictures, to threaten, intimidate and terrorize the biggest stars in Hollywood.”

/ From 1985 The New York Times obituary for Gale Sondergaard /

Born on this day: actress Gale Sondergaard (15 February 1899 – 14 August 1985), whose film career was curtailed by the Hollywood blacklist. Her performances in The Spider Woman (1944) and The Spider Woman Strikes Back (1946) provided direct inspiration for Manuel Puig’s 1976 novel Kiss of the Spider Woman.

Remembering Gale Sondergaard (February 15, 1899 – August 14, 1985)

[ilovemesomevincentprice]

Vincent Price - A Royal Scandal (1944)

[citizenscreen]

On December 4, 1921:

The first Virginia Rappe manslaughter trial against Roscoe Arbuckle ended in a hung jury.

[poppingmary]

Jayne Mansfield Scandalous Dress

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Scandal Hollywood Cerise (#d3fce1 to #d109ba)

[historical-hollywood]

Marilyn Monroe poses in pink thermal underwear, 1953.

[bitter69uk]

Born on this day: ultimate doomed Hollywood bad girl and show business cautionary tale, actress Barbara Payton (16 November 1927 - 8 May 1967). The talented and gorgeous starlet’s initially promising career was overshadowed by her tempestuous private life, lurid tabloid scandals, alcoholism and drug addiction. Once movie roles dried-up she slid into prostitution and was dead (of heart and liver failure) by 39. Before Payton died, she wrote one of the definitive salacious tell-all, fall-from-grace autobiographies defiantly entitled I Am Not Ashamed (1963). (The 2015 biography Kiss Tomorrow Goodbye: The Barbara Payton Story by John O’Dowd offers a more reliable account). It seems astonishing there’s never been a Barbara Payton biopic. You’d think actresses like Margot Robbie or Florence Pugh would be all over it! In fact, in the sixties there were two aborted attempts. As author and historian Kliph Nesteroff documents on his essential Tumblr blog OldShowbiz at one point it was announced “Tuesday Weld will play Barbara Payton in “I’m Not Ashamed” (sic) and is perfect for the role. She’ll put on a little weight to play the ex-glamour star who fell to prostitution.” And as Eve Golden recounts in her 2021 biography Jayne Mansfield: The Girl Couldn’t Help It, “Producer Dick Randall – who produced Jayne’s posthumous The Wild, Wild World of Jayne Mansfield – bought the rights to Barbara Payton’s memoirs I Am Not Ashamed in 1964, hoping Jayne would star as the tragic alcoholic actress. It might seem as good a showcase for her as Jessica Lange’s later take on Frances Farmer, until one recalls Dick Randall’s other credits: Around the World with Nothing On, My Seven Little Bares, The Erotic Adventures of Robinson Crusoe.” What fascinating missed opportunities! My favourite Barbara Payton movie: Bride of the Gorilla (1951).

Barbara Payton