The Pez Dispenser
The person who says it cannot be done should not interrupt the person doing it. ~ Chinese Proverb
Vera Zorina (Warner Brothers, 1930’s), photo by George Hurrell
Vera Zorina, On Your Toes (Warner Brothers, 1939), photo by George Hurrell
Ann Sothern (as Harriet Lake, uncredited role) by George Hurrell from Doughboys (M-G-M, 1930)
Maria Montez by George Hurrell, 1942
Today We Live (M-G-M, 1933)
Humphrey Bogart, photographed by George Hurrell c. 1930s
Harlean Harlow Carpenter (March 3, 1911 – June 7, 1937)
Jean Harlow photographed George Hurrell.
Robert Montgomery c. 1932 photographed by George Hurrell.
(via deforest)
Jean Harlow, China Seas (M-G-M, 1935), portrait by George Hurrell
![He arrived at a sensation – yes – he arrived at lucky strike, an unbelievable bonanza – sure – but just recently with “The Call of the Wild,” “China Seas” (and although you haven’t seen it yet, it’s safe to include “Mutiny on the Bounty”) he hooked those three picture pegs onto a ledge of solid success.
To do five years after that first hit was a much harder job than becoming a sensation, for a whole lot of reasons, believe you me.
It takes something. Clark has it.
“Whatever comes of all of this,” he said during those first heady moments of new hero worship, “it’s still okay with me. Even if I go down as fast as I’ve jumped up, it’s still a lucky break.”
He meant it. He was so sick and tired of touring the sticks in the “B” shows and in stock companies. So weary of being shunted off to dreary stands that seemed to lead to worse than nowhere, so familiar with that dreaded two-weeks notice that he said with a grateful sigh:
“I’ll be thankful if they’ll just let me stay here and work.” It might have been that gratitude, so deeply felt, which has helped Clark Gable face and survive the toughest test a man ever had put to his own conceit – public, world wide, fanatical woman worship.
Why Gable Has Stayed at the Top by Chet GreenePhotoplay Magazine, November 1935 [link]](http://25.media.tumblr.com/tumblr_lyqmqfl8U91qanwe4o1_r1_1280.jpg)
He arrived at a sensation – yes – he arrived at lucky strike, an unbelievable bonanza – sure – but just recently with “The Call of the Wild,” “China Seas” (and although you haven’t seen it yet, it’s safe to include “Mutiny on the Bounty”) he hooked those three picture pegs onto a ledge of solid success.
To do five years after that first hit was a much harder job than becoming a sensation, for a whole lot of reasons, believe you me.
It takes something. Clark has it.
“Whatever comes of all of this,” he said during those first heady moments of new hero worship, “it’s still okay with me. Even if I go down as fast as I’ve jumped up, it’s still a lucky break.”
He meant it. He was so sick and tired of touring the sticks in the “B” shows and in stock companies. So weary of being shunted off to dreary stands that seemed to lead to worse than nowhere, so familiar with that dreaded two-weeks notice that he said with a grateful sigh:
“I’ll be thankful if they’ll just let me stay here and work.” It might have been that gratitude, so deeply felt, which has helped Clark Gable face and survive the toughest test a man ever had put to his own conceit – public, world wide, fanatical woman worship.
Why Gable Has Stayed at the Top by Chet Greene
Photoplay Magazine, November 1935
[link]
This power that I’m supposed to have over women was never noticed when I was a stage actor on Broadway. I don’t know when I got it. And by God, I can’t explain it. ~ Clark Gable
Gary Cooper’s ninety-odd-film career lasted from 1925 until his death in 1961 at the age of sixty.He was one of the “personality” actors. “He never had any illusions about his ability as a star,” George Hurrell comments.”He took his work with a kind bemused objectivity, although he was extremely professional.I think that only those people who worked with Coop really knew what a good actor he was, because he made everything look so effortless.He wasn’t the nervous, high-powered sort of man that audiences grew tired of.He was always the hero, he couldn’t play the heavy”
“I shot him many times from about 1934 to 1941. He was always on time and never missed an appointment.He wore no makeup for his gallery or studio sittings.Occasionally,when I photographed him on the set, he was somewhat condescending, but jovial and friendly. He seemed always to be saying: ‘I’m here because my job demands it, so let’s get on with it’. He put himself into my hands.He never demanded a mirror to check his face between shots or asked to see the proofs.When we were finished, he always came up to me and held out his hand. He didn’t rush out of the gallery without saying good-bye. I liked best the shots where I was able to bring out his sly, sardonic quality”
