View allAll Photos Tagged Foolin'
She starts swingin' with the boys in the school
With her feet flyin' up in the air
Singing hey diddle diddle with a kitty in the middle
I was swingin' like I didn't care
So I took a big chance at the high school dance
With a miss who was ready to play
Wasn't me she was foolin' 'cause she knew what she was doin'
When she told me how to walk this way
shootin in the parking lot. foolin around in lightroom, not sure if I like this edit or not.
strobist - sb-28 in DIY beauty dish CR, sb-600 in small softbox back CL, cybersyncs
Wood Stork - Florida Wetlands - Palm Beach County U.S.A.
Very Large Colony/Flock ~ New Stork City ~ Spring 2019
~~~~~~~~ Big Florida Birds - In The Wild ~~~~~~~~~~
The wood stork is a large American wading bird in the stork family. It appears all white on the ground, with blackish-gray legs and pink feet. In flight, the trailing edge of the wings is black. The head is dark brown with a bald, black face, and the thick down-curved bill is dusky yellow. Juvenile birds are a duller version of the adult, generally browner on the neck, and with a paler bill. The bare head and the long bill, which can measure up to ten inches in length, render the wood stork distinctive from other large waders in its range.
Well the weather in Sydney has been awful for the past week, so that has forced me to dust off my macro lens and play around in the warmth of my study.
I'm going to work up a bit of a series of b&w macros, this is my first attempt.
Italian postcard by Rizzoli, Milano, 1939, for Orologi e Cinturini Delgia. Photo: Studio Chaplin.
American actress Paulette Goddard (1905-1990) started her career as a fashion model and as a Ziegfeld Girl in several Broadway shows. In the 1940s, she became a major star of Paramount Pictures. She was Charlie Chaplin's leading lady in Modern Times (1936), and The Great Dictator. Goddard was nominated for an Oscar for Best Supporting Actress for So Proudly We Hail! (1943). Her husbands included Chaplin, Burgess Meredith, and Erich Maria Remarque.
Paulette Goddard was born Pauline Marion Levy in Whitestone Landing, Long Island, New York. Sources variously cite her year of birth as 1911 and 1914, and the place as Whitestone Landing, New York, USA. However, municipal employees in Ronco, Switzerland, where she died, gave her birth year of record as 1905. Goddard was the daughter of Joseph Russell Levy, the son of a prosperous Jewish cigar manufacturer from Salt Lake City, and Alta Mae Goddard, who was of Episcopalian English heritage. They married in 1908 and separated while their daughter was very young, although the divorce did not become final until 1926. According to Goddard, her father left them, but according to J. R. Levy, Alta absconded with the child. Goddard was raised by her mother, and did not meet her father again until the late 1930s, after she had become famous. To avoid a custody battle, she and her mother moved often during her childhood, even relocating to Canada at one point. Goddard began modeling at an early age to support her mother and herself, working for Saks Fifth Avenue, Hattie Carnegie, and others. An important figure in her childhood was her great uncle, Charles Goddard, the owner of the American Druggists Syndicate. He played a central role in Goddard's career, introducing her to Broadway impresario Florenz Ziegfeld. She made her stage debut as a dancer in Ziegfeld's summer revue, 'No Foolin' (1926), which was also the first time that she used the stage name Paulette Goddard. Ziegfeld hired her for another musical, 'Rio Rita', which opened in February 1927, but she left the show after only three weeks to appear in the play 'The Unconquerable Male', produced by Archie Selwyn. It was, however, a flop and closed after only three days following its premiere in Atlantic City. Soon after the play closed, Goddard was introduced to the much older lumber tycoon Edgar James, president of the Southern Lumber Company, by Charles Goddard. She married him in June 1927 in Rye, New York, but the marriage was short. Goddard was granted a divorce in Reno, Nevada, in 1929, receiving a divorce settlement of $375,000. Tony Fontana at IMDb: "A stunning natural beauty, Paulette could mesmerize any man she met, a fact she was well aware of. "
Paulette Goddard first visited Hollywood in 1929, when she appeared as an uncredited extra in two films, the Laurel and Hardy short film Berth Marks (Lewis R. Foster, 1929), and George Fitzmaurice's drama The Locked Door (1929). Following her divorce, she briefly visited Europe before returning to Hollywood in late 1930 with her mother. Her second attempt at acting was no more successful than the first, as she landed work only as an extra. In 1930, she signed her first film contract with producer Samuel Goldwyn to appear as a Goldwyn Girl in Whoopee! (Thornton Freeland, 1930) with Eddie Cantor. She also appeared in City Streets (Rouben Mamoulian, 1931) with Gary Cooper, Ladies of the Big House (Marion Gering, 1931) starring Sylvia Sidney, and The Girl Habit (Edward F. Cline, 1931) for Paramount, and The Mouthpiece (James Flood, Elliott Nugent, 1932) for Warners. Goldwyn and she did not get along, and she began working for Hal Roach Studios, appearing in a string of uncredited supporting roles for the next four years, including Young Ironsides (James Parrott, 1932) with Charley Chase, and Pack Up Your Troubles (1932) with Laurel and Hardy. One of her bigger roles in that period was as a blond 'Goldwyn Girl' in the Eddie Cantor film The Kid from Spain (Leo McCarey, 1932). Goldwyn also used Goddard in The Bowery (Raoul Walsh, 1933) with Wallace Beery, Roman Scandals (Frank Tuttle, 1933), and Kid Millions (Roy Del Ruth, 1934) with Eddie Cantor. The year she signed with Goldwyn, Goddard began dating Charlie Chaplin, a relationship that received substantial attention from the press. They were reportedly married in secret in Canton, China, in June 1936. It marked a turning point in Goddard's career when Chaplin cast her as his leading lady in his box office hit, Modern Times (1936). Her role as 'The Gamin', an orphan girl who runs away from the authorities and becomes The Tramp's companion, was her first credited film appearance and garnered her mainly positive reviews, Frank S. Nugent of The New York Times describing her as "the fitting recipient of the great Charlot's championship". Following the success of Modern Times, Chaplin planned other projects with Goddard in mind as a co-star, but he worked slowly, and Goddard worried that the public might forget about her if she did not continue to make regular film appearances. She signed a contract with David O. Selznick and appeared with Janet Gaynor in the comedy The Young in Heart (Richard Wallace, 1938) before Selznick lent her to MGM to appear in two films. The first of these, Dramatic School (Robert B. Sinclair, 1938), co-starred Luise Rainer, but the film received mediocre reviews and failed to attract an audience. Her next film, The Women (George Cukor, 1939), was a success. With an all-female cast headed by Norma Shearer, Joan Crawford, and Rosalind Russell, the film's supporting role of Miriam Aarons was played by Goddard. Pauline Kael later wrote of Goddard, "she is a stand-out. fun."
David O' Selznick was pleased with Paulette Goddard's performances, particularly her work in The Young in Heart, and considered her for the role of Scarlett O'Hara in Gone With the Wind (Victor Fleming, 1939). Initial screen tests convinced Selznick and director George Cukor that Goddard would require coaching to be effective in the role, but that she showed promise, and she was the first actress given a Technicolor screen test. After he was introduced to Vivien Leigh, he wrote to his wife that Leigh was a "dark horse" and that his choice had "narrowed down to Paulette, Jean Arthur, Joan Bennett, and Vivien Leigh". After a series of tests with Leigh that pleased both Selznick and Cukor, Selznick cancelled the further tests that had been scheduled for Goddard, and the part was given to Leigh. Goddard's next film, The Cat and the Canary (Elliott Nugent, 1939) with Bob Hope, was a turning point in the careers of both actors. The success of the film established her as a genuine star. Her performance won her a ten-year contract with Paramount Studios, which was one of the premier studios of the day. They promptly were re-teamed in The Ghost Breakers (George Marshall, 1940), again a huge hit. Goddard starred with Chaplin again in his film The Great Dictator (1940). In 1942, Goddard was granted a Mexican divorce from Chaplin. The couple split amicably, with Chaplin agreeing to a generous settlement. At Paramount, Goddard was used by Cecil B. De Mille in the action epic North West Mounted Police (1940), playing the second female lead. She was Fred Astaire's leading lady in the acclaimed musical Second Chorus/Swing it (H.C. Potter, 1940), where she met actor Burgess Meredith, her third husband. Goddard made Pot o' Gold (George Marshall, 1941), a comedy with James Stewart, then supported Charles Boyer and Olivia de Havilland in Hold Back the Dawn (Mitchell Leisen, 1941), from a script by Wilder and Brackett, directed by Mitchell Leisen. Goddard was teamed with Hope for a third time in Nothing But the Truth (Elliott Nugent, 1942), then made The Lady Has Plans (Sidney Lanfield, 1942), a comedy with Ray Milland. She co-starred with Milland and John Wayne in Reap the Wild Wind (Cecil B. DeMille, 1942), playing the lead, a Scarlett O'Hara type character. The film was a huge hit. Goddard did The Forest Rangers (George Marshall, 1942) with Fred MacMurray. One of her better-remembered film appearances was in the variety musical Star Spangled Rhythm (George Marshall, 1943), in which she sang "A Sweater, a Sarong, and a Peekaboo Bang" with Dorothy Lamour and Veronica Lake.
Paulette Goddard received one Oscar nomination for Best Supporting Actress for So Proudly We Hail! (Mark Sandrich, 1943) opposite Claudette Colbert and Veronica Lake. She didn't win, but it solidified her as a top draw. Goddard was teamed with Fred MacMurray in the delightful comedy Standing Room Only (Sidney Lanfield, 1944) and Sonny Tufts in I Love a Soldier (Mark Sandrich, 1944). In May 1944, she married Burgess Meredith at David O. Selznick's home in Beverly Hills. Goddard's most successful film was Kitty (Mitchell Leisen, 1945), in which she played the title role. Denny Jackson/Robert Sieger at IMDb: "The film was a hit with moviegoers, as she played an ordinary English woman transformed into a duchess. The film was filled with plenty of comedy, dramatic and romantic scenes that appealed to virtually everyone." In The Diary of a Chambermaid (1946), Goddard starred with husband Burgess Meredith under the direction of Jean Renoir. It was made for United Artists. At Paramount she did Suddenly It's Spring (Mitchell Leisen, 1947) with Fred MacMurray, and De Mille's 18th century romantic drama Unconquered (Cecil B. DeMille, 1947), with Cary Grant. During the Hollywood Blacklist, when she and blacklisted husband Meredith were mobbed by a baying crowd screaming "Communists!" on their way to a premiere, Goddard is said to have turned to her husband and said, "Shall I roll down the window and hit them with my diamonds, Bugsy?" In 1947, she made An Ideal Husband in Britain for Alexander Korda, and was accompanied on a publicity trip to Brussels by Clarissa Spencer-Churchill, niece of Sir Winston Churchill and future wife of future Prime Minister Anthony Eden. She divorced Meredith in June 1949, and also left Paramount. In 1949, she formed Monterey Pictures with John Steinbeck. Goddard starred in Anna Lucasta (Irving Rapper, 1949), then went to Mexico for The Torch (Emilio Fernández, 1950). In England, she was in Babes in Bagdad (Edgar G. Ulmer, 1952), then she went to Hollywood for Vice Squad (Arnold Laven, 1953) with Edward G. Robinson, and Charge of the Lancers (William Castle, 1954) with Jean-Pierre Aumont. Her last starring role was in the English production A Stranger Came Home/The Unholy Four (Terence Fisher, 1954).
Paulette Goddard began appearing in summer stock and on television, guest starring on episodes of Sherlock Holmes, an adaptation of The Women, this time playing the role of Sylvia Fowler, The Errol Flynn Theatre, The Joseph Cotten Show, and The Ford Television Theatre. She was in an episode of Adventures in Paradise and a TV version of The Phantom. After her marriage to Erich Maria Remarque in 1958, Goddard largely retired from acting and moved to Ronco sopra Ascona, Switzerland. In 1964, she attempted a comeback in films with a supporting role in the Italian film Gli indifferenti/Time of Indifference (Francesco Maselli, 1964), starring Claudia Cardinale and Rod Steiger, which was her last feature film. After Remarque's death in 1970, she made one last attempt at acting, when she accepted a small role in an episode of the TV series The Snoop Sisters, The Female Instinct (Leonards Stern, 1972) with Helen Hayes and Mildred Natwick. Upon Remarque's death, Goddard inherited much of his money and several important properties across Europe, including a wealth of contemporary art, which augmented her own long-standing collection. During this period, her talent at accumulating wealth became a byword among the old Hollywood élite. During the 1980s, she became a fairly well known (and highly visible) socialite in New York City, appearing covered with jewels at many high-profile cultural functions with several well-known men, including Andy Warhol, with whom she sustained a friendship for many years until his death in 1987. Paulette Goddard underwent invasive treatment for breast cancer in 1975, successfully by all accounts. In 1990, she died at her home in Switzerland from heart failure while under respiratory support due to emphysema, She is buried in Ronco Village Cemetery, next to Remarque and her mother. Goddard had no children. She became a stepmother to Charles Chaplin's two sons, Charles Chaplin Jr. and Sydney Chaplin, while she and Charlie were married. In his memoirs, 'My Father Charlie Chaplin' (1960), Charles Jr. describes her as a lovely, caring and intelligent woman throughout the book. In October 1944, she suffered the miscarriage of a son with Burgess Meredith. Goddard, whose own formal education did not go beyond high school, bequeathed US$20 million to New York University (NYU) in New York City.
Sources: Tony Fontana (IMDb), Denny Jackson / Robert Sieger (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
So last Thursday, I began to get the itch to try for another Big Sur Pfeiffer Arch sunset shot, and by Saturday, I had made arrangements for a quick overnight trip up the coast. On Saturday morning, I turned on the audio version of Billy Crystal's "Still Foolin Em" and set off for the 320 mile trip up the coast. I knew that the national weather service was calling for mostly cloudy skies, but on the satellite, the clouds looked a bit broken and I thought I might get lucky with the sky above the arch. I arrived in Big Sur by mid afternoon, but the clouds had rolled in a bit too thick and I was bang out of luck in terms of getting any sunlight through the arch. I drove almost two hours back down South almost to Cambria to try to find some sun, but pretty much everything was socked in by that point. Feeling a bit down, I headed up to my motel in Monterey hoping for better luck that night. The moon actually came out after a 90 minute drive up to Pigeon Point and I had some decent luck shooting until the cops showed up. .
The next morning , I got up at 4:30 on a hunch that the same high clouds might hang around long enough to catch some of that early morning light. I arrived at 6 AM and was a bit nervous that the cops might return as the beach area didn't open to the public unti 8 AM, but at 6:30, I threw caution to the wind and set up the tripod as the sky was just beginning to light up. For the next 25 minutes or show, I fired off dozens of frames as the sky caught fire.
It was very cathartic for me to be able to finally get an early morning shot of this lighthouse after getting shut out over the Summer by fog. The clouds disappeared shortly after I shot the lighthouse, and there was quite a crowd down at the arch by the time sunset rolled around. I shot wider this year with the 14-24 and the fisheye and I hope to get some of those shots up in the next couple of weeks.
Then it was six hours back home. Definitely worth the drive last year, and definitely worth the drive again this year. I'm expecting it will definitely be worth the drive next year as well.
Swiss-German-British postcard by News Productions, Baulmes / Filmwelt Berlin, Bakede / News Productions, Stroud, no. 56551. Paulette Goddard in Modern Times (Charles Chaplin, 1936), produced by United Artists.
American actress Paulette Goddard (1905-1990) started her career as a fashion model and as a Ziegfeld Girl in several Broadway shows. In the 1940s, she became a major star of Paramount Pictures. She was Charlie Chaplin's leading lady in Modern Times (1936), and The Great Dictator. Goddard was nominated for an Oscar for Best Supporting Actress for So Proudly We Hail! (1943). Her husbands included Chaplin, Burgess Meredith, and Erich Maria Remarque.
Paulette Goddard was born Pauline Marion Levy in Whitestone Landing, Long Island, New York. Sources variously cite her year of birth as 1911 and 1914, and the place as Whitestone Landing, New York, USA. However, municipal employees in Ronco, Switzerland, where she died, gave her birth year of record as 1905. Goddard was the daughter of Joseph Russell Levy, the son of a prosperous Jewish cigar manufacturer from Salt Lake City, and Alta Mae Goddard, who was of Episcopalian English heritage. They married in 1908 and separated while their daughter was very young, although the divorce did not become final until 1926. According to Goddard, her father left them, but according to J. R. Levy, Alta absconded with the child. Goddard was raised by her mother and did not meet her father again until the late 1930s after she had become famous. To avoid a custody battle, she and her mother moved often during her childhood, even relocating to Canada at one point. Goddard began modeling at an early age to support her mother and herself, working for Saks Fifth Avenue, Hattie Carnegie, and others. An important figure in her childhood was her great uncle, Charles Goddard, the owner of the American Druggists Syndicate. He played a central role in Goddard's career, introducing her to Broadway impresario Florenz Ziegfeld. She made her stage debut as a dancer in Ziegfeld's summer revue, 'No Foolin' (1926), which was also the first time that she used the stage name Paulette Goddard. Ziegfeld hired her for another musical, 'Rio Rita', which opened in February 1927, but she left the show after only three weeks to appear in the play 'The Unconquerable Male', produced by Archie Selwyn. It was, however, a flop and closed after only three days following its premiere in Atlantic City. Soon after the play closed, Goddard was introduced to the much older lumber tycoon Edgar James, president of the Southern Lumber Company, by Charles Goddard. She married him in June 1927 in Rye, New York, but the marriage was short. Goddard was granted a divorce in Reno, Nevada, in 1929, receiving a divorce settlement of $375,000. Tony Fontana at IMDb: "A stunning natural beauty, Paulette could mesmerize any man she met, a fact she was well aware of. "
Paulette Goddard first visited Hollywood in 1929, when she appeared as an uncredited extra in two films, the Laurel and Hardy short film Berth Marks (Lewis R. Foster, 1929), and George Fitzmaurice's drama The Locked Door (1929). Following her divorce, she briefly visited Europe before returning to Hollywood in late 1930 with her mother. Her second attempt at acting was no more successful than the first, as she landed work only as an extra. In 1930, she signed her first film contract with producer Samuel Goldwyn to appear as a Goldwyn Girl in Whoopee! (Thornton Freeland, 1930) with Eddie Cantor. She also appeared in City Streets (Rouben Mamoulian, 1931) with Gary Cooper, Ladies of the Big House (Marion Gering, 1931) starring Sylvia Sidney, and The Girl Habit (Edward F. Cline, 1931) for Paramount, and The Mouthpiece (James Flood, Elliott Nugent, 1932) for Warners. Goldwyn and she did not get along, and she began working for Hal Roach Studios, appearing in a string of uncredited supporting roles for the next four years, including Young Ironsides (James Parrott, 1932) with Charley Chase, and Pack Up Your Troubles (1932) with Laurel and Hardy. One of her bigger roles in that period was as a blond 'Goldwyn Girl' in the Eddie Cantor film The Kid from Spain (Leo McCarey, 1932). Goldwyn also used Goddard in The Bowery (Raoul Walsh, 1933) with Wallace Beery, Roman Scandals (Frank Tuttle, 1933), and Kid Millions (Roy Del Ruth, 1934) with Eddie Cantor. The year she signed with Goldwyn, Goddard began dating Charlie Chaplin, a relationship that received substantial attention from the press. They were reportedly married in secret in Canton, China, in June 1936. It marked a turning point in Goddard's career when Chaplin cast her as his leading lady in his box office hit, Modern Times (1936). Her role as 'The Gamin', an orphan girl who runs away from the authorities and becomes The Tramp's companion, was her first credited film appearance and garnered her mainly positive reviews, Frank S. Nugent of The New York Times describing her as "the fitting recipient of the great Charlot's championship". Following the success of Modern Times, Chaplin planned other projects with Goddard in mind as a co-star, but he worked slowly, and Goddard worried that the public might forget about her if she did not continue to make regular film appearances. She signed a contract with David O. Selznick and appeared with Janet Gaynor in the comedy The Young in Heart (Richard Wallace, 1938) before Selznick lent her to MGM to appear in two films. The first of these, Dramatic School (Robert B. Sinclair, 1938), co-starred Luise Rainer, but the film received mediocre reviews and failed to attract an audience. Her next film, The Women (George Cukor, 1939), was a success. With an all-female cast headed by Norma Shearer, Joan Crawford, and Rosalind Russell, the film's supporting role of Miriam Aarons was played by Goddard. Pauline Kael later wrote of Goddard, "she is a stand-out. fun."
David O' Selznick was pleased with Paulette Goddard's performances, particularly her work in The Young in Heart, and considered her for the role of Scarlett O'Hara in Gone With the Wind (Victor Fleming, 1939). Initial screen tests convinced Selznick and director George Cukor that Goddard would require coaching to be effective in the role, but that she showed promise, and she was the first actress given a Technicolor screen test. After he was introduced to Vivien Leigh, he wrote to his wife that Leigh was a "dark horse" and that his choice had "narrowed down to Paulette, Jean Arthur, Joan Bennett, and Vivien Leigh". After a series of tests with Leigh that pleased both Selznick and Cukor, Selznick cancelled the further tests that had been scheduled for Goddard, and the part was given to Leigh. Goddard's next film, The Cat and the Canary (Elliott Nugent, 1939) with Bob Hope, was a turning point in the careers of both actors. The success of the film established her as a genuine star. Her performance won her a ten-year contract with Paramount Studios, which was one of the premier studios of the day. They promptly were re-teamed in The Ghost Breakers (George Marshall, 1940), again a huge hit. Goddard starred with Chaplin again in his film The Great Dictator (1940). In 1942, Goddard was granted a Mexican divorce from Chaplin. The couple split amicably, with Chaplin agreeing to a generous settlement. At Paramount, Goddard was used by Cecil B. De Mille in the action epic North West Mounted Police (1940), playing the second female lead. She was Fred Astaire's leading lady in the acclaimed musical Second Chorus/Swing it (H.C. Potter, 1940), where she met actor Burgess Meredith, her third husband. Goddard made Pot o' Gold (George Marshall, 1941), a comedy with James Stewart, then supported Charles Boyer and Olivia de Havilland in Hold Back the Dawn (Mitchell Leisen, 1941), from a script by Wilder and Brackett, directed by Mitchell Leisen. Goddard was teamed with Hope for a third time in Nothing But the Truth (Elliott Nugent, 1942), then made The Lady Has Plans (Sidney Lanfield, 1942), a comedy with Ray Milland. She co-starred with Milland and John Wayne in Reap the Wild Wind (Cecil B. DeMille, 1942), playing the lead, a Scarlett O'Hara type character. The film was a huge hit. Goddard did The Forest Rangers (George Marshall, 1942) with Fred MacMurray. One of her better-remembered film appearances was in the variety musical Star Spangled Rhythm (George Marshall, 1943), in which she sang "A Sweater, a Sarong, and a Peekaboo Bang" with Dorothy Lamour and Veronica Lake.
Paulette Goddard received one Oscar nomination for Best Supporting Actress for So Proudly We Hail! (Mark Sandrich, 1943) opposite Claudette Colbert and Veronica Lake. She didn't win, but it solidified her as a top draw. Goddard was teamed with Fred MacMurray in the delightful comedy Standing Room Only (Sidney Lanfield, 1944) and Sonny Tufts in I Love a Soldier (Mark Sandrich, 1944). In May 1944, she married Burgess Meredith at David O. Selznick's home in Beverly Hills. Goddard's most successful film was Kitty (Mitchell Leisen, 1945), in which she played the title role. Denny Jackson/Robert Sieger at IMDb: "The film was a hit with moviegoers, as she played an ordinary English woman transformed into a duchess. The film was filled with plenty of comedy, dramatic and romantic scenes that appealed to virtually everyone." In The Diary of a Chambermaid (1946), Goddard starred with husband Burgess Meredith under the direction of Jean Renoir. It was made for United Artists. At Paramount she did Suddenly It's Spring (Mitchell Leisen, 1947) with Fred MacMurray, and De Mille's 18th-century romantic drama Unconquered (Cecil B. DeMille, 1947), with Cary Grant. During the Hollywood Blacklist, when she and blacklisted husband Meredith were mobbed by a baying crowd screaming "Communists!" on their way to a premiere, Goddard is said to have turned to her husband and said, "Shall I roll down the window and hit them with my diamonds, Bugsy?" In 1947, she made An Ideal Husband in Britain for Alexander Korda and was accompanied on a publicity trip to Brussels by Clarissa Spencer-Churchill, niece of Sir Winston Churchill and future wife of future Prime Minister Anthony Eden. She divorced Meredith in June 1949 and also left Paramount. In 1949, she formed Monterey Pictures with John Steinbeck. Goddard starred in Anna Lucasta (Irving Rapper, 1949), then went to Mexico for The Torch (Emilio Fernández, 1950). In England, she was in Babes in Bagdad (Edgar G. Ulmer, 1952), then she went to Hollywood for Vice Squad (Arnold Laven, 1953) with Edward G. Robinson, and Charge of the Lancers (William Castle, 1954) with Jean-Pierre Aumont. Her last starring role was in the English production A Stranger Came Home/The Unholy Four (Terence Fisher, 1954).
Paulette Goddard began appearing in summer stock and on television, guest-starring on episodes of Sherlock Holmes, an adaptation of The Women, this time playing the role of Sylvia Fowler, The Errol Flynn Theatre, The Joseph Cotten Show, and The Ford Television Theatre. She was in an episode of Adventures in Paradise and a TV version of The Phantom. After her marriage to Erich Maria Remarque in 1958, Goddard largely retired from acting and moved to Ronco sopra Ascona, Switzerland. In 1964, she attempted a comeback in films with a supporting role in the Italian film Gli indifferenti/Time of Indifference (Francesco Maselli, 1964), starring Claudia Cardinale and Rod Steiger, which was her last feature film. After Remarque's death in 1970, she made one last attempt at acting, when she accepted a small role in an episode of the TV series The Snoop Sisters, The Female Instinct (Leonards Stern, 1972) with Helen Hayes and Mildred Natwick. Upon Remarque's death, Goddard inherited much of his money and several important properties across Europe, including a wealth of contemporary art, which augmented her own long-standing collection. During this period, her talent at accumulating wealth became a byword among the old Hollywood élite. During the 1980s, she became a fairly well known (and highly visible) socialite in New York City, appearing covered with jewels at many high-profile cultural functions with several well-known men, including Andy Warhol, with whom she sustained a friendship for many years until his death in 1987. Paulette Goddard underwent invasive treatment for breast cancer in 1975, successfully by all accounts. In 1990, she died at her home in Switzerland from heart failure while under respiratory support due to emphysema, She is buried in Ronco Village Cemetery, next to Remarque and her mother. Goddard had no children. She became a stepmother to Charles Chaplin's two sons, Charles Chaplin Jr. and Sydney Chaplin, while she and Charlie were married. In his memoirs, 'My Father Charlie Chaplin' (1960), Charles Jr. describes her as a lovely, caring, and intelligent woman throughout the book. In October 1944, she suffered the miscarriage of a son with Burgess Meredith. Goddard, whose own formal education did not go beyond high school, bequeathed US$20 million to New York University (NYU) in New York City.
Sources: Tony Fontana (IMDb), Denny Jackson / Robert Sieger (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
American postcard by Movie Candid Color Card, Beverly Hills, Calif., no. A18. Photo: Jack Albin (Kodachrome). Publicity still for Bride of Vengeance/A Mask for Lucretia (Mitchell Leisen, 1949). Caption: Paulette Goddard, former Ziegfeld girl, later cavorted for Samuel Goldwyn, and won stardom opposite Charlie Chaplin in Modern Times. Paulette really clicked at Paramount, where she teamed with Bob Hope, and followed with several starring roles for C.B. De Mille. Once married to Charlie Chaplin, she is now the wife of actor Burgess Meredith.
American actress Paulette Goddard (1905-1990) started her career as a fashion model and as a Ziegfeld Girl in several Broadway shows. In the 1940s, she became a major star of Paramount Pictures. She was Charlie Chaplin's leading lady in Modern Times (1936), and The Great Dictator. Goddard was nominated for an Oscar for Best Supporting Actress for So Proudly We Hail! (1943). Her husbands included Chaplin, Burgess Meredith, and Erich Maria Remarque.
Paulette Goddard was born Pauline Marion Levy in Whitestone Landing, Long Island, New York. Sources variously cite her year of birth as 1911 and 1914, and the place as Whitestone Landing, New York, USA. However, municipal employees in Ronco, Switzerland, where she died, gave her birth year of record as 1905. Goddard was the daughter of Joseph Russell Levy, the son of a prosperous Jewish cigar manufacturer from Salt Lake City, and Alta Mae Goddard, who was of Episcopalian English heritage. They married in 1908 and separated while their daughter was very young, although the divorce did not become final until 1926. According to Goddard, her father left them, but according to J. R. Levy, Alta absconded with the child. Goddard was raised by her mother and did not meet her father again until the late 1930s after she had become famous. To avoid a custody battle, she and her mother moved often during her childhood, even relocating to Canada at one point. Goddard began modeling at an early age to support her mother and herself, working for Saks Fifth Avenue, Hattie Carnegie, and others. An important figure in her childhood was her great uncle, Charles Goddard, the owner of the American Druggists Syndicate. He played a central role in Goddard's career, introducing her to Broadway impresario Florenz Ziegfeld. She made her stage debut as a dancer in Ziegfeld's summer revue, 'No Foolin' (1926), which was also the first time that she used the stage name Paulette Goddard. Ziegfeld hired her for another musical, 'Rio Rita', which opened in February 1927, but she left the show after only three weeks to appear in the play 'The Unconquerable Male', produced by Archie Selwyn. It was, however, a flop and closed after only three days following its premiere in Atlantic City. Soon after the play closed, Goddard was introduced to the much older lumber tycoon Edgar James, president of the Southern Lumber Company, by Charles Goddard. She married him in June 1927 in Rye, New York, but the marriage was short. Goddard was granted a divorce in Reno, Nevada, in 1929, receiving a divorce settlement of $375,000. Tony Fontana at IMDb: "A stunning natural beauty, Paulette could mesmerize any man she met, a fact she was well aware of. "
Paulette Goddard first visited Hollywood in 1929, when she appeared as an uncredited extra in two films, the Laurel and Hardy short film Berth Marks (Lewis R. Foster, 1929), and George Fitzmaurice's drama The Locked Door (1929). Following her divorce, she briefly visited Europe before returning to Hollywood in late 1930 with her mother. Her second attempt at acting was no more successful than the first, as she landed work only as an extra. In 1930, she signed her first film contract with producer Samuel Goldwyn to appear as a Goldwyn Girl in Whoopee! (Thornton Freeland, 1930) with Eddie Cantor. She also appeared in City Streets (Rouben Mamoulian, 1931) with Gary Cooper, Ladies of the Big House (Marion Gering, 1931) starring Sylvia Sidney, and The Girl Habit (Edward F. Cline, 1931) for Paramount, and The Mouthpiece (James Flood, Elliott Nugent, 1932) for Warners. Goldwyn and she did not get along, and she began working for Hal Roach Studios, appearing in a string of uncredited supporting roles for the next four years, including Young Ironsides (James Parrott, 1932) with Charley Chase, and Pack Up Your Troubles (1932) with Laurel and Hardy. One of her bigger roles in that period was as a blond 'Goldwyn Girl' in the Eddie Cantor film The Kid from Spain (Leo McCarey, 1932). Goldwyn also used Goddard in The Bowery (Raoul Walsh, 1933) with Wallace Beery, Roman Scandals (Frank Tuttle, 1933), and Kid Millions (Roy Del Ruth, 1934) with Eddie Cantor. The year she signed with Goldwyn, Goddard began dating Charlie Chaplin, a relationship that received substantial attention from the press. They were reportedly married in secret in Canton, China, in June 1936. It marked a turning point in Goddard's career when Chaplin cast her as his leading lady in his box office hit, Modern Times (1936). Her role as 'The Gamin', an orphan girl who runs away from the authorities and becomes The Tramp's companion, was her first credited film appearance and garnered her mainly positive reviews, Frank S. Nugent of The New York Times describing her as "the fitting recipient of the great Charlot's championship". Following the success of Modern Times, Chaplin planned other projects with Goddard in mind as a co-star, but he worked slowly, and Goddard worried that the public might forget about her if she did not continue to make regular film appearances. She signed a contract with David O. Selznick and appeared with Janet Gaynor in the comedy The Young in Heart (Richard Wallace, 1938) before Selznick lent her to MGM to appear in two films. The first of these, Dramatic School (Robert B. Sinclair, 1938), co-starred Luise Rainer, but the film received mediocre reviews and failed to attract an audience. Her next film, The Women (George Cukor, 1939), was a success. With an all-female cast headed by Norma Shearer, Joan Crawford, and Rosalind Russell, the film's supporting role of Miriam Aarons was played by Goddard. Pauline Kael later wrote of Goddard, "she is a stand-out. fun."
David O' Selznick was pleased with Paulette Goddard's performances, particularly her work in The Young in Heart, and considered her for the role of Scarlett O'Hara in Gone With the Wind (Victor Fleming, 1939). Initial screen tests convinced Selznick and director George Cukor that Goddard would require coaching to be effective in the role, but that she showed promise, and she was the first actress given a Technicolor screen test. After he was introduced to Vivien Leigh, he wrote to his wife that Leigh was a "dark horse" and that his choice had "narrowed down to Paulette, Jean Arthur, Joan Bennett, and Vivien Leigh". After a series of tests with Leigh that pleased both Selznick and Cukor, Selznick cancelled the further tests that had been scheduled for Goddard, and the part was given to Leigh. Goddard's next film, The Cat and the Canary (Elliott Nugent, 1939) with Bob Hope, was a turning point in the careers of both actors. The success of the film established her as a genuine star. Her performance won her a ten-year contract with Paramount Studios, which was one of the premier studios of the day. They promptly were re-teamed in The Ghost Breakers (George Marshall, 1940), again a huge hit. Goddard starred with Chaplin again in his film The Great Dictator (1940). In 1942, Goddard was granted a Mexican divorce from Chaplin. The couple split amicably, with Chaplin agreeing to a generous settlement. At Paramount, Goddard was used by Cecil B. De Mille in the action epic North West Mounted Police (1940), playing the second female lead. She was Fred Astaire's leading lady in the acclaimed musical Second Chorus/Swing it (H.C. Potter, 1940), where she met actor Burgess Meredith, her third husband. Goddard made Pot o' Gold (George Marshall, 1941), a comedy with James Stewart, then supported Charles Boyer and Olivia de Havilland in Hold Back the Dawn (Mitchell Leisen, 1941), from a script by Wilder and Brackett, directed by Mitchell Leisen. Goddard was teamed with Hope for a third time in Nothing But the Truth (Elliott Nugent, 1942), then made The Lady Has Plans (Sidney Lanfield, 1942), a comedy with Ray Milland. She co-starred with Milland and John Wayne in Reap the Wild Wind (Cecil B. DeMille, 1942), playing the lead, a Scarlett O'Hara type character. The film was a huge hit. Goddard did The Forest Rangers (George Marshall, 1942) with Fred MacMurray. One of her better-remembered film appearances was in the variety musical Star Spangled Rhythm (George Marshall, 1943), in which she sang "A Sweater, a Sarong, and a Peekaboo Bang" with Dorothy Lamour and Veronica Lake.
Paulette Goddard received one Oscar nomination for Best Supporting Actress for So Proudly We Hail! (Mark Sandrich, 1943) opposite Claudette Colbert and Veronica Lake. She didn't win, but it solidified her as a top draw. Goddard was teamed with Fred MacMurray in the delightful comedy Standing Room Only (Sidney Lanfield, 1944) and Sonny Tufts in I Love a Soldier (Mark Sandrich, 1944). In May 1944, she married Burgess Meredith at David O. Selznick's home in Beverly Hills. Goddard's most successful film was Kitty (Mitchell Leisen, 1945), in which she played the title role. Denny Jackson/Robert Sieger at IMDb: "The film was a hit with moviegoers, as she played an ordinary English woman transformed into a duchess. The film was filled with plenty of comedy, dramatic and romantic scenes that appealed to virtually everyone." In The Diary of a Chambermaid (1946), Goddard starred with husband Burgess Meredith under the direction of Jean Renoir. It was made for United Artists. At Paramount she did Suddenly It's Spring (Mitchell Leisen, 1947) with Fred MacMurray, and De Mille's 18th-century romantic drama Unconquered (Cecil B. DeMille, 1947), with Cary Grant. During the Hollywood Blacklist, when she and blacklisted husband Meredith were mobbed by a baying crowd screaming "Communists!" on their way to a premiere, Goddard is said to have turned to her husband and said, "Shall I roll down the window and hit them with my diamonds, Bugsy?" In 1947, she made An Ideal Husband in Britain for Alexander Korda and was accompanied on a publicity trip to Brussels by Clarissa Spencer-Churchill, niece of Sir Winston Churchill and future wife of future Prime Minister Anthony Eden. She divorced Meredith in June 1949 and also left Paramount. In 1949, she formed Monterey Pictures with John Steinbeck. Goddard starred in Anna Lucasta (Irving Rapper, 1949), then went to Mexico for The Torch (Emilio Fernández, 1950). In England, she was in Babes in Bagdad (Edgar G. Ulmer, 1952), then she went to Hollywood for Vice Squad (Arnold Laven, 1953) with Edward G. Robinson, and Charge of the Lancers (William Castle, 1954) with Jean-Pierre Aumont. Her last starring role was in the English production A Stranger Came Home/The Unholy Four (Terence Fisher, 1954).
Paulette Goddard began appearing in summer stock and on television, guest-starring on episodes of Sherlock Holmes, an adaptation of The Women, this time playing the role of Sylvia Fowler, The Errol Flynn Theatre, The Joseph Cotten Show, and The Ford Television Theatre. She was in an episode of Adventures in Paradise and a TV version of The Phantom. After her marriage to Erich Maria Remarque in 1958, Goddard largely retired from acting and moved to Ronco sopra Ascona, Switzerland. In 1964, she attempted a comeback in films with a supporting role in the Italian film Gli indifferenti/Time of Indifference (Francesco Maselli, 1964), starring Claudia Cardinale and Rod Steiger, which was her last feature film. After Remarque's death in 1970, she made one last attempt at acting, when she accepted a small role in an episode of the TV series The Snoop Sisters, The Female Instinct (Leonards Stern, 1972) with Helen Hayes and Mildred Natwick. Upon Remarque's death, Goddard inherited much of his money and several important properties across Europe, including a wealth of contemporary art, which augmented her own long-standing collection. During this period, her talent at accumulating wealth became a byword among the old Hollywood élite. During the 1980s, she became a fairly well known (and highly visible) socialite in New York City, appearing covered with jewels at many high-profile cultural functions with several well-known men, including Andy Warhol, with whom she sustained a friendship for many years until his death in 1987. Paulette Goddard underwent invasive treatment for breast cancer in 1975, successfully by all accounts. In 1990, she died at her home in Switzerland from heart failure while under respiratory support due to emphysema, She is buried in Ronco Village Cemetery, next to Remarque and her mother. Goddard had no children. She became a stepmother to Charles Chaplin's two sons, Charles Chaplin Jr. and Sydney Chaplin, while she and Charlie were married. In his memoirs, 'My Father Charlie Chaplin' (1960), Charles Jr. describes her as a lovely, caring, and intelligent woman throughout the book. In October 1944, she suffered the miscarriage of a son with Burgess Meredith. Goddard, whose own formal education did not go beyond high school, bequeathed US$20 million to New York University (NYU) in New York City.
Sources: Tony Fontana (IMDb), Denny Jackson / Robert Sieger (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Escalante National Monument - Utah
© 2007 by Michael A. Pancier
This image is copyrighted material as indicated, and is watermarked!
Unauthorized use or reproduction for any reason is prohibited
It's baaaack! (NO APRIL FOOLIN'). We know many of you have been eagerly awaiting for a return of the speeder bike contest. Well, here it is, so get to building!
(awesome poster by Dan Ko!)
Please note that we are going "Back to Basics" which means:
- Minifig scale only, with a rider shown on the speeder bike,
- Built out of physical bricks, and
- Judging will be largely based on the bike itself (with presentation style used for breaking the ties between close competitors).
- Only one entry per category, per person. Post only one photo into the appropriate category entry discussion here on flickr (you can replace/edit your entries up until the deadline).
More details can be found here:
Big German card by Ross Verlag. Photo: Metro-Goldwyn-Mayer.
American actress Paulette Goddard (1905-1990) started her career as a fashion model and as a Ziegfeld Girl in several Broadway shows. In the 1940s, she became a major star of Paramount Pictures. She was Charlie Chaplin's leading lady in Modern Times (1936), and The Great Dictator. Goddard was nominated for an Oscar for Best Supporting Actress for So Proudly We Hail! (1943). Her husbands included Chaplin, Burgess Meredith, and Erich Maria Remarque.
Paulette Goddard was born Pauline Marion Levy in Whitestone Landing, Long Island, New York. Sources variously cite her year of birth as 1911 and 1914, and the place as Whitestone Landing, New York, USA. However, municipal employees in Ronco, Switzerland, where she died, gave her birth year of record as 1905. Goddard was the daughter of Joseph Russell Levy, the son of a prosperous Jewish cigar manufacturer from Salt Lake City, and Alta Mae Goddard, who was of Episcopalian English heritage. They married in 1908 and separated while their daughter was very young, although the divorce did not become final until 1926. According to Goddard, her father left them, but according to J. R. Levy, Alta absconded with the child. Goddard was raised by her mother and did not meet her father again until the late 1930s after she had become famous. To avoid a custody battle, she and her mother moved often during her childhood, even relocating to Canada at one point. Goddard began modeling at an early age to support her mother and herself, working for Saks Fifth Avenue, Hattie Carnegie, and others. An important figure in her childhood was her great uncle, Charles Goddard, the owner of the American Druggists Syndicate. He played a central role in Goddard's career, introducing her to Broadway impresario Florenz Ziegfeld. She made her stage debut as a dancer in Ziegfeld's summer revue, 'No Foolin' (1926), which was also the first time that she used the stage name Paulette Goddard. Ziegfeld hired her for another musical, 'Rio Rita', which opened in February 1927, but she left the show after only three weeks to appear in the play 'The Unconquerable Male', produced by Archie Selwyn. It was, however, a flop and closed after only three days following its premiere in Atlantic City. Soon after the play closed, Goddard was introduced to the much older lumber tycoon Edgar James, president of the Southern Lumber Company, by Charles Goddard. She married him in June 1927 in Rye, New York, but the marriage was short. Goddard was granted a divorce in Reno, Nevada, in 1929, receiving a divorce settlement of $375,000. Tony Fontana at IMDb: "A stunning natural beauty, Paulette could mesmerize any man she met, a fact she was well aware of. "
Paulette Goddard first visited Hollywood in 1929, when she appeared as an uncredited extra in two films, the Laurel and Hardy short film Berth Marks (Lewis R. Foster, 1929), and George Fitzmaurice's drama The Locked Door (1929). Following her divorce, she briefly visited Europe before returning to Hollywood in late 1930 with her mother. Her second attempt at acting was no more successful than the first, as she landed work only as an extra. In 1930, she signed her first film contract with producer Samuel Goldwyn to appear as a Goldwyn Girl in Whoopee! (Thornton Freeland, 1930) with Eddie Cantor. She also appeared in City Streets (Rouben Mamoulian, 1931) with Gary Cooper, Ladies of the Big House (Marion Gering, 1931) starring Sylvia Sidney, and The Girl Habit (Edward F. Cline, 1931) for Paramount, and The Mouthpiece (James Flood, Elliott Nugent, 1932) for Warners. Goldwyn and she did not get along, and she began working for Hal Roach Studios, appearing in a string of uncredited supporting roles for the next four years, including Young Ironsides (James Parrott, 1932) with Charley Chase, and Pack Up Your Troubles (1932) with Laurel and Hardy. One of her bigger roles in that period was as a blond 'Goldwyn Girl' in the Eddie Cantor film The Kid from Spain (Leo McCarey, 1932). Goldwyn also used Goddard in The Bowery (Raoul Walsh, 1933) with Wallace Beery, Roman Scandals (Frank Tuttle, 1933), and Kid Millions (Roy Del Ruth, 1934) with Eddie Cantor. The year she signed with Goldwyn, Goddard began dating Charlie Chaplin, a relationship that received substantial attention from the press. They were reportedly married in secret in Canton, China, in June 1936. It marked a turning point in Goddard's career when Chaplin cast her as his leading lady in his box office hit, Modern Times (1936). Her role as 'The Gamin', an orphan girl who runs away from the authorities and becomes The Tramp's companion, was her first credited film appearance and garnered her mainly positive reviews, Frank S. Nugent of The New York Times describing her as "the fitting recipient of the great Charlot's championship". Following the success of Modern Times, Chaplin planned other projects with Goddard in mind as a co-star, but he worked slowly, and Goddard worried that the public might forget about her if she did not continue to make regular film appearances. She signed a contract with David O. Selznick and appeared with Janet Gaynor in the comedy The Young in Heart (Richard Wallace, 1938) before Selznick lent her to MGM to appear in two films. The first of these, Dramatic School (Robert B. Sinclair, 1938), co-starred Luise Rainer, but the film received mediocre reviews and failed to attract an audience. Her next film, The Women (George Cukor, 1939), was a success. With an all-female cast headed by Norma Shearer, Joan Crawford, and Rosalind Russell, the film's supporting role of Miriam Aarons was played by Goddard. Pauline Kael later wrote of Goddard, "she is a stand-out. fun."
David O' Selznick was pleased with Paulette Goddard's performances, particularly her work in The Young in Heart, and considered her for the role of Scarlett O'Hara in Gone With the Wind (Victor Fleming, 1939). Initial screen tests convinced Selznick and director George Cukor that Goddard would require coaching to be effective in the role, but that she showed promise, and she was the first actress given a Technicolor screen test. After he was introduced to Vivien Leigh, he wrote to his wife that Leigh was a "dark horse" and that his choice had "narrowed down to Paulette, Jean Arthur, Joan Bennett, and Vivien Leigh". After a series of tests with Leigh that pleased both Selznick and Cukor, Selznick cancelled the further tests that had been scheduled for Goddard, and the part was given to Leigh. Goddard's next film, The Cat and the Canary (Elliott Nugent, 1939) with Bob Hope, was a turning point in the careers of both actors. The success of the film established her as a genuine star. Her performance won her a ten-year contract with Paramount Studios, which was one of the premier studios of the day. They promptly were re-teamed in The Ghost Breakers (George Marshall, 1940), again a huge hit. Goddard starred with Chaplin again in his film The Great Dictator (1940). In 1942, Goddard was granted a Mexican divorce from Chaplin. The couple split amicably, with Chaplin agreeing to a generous settlement. At Paramount, Goddard was used by Cecil B. De Mille in the action epic North West Mounted Police (1940), playing the second female lead. She was Fred Astaire's leading lady in the acclaimed musical Second Chorus/Swing it (H.C. Potter, 1940), where she met actor Burgess Meredith, her third husband. Goddard made Pot o' Gold (George Marshall, 1941), a comedy with James Stewart, then supported Charles Boyer and Olivia de Havilland in Hold Back the Dawn (Mitchell Leisen, 1941), from a script by Wilder and Brackett, directed by Mitchell Leisen. Goddard was teamed with Hope for a third time in Nothing But the Truth (Elliott Nugent, 1942), then made The Lady Has Plans (Sidney Lanfield, 1942), a comedy with Ray Milland. She co-starred with Milland and John Wayne in Reap the Wild Wind (Cecil B. DeMille, 1942), playing the lead, a Scarlett O'Hara type character. The film was a huge hit. Goddard did The Forest Rangers (George Marshall, 1942) with Fred MacMurray. One of her better-remembered film appearances was in the variety musical Star Spangled Rhythm (George Marshall, 1943), in which she sang "A Sweater, a Sarong, and a Peekaboo Bang" with Dorothy Lamour and Veronica Lake.
Paulette Goddard received one Oscar nomination for Best Supporting Actress for So Proudly We Hail! (Mark Sandrich, 1943) opposite Claudette Colbert and Veronica Lake. She didn't win, but it solidified her as a top draw. Goddard was teamed with Fred MacMurray in the delightful comedy Standing Room Only (Sidney Lanfield, 1944) and Sonny Tufts in I Love a Soldier (Mark Sandrich, 1944). In May 1944, she married Burgess Meredith at David O. Selznick's home in Beverly Hills. Goddard's most successful film was Kitty (Mitchell Leisen, 1945), in which she played the title role. Denny Jackson/Robert Sieger at IMDb: "The film was a hit with moviegoers, as she played an ordinary English woman transformed into a duchess. The film was filled with plenty of comedy, dramatic and romantic scenes that appealed to virtually everyone." In The Diary of a Chambermaid (1946), Goddard starred with husband Burgess Meredith under the direction of Jean Renoir. It was made for United Artists. At Paramount she did Suddenly It's Spring (Mitchell Leisen, 1947) with Fred MacMurray, and De Mille's 18th-century romantic drama Unconquered (Cecil B. DeMille, 1947), with Cary Grant. During the Hollywood Blacklist, when she and blacklisted husband Meredith were mobbed by a baying crowd screaming "Communists!" on their way to a premiere, Goddard is said to have turned to her husband and said, "Shall I roll down the window and hit them with my diamonds, Bugsy?" In 1947, she made An Ideal Husband in Britain for Alexander Korda and was accompanied on a publicity trip to Brussels by Clarissa Spencer-Churchill, niece of Sir Winston Churchill and future wife of future Prime Minister Anthony Eden. She divorced Meredith in June 1949 and also left Paramount. In 1949, she formed Monterey Pictures with John Steinbeck. Goddard starred in Anna Lucasta (Irving Rapper, 1949), then went to Mexico for The Torch (Emilio Fernández, 1950). In England, she was in Babes in Bagdad (Edgar G. Ulmer, 1952), then she went to Hollywood for Vice Squad (Arnold Laven, 1953) with Edward G. Robinson, and Charge of the Lancers (William Castle, 1954) with Jean-Pierre Aumont. Her last starring role was in the English production A Stranger Came Home/The Unholy Four (Terence Fisher, 1954).
Paulette Goddard began appearing in summer stock and on television, guest-starring on episodes of Sherlock Holmes, an adaptation of The Women, this time playing the role of Sylvia Fowler, The Errol Flynn Theatre, The Joseph Cotten Show, and The Ford Television Theatre. She was in an episode of Adventures in Paradise and a TV version of The Phantom. After her marriage to Erich Maria Remarque in 1958, Goddard largely retired from acting and moved to Ronco sopra Ascona, Switzerland. In 1964, she attempted a comeback in films with a supporting role in the Italian film Gli indifferenti/Time of Indifference (Francesco Maselli, 1964), starring Claudia Cardinale and Rod Steiger, which was her last feature film. After Remarque's death in 1970, she made one last attempt at acting, when she accepted a small role in an episode of the TV series The Snoop Sisters, The Female Instinct (Leonards Stern, 1972) with Helen Hayes and Mildred Natwick. Upon Remarque's death, Goddard inherited much of his money and several important properties across Europe, including a wealth of contemporary art, which augmented her own long-standing collection. During this period, her talent at accumulating wealth became a byword among the old Hollywood élite. During the 1980s, she became a fairly well known (and highly visible) socialite in New York City, appearing covered with jewels at many high-profile cultural functions with several well-known men, including Andy Warhol, with whom she sustained a friendship for many years until his death in 1987. Paulette Goddard underwent invasive treatment for breast cancer in 1975, successfully by all accounts. In 1990, she died at her home in Switzerland from heart failure while under respiratory support due to emphysema, She is buried in Ronco Village Cemetery, next to Remarque and her mother. Goddard had no children. She became a stepmother to Charles Chaplin's two sons, Charles Chaplin Jr. and Sydney Chaplin, while she and Charlie were married. In his memoirs, 'My Father Charlie Chaplin' (1960), Charles Jr. describes her as a lovely, caring, and intelligent woman throughout the book. In October 1944, she suffered the miscarriage of a son with Burgess Meredith. Goddard, whose own formal education did not go beyond high school, bequeathed US$20 million to New York University (NYU) in New York City.
Sources: Tony Fontana (IMDb), Denny Jackson / Robert Sieger (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
I was foolin around this morning with the manuquin and my Jewels. I really like the shot and decided to have some Post Cards made with it. Im doing a few little shows this fall thought they would be a nice addition to the table. I tried it in Black and White but prefered the color. Fun, my daughter said it was Weird! Whats new?
Just foolin around with some new ENB settings in FO3. This is PureTone ENB wip for FNV dropped in to FO3 no other changes.
No Foolin'! On April 1, 2010, UP 1988, aka Miss Katy, was the lone DPU on the X-7680East working up the grade in San Timoteo Canyon. While I liked the overall paint scheme of UP1988, the front was rather dull and uninspiring. If it was blue or silver, Cowboy fans could say it was painted for America's Team..
Sunny Buick flash is on order from Etsy. Channeling good vibes on the simple twins preorder...
Flash art by Sunny Buick
Blythe cartoon
Photoshop tinkering by me... :)
VIEW LARGE HERE
'"Wanna hear 'Whole Lotta Love?'' On Black
You need coolin, baby, I'm not foolin,
I'm gonna send you back to schoolin,
Way down inside honey, you need it,
Im gonna give you my love,
You've been learnin, baby, I bean learnin,
All them good times, baby, baby, I've been yearnin,
Way, way down inside honey, you need it,
Im gonna give you my love,
You've been coolin, baby, I've been droolin,
All the good times Ive been misusin,
Way, way down inside, I'm gonna give you my love,
I'm gonna give you every inch of my love,
Gonna give you my love.
Yeah! all right! lets go!
Way down inside, woman,
You need love.
Shake for me, girl
I wanna be your backdoor man.
Hey, oh, hey, oh
Oh, oh, oh
Keep a-coolin, baby,...
"Whole Lotta Love" - Led Zeppelin
TMSH 4/13/sh10 - Wood Coloured Grey
Cedar turns a lovely shade of grey if left on it's own.
It's another wet and rather grey day here in the valley. Perfect for foolin' 'round with photoshop.
You see I had this brother who was mad at me
Cuz I told my home girl that he wasn't packin'
Told the truth so I really don't give a damn
That I spilled the beans on his little short stem man (oh)
Some of y'all be foolin' us
Big feet big hands just plain big
The sex ain't worth a damn
We women wanna know these things
If y'all got the bat but not the swang
Put in work
If you don't want the girl to talk
And you don't want your feelings hurt
Put in work
Cause if you don't
That girl's just gon' go spreadin' the word
Girls talkin' got ya all caught out there
Why you thinkin' that it's all about ya
Forget she told me everything about ya
But the girls are talkin'
The girls are talkin'
Girls talk about the booty too
About the way a brother is hangin' too
When you didn't think that nobody knew
You see the girls are talkin'
The girls are talkin'
Listen y'all need to know this
That we'll straight up go tell your business
So if you're gonna come you better come with it
If you ain't swingin' just put your tongue in it (oh)
Some of y'all be killin me
Thinkin' you got powers like Austin
But you're more like Mini-Me
And when you finally get your blood flowin'
It be lookin' like a pinky with a glove on it
Put in work
If you don't want the girl to talk
And you don't want your feelings hurt
Put in work
Cause if you don't
That girl's just gon' go spreadin' the word
Girls talkin' got ya all caught out there
Why you thinkin' that it's all about ya
Forget she told me everything about ya
But the girls are talkin'
The girls are talkin'
Girls talk about the booty too
About the way a brother is hangin' too
When you didn't think that nobody knew
You see the girls are talkin'
The girls are talkin'
What up papi
You think you got game?
(Well holla at me)
I know you're feelin' like my sexual tame
Can make ya happy
You'll remember me
Left Eye - TLC
You got to lick it before you stick it
And that's just me
I be killin' 'em with the Gucci fits and kicks
And you be hurtin' my ears with them lines so swift
You get a new approach
You're game's a joke
Co-signin' from the sidelines tryin' to poke
I'm bigger than that
You're small talk face the fact
You wanna rock the boat a little
Well earn your pass
And it's the last call for alcohol
Meet at the bar
Me and my girls doin' it big
We pop stars (yeah)
Girls talkin' got ya all caught out there
Why you thinkin' that it's all about ya
Forget she told me everything about ya
But the girls are talkin'
The girls are talkin'
Girls talk about the booty too
About the way a brother is hangin' too
When you didn't think that nobody knew
You see the girls are talkin'
The girls are talkin'
Girls talkin' got ya all caught out there
Why you thinkin' that it's all about ya
Forget she told me everything about ya
But the girls are talkin'
The girls are talkin'
Girls talk about the booty too
About the way a brother is hangin' too
When you didn't think that nobody knew
You see the girls are talkin'
The girls are talkin'
Girls talkin' got ya all caught out there
Why you thinkin' that it's all about ya
Forget she told me everything about ya
But the girls are talkin'
The girls are talkin'
Girls talk about the booty too
About the way a brother is hangin' too
When you didn't think that nobody knew
You see the girls are talkin'
The girls are talkin'
KCS power in the trailing or DPU position has been a staple on CP's daily Kansas City to St. Paul (and SP-KC counterpart) manifest for a while now, but the April fool's day edition of 261 has one of the Belles up front for a change. Here they are taking the siding at Lakeview East to wait out a backlog of eastbounds that were delayed by last night's heavy snowstorm to the north.
A decade ago if I were told of a merger that would result in Canadian Pacific rails reaching into Mexico it would have seemed a semi-plausible prank, but now with the recent STB approval the idea takes another step toward becoming reality.
Lake City, Minnesota
April 1, 2023
Today's bonus OARCB (old ass rivet counter boomer) mundane high sun, silver box, gravel pile, leaning, wirey, mindless wedgie!
So let's return now to those thrilling days of yesteryear and continue my never ending fetish to capture a train in a perfect NGPN (National Geographic Pristine Nature) setting.
Today Mr Peabody has set the Wayback Machine to South Fork, Ky and SR #230 on April 1, 1984. (No foolin...)
French postcard by Cinémagazine-Edition, Paris, no. 283. Photo: Paramount. Greta Nissen in The Wanderer (Raoul Walsh, 1925).
Blonde Norwegian-American bombshell Greta Nissen (1906-1988) is mostly remembered for a role she didn't play; or, rather, a role that was eventually re-filmed with someone else.
Grethe Rüzt-Nissen was born in Oslo, Norway, in 1906 (some sources say 1905). She was the daughter of Carl Andreas Frantz Nissen and Agnes Magdalene Larsen. After her parents divorced, her mother took her to Copenhagen, Denmark. In 1911, her mother managed to get Grethe as a student at the Det Kongelige Teater's (Royal Theater) student school, after having 'made' her a year older. Grethe made her stage début as a member of the corps de ballet at the Royal Theater. Some years later, when the famous choreographer and dancer Mikhail Fokin (or Michel Fokine) came to Denmark after the Russian Revolution, he invited her to come to Paris and she studied with him from 1918 to 1919. In 1922 she performed a series of acclaimed Fokine evenings in Norway. Grethe made her screen début in the Danish comedies Daarskab, Dyd og Driverter/Folly, Virtue and Idler (Lau Lauritzen, 1924) followed by Lille Lise let-paa-taa/The Little Dancer (Lau Lauritzen, 1924), two vehicles for the comedy team of Fy og Bi (aka Pat & Patachon). These two comedies would be her only films in Scandinavia. In 1924 she went to New York with a Danish ballet troupe, and there the blonde looker received an offer to appear on Broadway in George S. Kaufman and Marc Connelly's lavish revue Beggar on Horseback. She changed her name to Greta Nissen. Later she worked for the famed Flo Ziegfield in the 1926 production of No Foolin'. Only 19 years old, she was discovered by Jesse L. Lasky of Paramount Pictures, who signed her to a contract. Making her American screen debut as Greta Nissen in In the Name of Love (Howard Higgin, 1925) with Ricardo Cortez and Wallace Beery, Nissen was singled out by critic Mordaunt Hall of the New York Times, who found her 'an appealing and clever actress with a striking personality'.
Greta Nissen played in several sophisticated comedies with Adolphe Menjou like The Wanderer (Raoul Walsh, 1925) also with William Collier and Blonde or Brunette (Richard Rosson, 1927). She became an exotic seductress in such costume extravaganzas as The Lady of the Harem (Raoul Walsh, 1926) and Fazil (Howard Hawks, 1928) opposite Charles Farrell. MGM, meanwhile, borrowed her for The Love Thief (John McDermott, 1926), to replace Greta Garbo. Among her other successful potboilers were Lost: A Wife (William C. de Mille, 1925), The Lucky Lady (Raoul Walsh, 1926) and The Popular Sin (Malcolm St. Clair, 1926). In 1927 Nissen was the original choice as the leading lady of Hell's Angels (1930), Howard Hughes’ stunt-flying extravaganza set during World War I. This epic film could have made her a major contender. Filming was well under way when it was decided that the film would be remade with sound. Unfortunately Greta was replaced because of her heavy Norwegian accent. Nissen had made $2500 a week when filming Hell's Angels and her replacement, Jean Harlow, worked for only $250. The film shot Harlow to stardom and Nissen lost much work due to the advent of sound films.
Rebounding somewhat with a contract from Fox, Greta Nissen eventually proved that her accent could easily have been turned into an asset, but the fall-out from the Hell's Angels debacle followed her for the remainder of her film career. She starred or co-starred in a series of B-films which included the lame Women of All Nations (Raoul Walsh, 1931), the Will Rogers comedy Ambassador Bill (Sam Taylor, 1931), the mystery drama The Circus Queen Murder (Roy William Neill, 1933) again opposite Adolphe Menjou, and the George O'Brien western Life in the Raw (Louis King, 1933). In 1933 she moved to England where she appeared in a few ‘quota quickies’, including On Secret Service (Arthur B. Woods, 1933) and Honours Easy (Herbert Brenon, 1935) with Margaret Lockwood. In 1934 she also appeared at the Palace Theatre in London in the original version of Agnes de Mille's ballet Three Virgins and a Devil, performed in the revue Why Not Tonight? After the spy film Cafe Colette (Paul L. Stein, 1937) she retired, and returned to the US. Divorced from former Fox contract star Weldon Heyburn, Nissen married in 1941 industrialist Stuart Eckert and she lived quietly in California. Greta Nissen died at home in Montecito, California of Parkinson's disease in 1988. She was 82. Her husband said she still received fan letters. Greta had one son, Tor Bruce Nissen Eckert, who in 2005 gave his large collection of Greta Nissen Memorabilia to the Norwegian Emigrant Museum in Ottestad, Norway.
Sources: Hans Otto Christian Arent (Store Norske Lexikon - Norwegian), Hans J. Wollstein (AllMovie), Denny Jackson (IMDb), Allure, Pat M. Ryan (Dance Chronicle), Thomas Staedeli (Cyranos), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
just foolin' 'round in an
autumn frame of mind t'day
to escape from the first blizzard
of this winter's blitz .. had a really 'fun'
drive cross-town on very slick streets
this evenin' that made me long for a
much different & sweeter season
No April foolin' around here! I caught wind that the 475 was leaving KC in the night with a pair of CN SD70M-2s, a CP GEVO, and several UP dash-8's destined for Relco in Albia. We expected the train to be into Ottumwa by sun-up, but it wasn't. I was quite disappointed.
I'd talked to a guy in the afternoon just after getting off of work and found out that it still hadn't made it to Ottumwa and that it should have set-out the motors at the APNC in Moravia.
I made the decision to follow the line until I found the train since I knew it had to be somewhat close. I got all the way to Moravia and saw the Trainmaster hanging out near the connection so I knew it still hadn't come. I continued south and was handsomely rewarded for my efforts. Here it's about to duck under HWY 5 near Moravia.
Consist included: CN 8943, CN 8815, CP 8892, UP 9328, UP 9323, UP 9325, UP 9351, and UP 9329.
Wood Stork - Florida Wetlands - Palm Beach County U.S.A.
Very Large Colony/Flock ~ New Stork City ~ Spring 2019
~~~~~~~~ Big Florida Birds - In The Wild ~~~~~~~~~~
The wood stork is a large American wading bird in the stork family. It appears all white on the ground, with blackish-gray legs and pink feet. In flight, the trailing edge of the wings is black. The head is dark brown with a bald, black face, and the thick down-curved bill is dusky yellow. Juvenile birds are a duller version of the adult, generally browner on the neck, and with a paler bill. The bare head and the long bill, which can measure up to ten inches in length, render the wood stork distinctive from other large waders in its range.
Not feeling well today...i made this foolin in Photoshop.
If you would like to know more about my artwork check out my flickr profile.