Beatrice Richter Im Playboy

Although not remembered as well today as those put out by MGM, 20th Century-Fox's big Technicolor musicals stand up well in comparison. Showgirl Alice Faye, Fox's No. 1 musical star, is romanced by a soldier who uses an assumed name and then turns out to be a rich playboy. Carmen Miranda is also featured and her outrageous costume is highlighted in the legendary musical number "The Lady in the Tutti Frutti Hat." Busby Berkeley, who had just finished a long stint directing musicals at MGM and an earlier one at Warner Bros., directs and choreographs the film.

beatrice richter im playboy

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Produced by Arthur Freed and directed by Vincente Minnelli, "Gigi" is a lush Technicolor musical from MGM that tells the story of a friendship between a playboy (Louis Jourdan) and a young girl (Leslie Caron) that turns to love. "Gigi" is based on a 1944 novella by Colette and received a treatment on Broadway in 1951, but it was Arthur Freed who envisioned the story as a film musical and ultimately fought to get it made. Frenchwoman Leslie Caron was cast in the title role, and Maurice Chevalier was cast as Honoré Lachaille, a role that was expanded in the film version and which helped revitalize Chevalier's career. "Gigi" won numerous industry awards, including a total of nine Academy Awards, a record at the time, and is often considered to be one of MGM's best musicals. Interview with Leslie Caron (PDF, 1.42MB)

Writer Elinor Glyn pioneered risqué romantic fiction aimed at a female audience, and her 1927 Cosmopolitan magazine story defined "It" as "that quality possessed by some few persons which draws all others with its magnetic life force." Paramount saw the opportunity to capitalize on Glyn's popularity with a film by the same title, and cast one of their up-and-coming starlets, Clara Bow, whom Glyn claimed personified "It," according to the film's publicity. The frothy story of a salesgirl (Bow) who pursues her handsome playboy boss (Antonio Moreno) is best remembered for Bow's incandescence.Expanded essay by Dino Everett (PDF, 715KB)

Director Otto Preminger reveals a coldly objective temperament and a masterful narrative sense which combine to turn this standard 40s melodrama into something as haunting as its famous theme by David Raksin. Less a crime film than a study in obsession, the film's strength lies in downplaying the story (based on Vera Caspary's suspense novel) and emphasizing its seductive style thanks in part to the Oscar-winning camera work of Joseph LaShelle. As a tough detective (Dana Andrews) investigates the murder of Laura Hunt (Gene Tierney) he methodically questions the chief suspects: an acid-tongued columnist (Clifton Webb), a self-indulgent playboy (Vincent Price), and a wealthy "patroness" (Judith Anderson). The deeper he delves into the case, the more fascinated he becomes with the enigmatic mystery woman, falling in love with her portrait. While he sits in her apartment obsessing, the door opens, the lights go on, and in walks Laura, very much alive!