Tema: Cine Pre-Code (1930-1934)

Pedazo aportes de 42nd Street
Traeré los mios que por algun sitio pululan.
Sí.. gente top en el PreCode de la que nunca más se supo o muy poco.
Buen fin de semana

Gracias por todos los aportes!

En efecto, parece que 1933 fue un gran año para el cine musical; además de la citada "42nd Street", la Warner también estrenó "Gold Diggers of 1933" y "Footlight Parade". Luego también estaban los musicales de la Paramount que, aún sin contar con toda la parafernalia de las coreografías de Busby Berkeley, para mí son bastante disfrutables... buena prueba de ello son, por ejemplo, los muy pre-code "Murder at the Vanities" y "Search for Beauty", o bien, algunos de los protagonizados por Maurice Chevalier y Jeanette MacDonald, siendo "Love Me Tonight" el mejor de todos ellos (al menos en mi opinión).

Si la memoria no me falla, creo que "Aplauso" sólo contenía una pequeña secuencia musical al principio de la película, el resto era más bien un dramón puro y duro

Hablando de las hermanas Bennett, la más popular en aquella época sin duda era la mayor, Constance, que además tenía el honor de aparecer en todas las listas de las actrices mejor vestidas. Lo cual me lleva a Kay Francis, otra de las llamadas "clothes-​horse", además de la actriz mejor pagada de la época y, con su 1'75 de estatura, probablemente también la más alta:

Kay Francis by Otto Dyar, 1930:



“Behind the Make-Up”



“Paramount on Parade, Carmen, Episode: "The Toreador"



Screenland Magazine, June 1930



Parece que le estoy cogiendo el gusto a esto de cotillear las secciones de cartas de las revistas viejunas

Picture Play, March 1931

Sigo recuperando material...

Detalles Art Déco de "Trouble in Paradise"(Ernst Lubitsch, 1932), a cargo del magnífico director artístico Hans Dreier:



Todo lo cual me recuerda las ganas que tengo de volver a visitar uno de mis lugares favoritos: el Museo Art Nouveau y Art Déco de la Casa Lis en Salamanca

Es maravilloso el diseño de producción de Un Ladrón en la Alcoba, película por cierto que es una obra maestra sin paliativos. Creo que ni su aventajado aprendiz Wilder alcanzó los niveles de brillantez del maestro Lubitsch.

Iniciado por riobravo59

Es maravilloso el diseño de producción de Un Ladrón en la Alcoba, película por cierto que es una obra maestra sin paliativos. Creo que ni su aventajado aprendiz Wilder alcanzó los niveles de brillantez del maestro Lubitsch.

A mi me encanta también "Un ladrón en la alcoba", es maravillosa en todos los aspectos, que elegancia, que estilo, que clase...

Vamos con Garbo y alegría, una personalidad irrepetible del siglo XX:

https://www.tumgir.com/tag/Greta%20Garbo%20quote Gran blog dedicado. Y además incipiente, con futuro por delante....

"John Barrymore said he had a great reverence for Greta but he was frightened to death of her. "Not because she is difficult - far from it. But just because she is so perfect as an artist and as a woman, " he said, adding at the same time, "Why has no one ever said she has such a sense of humor? Do you know, she is always telling me some funny joke on the set and she sees little things to laugh at. Little things most people wouldn't notice. She's really most amusing."
- Mercedes de Acosta, Here Lies the Heart

"She liked walking around in Stockholm very much, we did laugh at her, because she spend more than four hours/day just walking, and walking and walking, and every time she was searching her old favourite places from her childhood. A person who always walked with her was Einar Nerman, and they where good friend. I could´t reach her at this time cause the was walking arround somewhere in Stockholm." "One time, they came in and laughed, they always had a lot of fun together, but I was looking at Einar and said to him. But Einar, you have been very skinny, and he said, of course, I'm forced to run after Greta all the time. Every time when she saw a poor person, she crossed the way and give him/her some money, she was very considerate, and that was very unswedish behaviour, I think she got it from Amerika." "She also was very philosophic, she was thinking a lot. Yes, she was very alone, but of course, she had a lot of friends, but we never talked about loneliness, but I remember ones, when I was asking her about it, and she just said, don't ask questions". Mimi Pollak talked about Garbo on Swedish TV in 1993.




“It is hard and sad to be alone, but sometimes it’s even more difficult to be with someone.… When we are here on Earth it would be so much more kind if for this short time we would be forever strong and young. I wonder why God preferred it this way … somewhere in this world are a few beings who do not have it as we have, of that I am certain.”
— Greta Garbo, letter to writer Salka Viertel, 1937.

“When the rain is falling like mad I dress up and go out... I always did that in California. I love the rain. Mad dogs and Englishmen, and Miss G.” (...) At heart, Garbo remained apart, from Gilbert and all others, deeply solitary and inscrutable. “I like it when it rains,” she told a reporter soon after she arrived in California. “Because when I walk in the rain I am separated from the world.”

"How to describe the next six enchanted weeks? Even recapturing them in memory makes me realize how lucky I am to have had them. Six perfect weeks out of a lifetime. This is indeed much. In all this time there was not a second of disharmony between Greta and me or in nature around us. Not once did it rain and we had brilliant sunshine every day. We saw a new moon and watched it grow to fullness, making the mountains and the water shine like silver and the snow on the far-off peaks glisten like polished crystal."
- Mercedes de Acosta on Greta Garbo, “Here Lies the Heart”

That visit had taken place before Garbo's six-month Swedish holiday. MGM, since then, had told Lubitsch he could direct a film called Ninotchka if he could persuade Garbo to star in it, and Salka Viertel arranged another meeting. Screenwriter Walter Reisch was also present and recalled:
Garbo arrived, said she was on a diet and would just listen as he discussed the film. Poor Lubitsch had ordered an immense meal— the antipasto, a dozen special dishes, and the chianti, and the frutti, and the cheeses were already on the table. "I never touch lunch," Garbo said. "All right," said Lubitsch. "I will eat and you listen." He started telling Garbo the story. He got more excited with each line, and forgot the food. An hour later, when he had finished talking, he looked at the table— it was cleaned out. Garbo had been so carried away by his enthusiasm that she had forgotten her diet and put away the whole meal.







No os lo perdáis.



MÁS.....




Bellísima, pero de una belleza bellísima única.

Con el británico Rex Harrison en Italia (1953):









Besos DE CINE CON MAYÚSCULAS


La sueca en 1959 durante una madurez enviadiable:




El encuentro de un joven Burt reynolds con..........GG

No nos olvidemos de ALELUYA (1929), de King Vidor, con un reparto exclusivo de afroamericanos o APLAUSO (1929), de Rouben Mamoulian.

Además fue en primeros musicales donde más (y mejor) se usó el Technicolor bicromático.

Por cierto, menudas trombas de agua que estamos teniendo por el norte. No me extrañaría nada ver al mismísimo Noé en su arca pasar por debajo de mi ventana.

Iniciado por Alcaudón

Por cierto, menudas trombas de agua que estamos teniendo por el norte. No me extrañaría nada ver al mismísimo Noé en su arca pasar por debajo de mi ventana.

Spoiler:

Y no es off-topic, que tiene mucho del pre-code con mad-doctor y Karloff de por medio