Carole Lombard was born
Jane Alice Peters on 6th October 1908 to a wealthy family
in Fort Wayne, Indiana. She was the third child of Frederic Peters
(1875–1935) and Elizabeth "Bessie" Knight Peters. Caroles
parents had a strained marriage and in October 1914, her mother took
the children and moved to Los Angeles.
Carole attended Virgil
Junior High School, where she was a tomboy and excelled in sports.
While playing baseball caught the attention of the film director
Allan Dwan, which led to her screen debut in A Perfect Crime (1921).
The movie wasn't widely distributed but the expirience spurred Carole
on to look for further film work. The teenager attended several
auditions, but none were successful. While appearing as the queen of
Fairfax High School's May Day Carnival at the age of 15, she was
scouted by an employee of Charlie Chaplin and offered a screen test
to appear in his film The Gold Rush (1925). Lombard was not given the
role, but it raised Hollywood's awareness of the aspirant-actress.
Her test was seen by the Vitagraph Film Company, who expressed an
interest in signing her to a contract. Although this did not
materialize, the condition that she adopt a new first name ("Jane"
was considered too dull) lasted with Lombard throughout her career.
She selected the name "Carol" after a girl she played
tennis with in middle school
In October 1924, at the
age of 16, she signed a contract with the Fox Film Corporation for
$75-per-week. She abandoned her schooling to embark on this new
career. Fox were happy to use the name Carol, but unlike Vitagraph
they disliked her surname. From this point she became "Carol
Lombard", the new name taken from a family friend.
The majority of Carole's
appearances with Fox were bit parts in low-budget westerns and
adventure films.She got her first break the following year opposite
Edmund Lowe in the successful drama Marriage in Transit. Soon dropped
by Fox following a car accident which left a scar on her face.
Carole appeared in 15
short films of Pathé Exchange between September 1927 and March 1929,
and then began appearing in feature films such as High Voltage and
The Racketeer. After a successful one-off appearance opposite Warner
Baxter in Fox's The Arizona Kid, she signed a contract with Paramount
Pictures who cast her in the Buddy Rogers comedy Safety in Numbers
(1930).
In 1930, Lombard returned
to Fox for a one-off role in the western The Arizona Kid. It was a
big release for the studio, starring the popular actor Warner Baxter,
in which Lombard received third billing. Following the success of the
film, Paramount Pictures recruited Lombard and signed her to a
$350-per-week contract (gradually increasing to $3,500-per-week by
1936)Lombard began appearing in comedies with William Powell such as
Man of the World and Ladies Man. Carole had been a fan of the actor
before they met, attracted to his good looks and debonair screen
persona, and they were soon in a relationship. The differences
between the pair have been noted by biographers: she was 22,
carefree, and famously foul-mouthed, while he was 38, intellectual,
and sophisticated. Despite their disparate personalities, Lombard
married Powell on June 6, 1931, at her Beverly Hills home.The
marriage to Powell increased Lombard's fame, and the two would
continue to occasionally star together throughout the 1930s.
Carole continued to please
critics with her work in Up Pops the Devil and I Take this Woman
(both 1931). In reviews for the latter film, which co-starred Gary
Cooper, several critics predicted that Lombard was set to become a
major star. She went on to appear in five films throughout 1932. No
One Man and Sinners in the Sun were not successful, but Edward
Buzzell's romantic picture Virtue was well received. After featuring
in the drama No More Orchids, Carole was cast as the wife of a
con-artist in No Man of Her Own. Her co-star for the picture was
Clark Gable, who was rapidly becoming one of Hollywood's top
celebrities. The film was a critical and commercial success. It was
the only picture that Gable and Lombard, future husband and wife,
made together.
In August 1933, Lombard
and Powell divorced after 26 months of marriage. At the time she
blamed it on their careers, but in a 1936 interview she admitted that
this "had little to do with the divorce. We were just two
completely incompatible people." She appeared in five films that
year, beginning with the drama From Hell to Heaven and continuing
with Supernatural, her only horror vehicle. After a small role in The
Eagle and the Hawk, a war film starring Fredric March and Cary Grant,
she starred in two melodramas: Brief Moment, which critics enjoyed,
and White Woman, where she was paired with Charles Laughton.
The year 1934 marked a
high point in Lombard's career. She began with Wesley Ruggles's
musical drama Bolero, where she and George Raft showcased their
dancing skills in an extravagantly-staged performance to Maurice
Ravel's "Boléro". Before filming began, she was offered
the lead female role in It Happened One Night, but turned it down
because of scheduling conflicts with this production. Bolero was
favorably received, while her next film, the musical comedy We're Not
Dressing with Bing Crosby, was a box office hit.
Lombard was then recruited
by the director Howard Hawks, a second cousin, to star in his
successful comedy film Twentieth Century, a pioneering film in the
screwball comedy genre, which also proved a watershed in her career
and made her a major star. Hawks had seen the actress inebriated at a
party, where he found her to be "hilarious and uninhibited and
just what the part needed",and she was cast opposite John
Barrymore.
The next films Lombard
appeared in were Henry Hathaway's Now and Forever (1934), featuring
Gary Cooper and the new child star Shirley Temple, and Lady by Choice
(1934), which was a critical and commercial success. The Gay Bride
(1934) placed her opposite Chester Morris in a gangster comedy, but
this outing was panned by critics. After reuniting with George Raft
for another dance picture, Rumba (1935), Lombard was given the
opportunity to repeat the screwball success of Twentieth Century. In
Mitchell Leisen's Hands Across the Table (1935), she portrayed a
manicurist in search of a rich husband, played by Fred MacMurray.
Critics praised the film and it is remembered as one of her best
films. The pairing of Lombard and MacMurray proved so successful that
they made three more pictures together.
Lombard's first film of
1936 was Love Before Breakfast, described by Gehring as "The
Taming of the Shrew, screwball style". In William K. Howard's
The Princess Comes Across, her second comedy with MacMurray, she
played a budding actress who wins a film contract by masquerading as
a Swedish princess. The performance was considered a satire of Greta
Garbo, and was widely praised by critics. Lombard's success continued
as she was recruited by Universal Studios to star in the screwball
comedy My Man Godfrey (1936). William Powell, who was playing the
titular Godfrey, insisted on her being cast as the female lead;
despite their divorce, the pair remained friendly and Powell felt she
would be perfect in the role of Irene, a zany heiress who employs a
"forgotten man" as the family butler. The film was directed
by Gregory LaCava, who knew Lombard personally and advised that she
draw on her "eccentric nature" for the role. My Man Godfrey
was released to great acclaim and was a box office hit. It received
six nominations at the 9th Academy Awards, including Lombard for Best
Actress.
By 1937, Lombard was one
of Hollywood's most popular actresses and also the highest-paid star
in Hollywood following the deal which Myron Selznick negotiated with
Paramount that brought her $450,000, more than five times the salary
of the U.S. President. As her salary was widely reported in the
press, Lombard stated that 80 percent of her earnings went in taxes
but that she was happy to help improve her country. The comments
earned her much positive publicity, and President Franklin D.
Roosevelt sent her a personal letter of thanks.[80]
Her first release of the
year was Leisen's Swing High, Swing Low, a third pairing with
MacMurray. The film focused on a romance between two cabaret
performers, and was a critical and commercial success. It had been
primarily a drama, with occasional moments of comedy, but for her
next project Lombard returned to the screwball genre. The producer
David O. Selznick was eager to make a comedy with the actress,
impressed by her work in My Man Godfrey, and hired Ben Hecht to write
an original screenplay for her. Nothing Sacred, directed by William
Wellman and co-starring Fredric March, satirized the journalism
industry and "the gullible urban masses", with Lombard
playing a small-town girl who pretends to be dying and finds her
story exploited by a New York reporter. Marking her only appearance
in Technicolor, the film was highly praised and was one of Lombard's
personal favorites.
Lombard continued with
screwball comedies, next starring in what Swindell calls one of her
"wackiest" films, True Confession (1937). She played a
compulsive liar who wrongly confesses to murder. Lombard loved the
script and was excited about the project, which reunited her with
John Barrymore and was her final appearance with MacMurray. Her
prediction that it "smacked of a surefire success" proved
accurate, as critics responded positively and it was popular at the
box office.
True Confession was the
last film Lombard made on her Paramount contract, and she remained an
independent performer for the rest of her career.[89] Her next film
was made at Warner Bros., where she played a famous actress in Mervyn
LeRoy's Fools for Scandal (1938). The comedy met with scathing
reviews and was a commercial failure, with Swindell calling it "one
of the most horrendous flops of the thirties".
Fools for Scandal was the
only film Lombard made in 1938. By this time, she was devoted to a
relationship with Clark Gable. Four years after their teaming on No
Man of Her Own, the pair had reunited at a Hollywood party and began
a romance early in 1936. The media took great interest in their
partnership and frequently questioned if they would wed. Gable was
separated from his wife, Rhea Langham, but she did not want to grant
him a divorce. As his relationship with Lombard became serious,
Langham eventually agreed to a settlement worth half a million
dollars. The divorce was finalized in March 1939, and Gable and
Lombard eloped in Kingman, Arizona on 29 March. The couple—both
lovers of the outdoors—bought a 20-acre ranch in Encino,
California, where they kept barnyard animals and enjoyed hunting
trips.
While continuing with a
slower work-rate, Lombard decided to move away from comedies and
return to dramatic roles. In 1939 she appeared in a second David O.
Selznick production, Made for Each Other, which paired her with James
Stewart to play a couple facing domestic difficulties. Reviews for
the film were highly positive, and praised Lombard's dramatic effort;
financially, it was a disappointment. Lombard's next appearance came
opposite Cary Grant in the John Cromwell romance In Name Only (1939),
a credit she personally negotiated with RKO Radio Pictures upon
hearing of the script and Grant's involvement. The role mirrored her
recent experiences, as she played a woman in love with a married man
whose wife refuses to divorce. She was paid $150,000 for the film,
continuing her status as one of Hollywood's highest-paid actresses,
and it was a moderate success.
Lombard was eager to win
an Academy Award, and selected her next project—from several
possible scripts—with the expectation that it would bring her the
trophy. Vigil in the Night (1940), directed by George Stevens,
featured Lombard as a nurse who faces a series of personal
difficulties. Although the performance was praised she did not get
her nomination, as the sombre mood of the picture turned audiences
away and box-office returns were poor. Despite the realization that
she was best suited to comedies, Lombard completed one more drama:
They Knew What They Wanted (1940), co-starring Charles Laughton,
which was mildly successful.
Accepting that "my
name doesn't sell tickets to serious pictures",Lombard returned
to comedy for the first time in three years to film Mr. & Mrs.
Smith (1941), about a couple who learn that their marriage is
invalid, with Robert Montgomery. Lombard was influential in bringing
Alfred Hitchcock, whom she knew through David O. Selznick, to direct
one of his most atypical films. It was a commercial success, as
audiences were happy with what Swindell calls "the belated happy
news ... that Carole Lombard was a screwball once more."
It was nearly a year
before Lombard committed to another film, as she focused instead on
her home and marriage. Determined that her next film be "an
unqualified smash hit", she was also careful in selecting a new
project. Through her agent, Lombard heard of Ernst Lubitsch's
upcoming film: To Be or Not to Be, a dark comedy that satirized the
Nazi takeover of Poland. The actress had long wanted to work with
Lubitsch, her favorite comedy director, and felt that the
material—although controversial—was a worthy subject. Lombard
accepted the role of actress Maria Tura, despite it being a smaller
part than she was used to, and was given top-billing over the film's
lead, Jack Benny. Filming took place in the fall of 1941, and was
reportedly one of the happiest experiences of Lombard's career.
When the U.S. entered
World War II at the end of 1941, Lombard traveled to her home state
of Indiana for a war bond rally with her mother, Bess Peters, and
Clark Gable's press agent, Otto Winkler. Lombard was able to raise
over $2 million in defense bonds in a single evening. Her party had
initially been scheduled to return to Los Angeles by train, but
Lombard was anxious to reach home more quickly and wanted to fly by a
scheduled airline. Her mother and Winkler were both afraid of flying
and insisted they follow their original travel plans. Lombard
suggested they flip a coin; they agreed and Lombard won the toss.
In the early morning hours
of January 16, 1942, Lombard, her mother, and Winkler boarded a
Transcontinental and Western Air Douglas DST aircraft to return to
California.[note 9] After refueling in Las Vegas, TWA Flight 3 took
off at 7:07 p.m. and approximately 23 minutes later, crashed into
"Double Up Peak" near the 8,300-foot (2,500 m) level of
Potosi Mountain, 32 statute miles (51 km) southwest of Las Vegas. All
22 aboard, Lombard and her mother included, plus 15 army servicemen,
were killed instantly.
Gable was flown to Las
Vegas after learning of the tragedy to claim the bodies of his wife,
mother-in-law, and Winkler, who aside from being his press agent had
been a close friend. Lombard's funeral was held on January 21 at
Forest Lawn Memorial Park Cemetery in Glendale, California. She was
interred beside her mother under the name of Carole Lombard Gable.
Despite remarrying twice following her death, Gable chose to be
interred beside Lombard when he died in 1960.
Lombard's final film, To
Be or Not to Be (1942), directed by Ernst Lubitsch and co-starring
Jack Benny, a satire about Nazism and World War II, was in
post-production at the time of her death. The film's producers
decided to cut part of the film in which Lombard's character asks,
"What can happen on a plane?" out of respect for the
circumstances surrounding her death. When the film was released, it
received mixed reviews, particularly about its controversial content,
but Lombard's performance was hailed as the perfect send-off to one
of 1930s Hollywood's most important stars.
At the time of her death,
Lombard had been scheduled to star in the film They All Kissed the
Bride; when production started, her role was given to Joan Crawford.
Crawford donated all of her salary for the film to the Red Cross,
which had helped extensively in the recovery of bodies from the air
crash. Shortly after Lombard's death, Gable, who was inconsolable and
devastated by his loss, joined the United States Army Air Forces.
Lombard had asked him to do that numerous times after the United
States had entered World War II. After officer training, Gable headed
a six-man motion picture unit attached to a B-17 bomb group in
England to film aerial gunners in combat, flying five missions
himself. In December 1943, the United States Maritime Commission
announced that a Liberty ship named after Carole Lombard would be
launched. Gable attended the launch of the SS Carole Lombard on
January 15, 1944, the two-year anniversary of Lombard's
record-breaking war bond drive. The ship was involved in rescuing
hundreds of survivors from sunken ships in the Pacific and returning
them to safety.
In 1962, Mrs. Jill Winkler
Rath, widow of publicist Otto Winkler, filed an unsuccessful lawsuit
for $100,000 against the $2,000,000 estate of Clark Gable in
connection with Winkler's death in the plane crash with Carole
Lombard. The suit was dismissed in Los Angeles Superior Court. Mrs.
Rath, in her action, claimed Gable promised to provide financial aid
for her if she would not bring suit against the airline involved.
However, Mrs. Rath stated, she later learned that Gable settled his
claim against the airline for $10. He did so because he did not want
to repeat his grief in court and subsequently provided her no
financial aid in his will.
Carole Lombard's Legacy:
Carole was among the most
commercially successful and admired film personalities in Hollywood
in the 1930. She was particularly noted for the zaniness of her
performances.
In 1999, the American Film
Institute ranked Lombard 23rd on its list of the 50 greatest American
female screen legends, and she has a star on the Hollywood Walk of
Fame, at 6930 Hollywood Blvd. Lombard received one Academy Award for
Best Actress nomination, for My Man Godfrey. Actresses who have
portrayed her in films include Jill Clayburgh in Gable and Lombard
(1976) Sharon Gless in Moviola: The Scarlett O'Hara War (1980),
Denise Crosby in Malice in Wonderland (1985), Anastasia Hille in RKO
281 (1999) and Vanessa Gray in Lucy (2003).
Lombard's Fort Wayne
childhood home has been designated a historic landmark. The city
named the nearby bridge over the St. Mary's River the Carole Lombard
Memorial Bridge.
Quotes:
♥ I
live by a man's code, designed to fit a man's world, yet at the same
time I never forget that a woman's first job is to choose the right
shade of lipstick.
♥ Relax,
Georgie, I'm just making my collar and cuffs match.
♥ Bill
Powell is the only intelligent actor I've ever met.
♥ I've
lived by a man's code designed to fit a man's world, yet at the same
time I never forget that a woman's first job is to choose the right
shade of lipstick.
tiffany and co, michael kors outlet, true religion jeans, coach purses, polo ralph lauren outlet, coach factory outlet, oakley sunglasses, ray ban sunglasses, true religion jeans, tiffany and co, burberry outlet, ray ban sunglasses, michael kors outlet, longchamp outlet, nike free, nike shoes, prada outlet, louis vuitton, air max, louboutin, louis vuitton outlet, jordan shoes, air max, burberry outlet, tory burch outlet, oakley sunglasses, louis vuitton outlet, louis vuitton outlet stores, longchamp handbags, prada handbags, coach outlet store online, coach outlet, louis vuitton handbags, michael kors outlet, michael kors outlet, polo ralph lauren, chanel handbags, gucci outlet, kate spade outlet, kate spade handbags, michael kors outlet, louboutin outlet, louboutin shoes, oakley sunglasses cheap, longchamp handbags, michael kors outlet, christian louboutin
ReplyDelete