Posts Tagged ‘Movie Stars’

Barbara Stanwyck “The Woman in Red” Paper Doll

December 9, 2010

Barbara Stanwyck is one of the screen’s most versatile beauties. Her charm and talent, immediately recognized, has gained for her a large following. Here, we see Miss Stanwyck with a complete wardrobe she wears in “The Woman in Red,” a Warner Brothers-First National picture which deals with Chicago’s gold coast. “The Secret Bride” and “A Lost Lady” were other recent pictures in which she was featured.

NOTE: Click images to enlarge:

3. A beach costume of heavenly blue with darker blue cord at neck and girdle.

1. Formal dinner dress of gold lame with frills of gold satin across the shoulders, down the sleeves and forming the uneven motif at the bottom and train.

2. Spring print afternoon frock, fresh as a flower, with jade green pattern on beige background. The frills are of solid green chiffon and belt of jade green velvet has ornamental buckle.

4. Street ensemble of English tweed in shades of brown and tan, brown caracul trimming, with muff purse and toque to match, and brown crystal bracelet as an accessory.

5. Informal evening frock of white crepe without which no woman’s wardrobe is complete. The skirt is long and graceful, bodice beauty depending on a simple drape from shoulder to waistline accentuated with shirrings.

6. Luminous rose negligee for informal hours at home. Smart, high collar with frog fastenings down the front and all the insouciance of a Russian officer’s tunic.

7. White gabardine riding breeches with black cloth coat and vest, derby hat and imported patent leather boots. An overnight bag. party bag and monogram kerchief complete the dainty details of Milady’s wardrobe.

Brownsville Herald (Brownsville, Texas) May 5, 1935

At The Theaters

CAPITOL

“The Woman in Red,” Barbara Stanwyck’s latest starring vehicle for First National Pictures, shows Wednesday only at the Capitol, Brownsville. The picture is based on Wallace Irwin’s popular novel “North Shore” which is a glamorous romance with intensely dramatic scenes and replete with thrills.

The story deals with the romance of a young aristocratic Kentucky girl, portrayed by Miss Stanwyck who through family financial reverses, becomes a professional rider at society horse shows. She meets Gene Raymond in the role of a scion of a blue blooded Long Island family, also impoverished. It is love at first sight with both of them. But Miss Stanwyck’s employer, a part played by Genevieve Tobin, is herself madly in love with Raymond, and vows to break up the match between Miss Stanwyck and Raymond.

Brownsville Herald (Brownsville, Texas) Feb 19, 1935

Brownsville Herald (Brownsville, Texas) Feb, 20, 1935

Here is the movie trailer for The Woman in Red:

Moberly Monitor-Index (Moberly, Missouri) Mar 30, 1935

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This is the last “movie star” paper doll from the series that I could find.

Previous “movie stars” can be found at the links below:

Jean Harlow “Reckless” Paper Doll

Maureen O’Sullivan “West Point of the Air” Paper Doll

Marlene Dietrich “The Devil is a Woman” Paper Doll

Helen Hayes “Vanessa, Her Love Story” Paper Doll

Jeanette MacDonald “Naughty Marietta” Paper Doll

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For other paper dolls, such as, Etta Kett and Boots, just search the blog for “paper doll.”

Jeanette MacDonald “Naughty Marietta” Paper Doll

November 5, 2010

JEANETTE MAC DONALD was born in Philadelphia and as early as she was able to think of anything seriously, she had ambitions to become a singer or dancer. It was Ned Wayburn of Broadway fame who first gave her opportunity and encouragement. From his revues she graduated to a small part in “Irene,” famous musical success. Eventually she earned a screen test and was selected by Ernst Lubitch for the lead in “The Love Parade.” She was an instant success. Her glorious voice created a new vogue in musical pictures and she was starred in many, among them being “The Vagabond King” and “Love Me Tonight.” She now is under contract with MGM and stars in Victor Herbert’s operetta, “Naughty Marietta.”

2. Knife pleating features this long tunic evening gown from the personal wardrobe of Jeanette MacDonald. It is of rose beige crepe. The overskirt ties at the waist and rows of pleating trim the neckline front and back.

FASHION NOTES

1. An evening gown of white crepe with unusual three-quarter tunic interpretation. It is worn with a pale blue chiffon drape, muffler effect, about the throat.

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3. The old fashioned bertha collar and basque waist of yesteryear are modernized in this lovely creation of heavy candy striped taffeta.

4. Charm is the keynote of this blister organdy gown. The dress is featured by its pleated ruffles around the hem and shoulders and the hand embroidered floral decorations on the skirt.

5. This beautiful creation is one of the lovely costumes worn by Miss MacDonald in her screen version of Victor Herbert’s operetta, “Naughty Marietta.” It is of turquoise blue taffeta and white organza. The plumed hat and an old fashioned necklace may be worn with this costume.

6. This luxurious gown is the last word in style and comfort. The blouse is made of gold metallic cloth with full, flowing sleeves. The tiny pleatings at cuff and shoulder and large black buttons are its only decorations. The skirt is of black slipper satin.

The Brownsville Herald (Brownsville, Texas) Apr 28, 1935

From the Brownsville Herald (Texas) April 28, 1935

NELSON EDDY TRIUMPHS AT FOX OAKLAND

‘Naughty Marietta’ Takes On New Life in Hands of Personable Opera Star

By WOOD SOANES

FOR NEARLY three years Nelson Eddy has been drawing salary at M-G-M and exercising his voice everywhere but on the screen. Yesterday at Fox Oakland he stepped forth to make his debut and a triumph simultaneously in “Naughty Marietta,” the old Victor Herbert operetta with Jeanette MacDonald.

As proof of the vocal charm of Eddy and Miss MacDonald, even the reiterated “Ah, Sweet Mystery of Life,” which has been dinned into the ears of radio listeners since the days of the crystal sets, takes on new life and excitement and the other Herbert numbers are equally well treated.

Eddy is a personable fellow, not as yet a good actor, but an excellent singer and the possessor of a forthright screen personality. He rambles through the role of the bluff young scout of pioneer days, handles the romantic assignment easily and makes one wonder why M-G-M has been hiding him.

Miss MacDonald does not fare so well in the role that was originally made famous by Emma Trentini. Perhaps she was worried by the traditions surrounding it, perhaps the presence of an established opera star opposite her instead of a music hall Chevalier, bothered her. At all events most of her singing seemed strained and over-eager.

But whether she is easy or not in all of the Herbert score, she makes and attractive picture as the princess who ran away from it all to marry a commoner. She plays the role naturally and with restrained light comedy, she is properly plaintive in her troublous moments and she goes into pretty rages when things do not please her.

“Naughty Marietta” will come as a boon to the lovers of Herbert music. In the balmiest days of the stage it never ______ed a production comparable with this one that Hollywood turned out, for which due praise should be accorded the versatile W.S. VanDyke. He took no liberties with Herbert yet he preserved an up-to-date outlook.

“Naughty Marietta” gets under way in France where a rebellious princess is standing out against the King who would force her into a marriage of convenience in order that he may force her into attendance at Versailles. She flees the country, disguised as a scullery maid on the boat that is taking a load of prospective brides to the pioneers of New Orleans.

There after many adventures with pirates, scouts, the king’s men and frontier marionettes, she does a second escape with the man she loves, and the distant wilderness as a goal. “Naughty Marietta” covers a lot of territory and VanDyke’s only fault was in the cutting room where he permitted the story to run too long.

Some of the memorable songs in “Naughty Marietta” are the familiar Italian Street song, “Chansonette” in which Miss MacDonald did especially well, “Tramp, Tramp, Tramp” a lusty marching song, and “I’m Falling in Love With Some One.” While the picture is essentially a musical there are chuckles too with Frank Morgan and Elsa Lanchester attending to them.

A color cartoon dealing with the adventures of calico warriors; Clark and McCullough in one of their moments of madness and the usual short subjects complete a long bill but a melodious one.

Oakland Tribune (Oakland, California) Apr 29, 1935

From the Brownsville Herald (Texas) April 1935

Here is a YouTube video clip from Naughty Marietta, with Jeanette McDonald and Nelson Eddy singing, “Ah, Sweet Mystery of Life.”

Marlene Dietrich “The Devil Is a Woman” Paper Doll

September 28, 2010

The glamorous Marlene is easily one of the most famous and popular of all screen actresses. Always known as one of the best dressed women of the world, her admirers will thrill at sight of the gorgeous clothes she wears in “The Devil Is a Woman,” a picture of Spanish atmosphere produced by Paramount.

4 — A modish beach ensemble of blue “trow” worn with a very new cut white bathing suit.

1 — This new silhouette of white chiffon is a perfect ode to grace and is from the personal wardrobe of Marlene Dietrich. The drape across but one shoulder and the bold green silk carnation lend a masterful touch of sophistication.

2 — This modernized yet typical Spanish costume is one of many worn by Miss Dietrich in her latest picture.

3 — The distinctive wing shoulder treatment of this handsome gown by Travis Blanton sets a new style note. The material is of two-tone black and green satin.

5 — Spanish influence is apparent in this lovely gown of white chiffon. It is worn with combination cape and scarf of antique lace and with the broad trimmed lace hat shown at lower center.

6 — This lovely dinner suit is of black costume velvet, a fabric which will persist in appearing even through the summer months. The skirt is narrow but slit for walking comfort while the coat is cut exceptionally full providing a chic contrast.

Brownsville Herald (Brownsville, Texas) May 26, 1935

This is brutal:

Previews of the New Films
By Douglas W. Churchill

‘The Devil Is a Woman’

Josef von Sternberg and Marlene Deitrich combine to produce a picture even worse than “The Scarlet Empress,” their last previous attempt. A boring, psychopathic treatise which the reviewer refuses to give any rating. (Paramount.)

This last picture of the Josef von Sternberg-Marlene Dietrich combination is one to be approached with deference. The first impulse is to dismiss the work with some trite phrase such as “the worst film of many seasons.” But while that is true of “The Devil Is a Woman,” there is something awe-inspiring in the ability of one man to command the vast resources of a great cinema factory and spend probably three-fourths of a million dollars in concocting a psychopathic treatise in celluloid.

When the two made “Scarlet Empress” its showing provoked condemnation and controversy. There were elements in that film which merited discussion, inexcusable as the picture was. “The Devil Is a Woman” lacks any quality impelling contemplation of it as screen entertainment. As for Mr. von Sternberg contending for critical consideration, this current film denies him all right to recognition in the future. Once he was the hope of the screen, for he projected new treatment and new thought into it; he has overstepped the bounds of reason and has delved into the realm of Freudism. And instead of the audience’s attention being directed toward the psychosis of the characters, it involuntarily turns upon the director.

The film made under the title of “Caprice Espagnole,” which was considered too large a mouthful for movie customers and lacking sex appeal, deals with two old friends meeting in a Spanish town during a carnival. Caesar Romero has seen Miss Dietrich and is to meet her in the evening. Lionel Atwill tells him the story of his life and how Marlene has wrecked it, eliciting a promise from Romero that he will leave town immediately. Drawn to Marlene by Atwill’s horrifying account of the woman, he is forced into a duel with Atwill and, with Marlene, flees the country. At the border she turns back to Atwill.

The story is told in retrospect, each episode returning to the table where the two men sit. After a few words from Atwill, another sequence is pictured. The whole thing is tedious and reaches a new high in boredom.

Paramount, which sanctioned the making of the film, has indicated that with it they are through with von Sternberg. They have indicated, too, that they will attempt to hold Miss Dietrich, for they feel that she can be salvaged in spite of the abnormal stories von Sternberg has given her. In other industries such an act as that of the director would virtually drive him from business, but in the cinema he will probably go to another studio at a higher salary.

There is no one to blame but von Sternberg. He made the picture without supervision. While John Dos Passo and S.K. Winston are credited with transforming the Pierre Louys book, “The Woman and the Puppet,” to a script, their writing was on von Sternberg’s order. He directed and acted as cameraman. Of all his efforts, only his camera work can receive favorable mention. The picture is one to be avoided at all costs and deserves no rating.

Oakland Tribune (Oakland, California) Mar 17, 1935

A picture instinct with the breath-taking beauty and color of Spain, “The Devil Is a Woman,” comes to the  Paramount theater Thursday and Friday, bringing Marlene Dietrich back to the screen to enact her greatest characterization. Movie critics up and down the eastern seaboard have acclaimed “The Devil Is a Woman” as Miss Dietrich’s most fascinating and glorious picture characterization of her entire career. Few, if any, pictures from either Hollywood or the European studios can boast the pictorial beauty of “The Devil Is a Woman.” Also included in the case of this most entertaining drama are such stars as Lionel Ateill, Cesar Romero, Edward Everett Holton, Alison Skipworth and Don Alvarado.

Hammond Times (Hammond, Indiana) Sep 4, 1935

Maureen O’Sullivan “West Point of the Air” Paper Doll

September 11, 2010

Maureen O’Sullivan, sparkling MGM star, truly is Ireland’s gift to Hollywood. Her winsome Irish beauty, laughing eyes, dark brown hair and impulsive giggle have made her a favorite with patrons of motion pictures everywhere. Although she has appeared in many productions, she is best remembered, perhaps, for her work in two Tarzan pictures. Here, this 24-year-old daughter of Old Ireland is shown with some of the gowns she wears in “Westpoint of The Air,” new MGM production.

1. A smart white wool bathing suit worn with a copper colored sail cloth skirt.

2. A feminine flying costume fashioned from white gabardine.

Hats to go with the various outfits.

3. This chic suit is of cocoa colored rabbits hair material shot with gold threads, a practical garment for traveling.

4. There is no soot or dust to modern air travel so Maureen O’Sullivan chooses this smart all white knit suit for the purpose.

5. For bridge or informal teas, this lovely ruffled white satin blouse ensemble is most appropriate. It is worn with black elbow length gloves, black satin skirt and large picture hot.

6. One of the new Spring prints worn with cape and belt of matching material.

7. This attractive gown features tiny pleated ruffles around the hemline, neck and sleeves. The material is white cross-barred organdy.

8. A beautiful evening gown of greenish cast silver lame, fashioned with sweeping train and high-cut bodice.

Brownsville Herald (Brownsville, Texas) Apr 21, 1935

Hammond Time (Hammond, Indiana) Aug 17, 1935

Nevada State Journal (Reno, Nevada) Apr 9, 1935