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carole lombard color 00

Lombard at 'Liberty'...and in love

Posted by vp19 on 2012.03.11 at 11:13
Current mood: curiouscurious


It's the fall of 1936, and Carole Lombard, whose performance in "My Man Godfrey" is drawing both big crowds and critical praise, is increasingly being seen around town with Clark Gable. While Lombard's romantic life has been publicly discussed for several years -- it's part of the price an actress pays for movie stardom -- aligning herself with the popular Gable only amplifies the scrutiny.

So it came as no surprise that coverage extended beyond the usual suspects, the fan magazines and syndicated newspaper gossip columnists. The Nov. 14 issue of Liberty magazine, a popular general-interest weekly of the day, got into the act with an article, "Is Carole Lombard In Love At Last?"



This is as close as I've come to seeing the original article, and the print is frankly too small to read. But thanks to the fine website dearmrgable.com, I don't have to -- it's found the article and printed it word for word (http://dearmrgable.com/?page_id=4258). I thank it for doing that, and reprint it here for your pleasure:
_________________________________________

Is Carole Lombard in Love at Last?

By Frederick Lewis

Liberty magazine, November 14, 1936


Romantically speaking, the most important news to come out of Hollywood this year is the often-repeated story that Carole Lombard and Clark Gable are in love.

At first practiced observers close at hand were inclined to set down all this talk as just another fan writer’s disordered dream.

Carole, the socially mad! Clark, the socially rebellious! It didn’t seem possible.

Now, Hollywood is looking forward confidently to the marriage of this strangely assorted pair.

The wedding won’t take place next week or next month. It can’t. For one thing, there’s Mrs. Gable.

Property settlements are hard enough to arrange in any divorce. They are especially difficult in California. And when the divorce is in California and there’s also a seven-year movie contract at five thousand dollars a week -- well, a property settlement is hell.

Not that Rhea Gable is the grabbing sort. She had more money than Clark had when she married him, and she has it still. But even if she were inclined to let Gables be bygones, her lawyers won’t let her. Right now Clark Gable is just beginning to cash in on the world’s greatest drawing power. You can be sure they won’t let Rhea give him up too easily to any Botticelli blonde.

But Carole Lombard is a Botticelli with a square chin. She is a girl who gets what she wants -- and she wants Clark Gable.

So, you say, do fifty million other women.

True; but Carole has the advantage of propinquity. She can move right in close -- and does. For months, now, she and Clark have been so close as to be practically indistinguishable to the naked eye.

Carole has another advantage: Clark Gable wants her.

And why shouldn’t he? Venus de Milo is five feet four inches tall. So is Carole. Venus’s hips are thirty-six inches around. So are Carole’s. Venus’s bust measure is thirty-four and three quarters inches. Carole’s is thirty-four. Venus’s waist is twenty-eight and a half inches. Carole’s -- listen, Venus! -- is twenty four.

Carole wasn’t always that way. Back in the Mack Sennett days she was decidedly on the plump side. Even when she broke into big time at Paramount, she was a “sixteen.” But Madame Sylvia pummeled her down to a “twelve” in thirty days -- and she has never gained a pound since.

Carole is very proud of her acquired symmetry. She wears the tightest dresses in Hollywood, with as little under as the law allows. Production was held up for minutes not long ago while the property department found her a pair of white silk panties.

Of her face she thinks little or nothing. Photographers think a great deal. She shares with Dietrich and Colbert the distinction of having had her picture taken more than two hundred thousand times. This is some kind of all-time record, which only Jean Harlow, Joan Crawford, and Loretta Young have even approached.

Aside from her physical perfections, Carole Lombard is just about the squarest shooter in Hollywood. She has a glorious flair for friendship. Madeline Fields -- Fieldsie to all Hollywood -- was a sister bathing beauty in the Sennett tank. She has been with Carole ever since as companion and secretary.

When the reporters cracked down on Clark Gable to find out if he has picked his next wife, the big boy was characteristically noncommittal. All he would say about the hypothetical new love -- he hadn’t fallen for Miss Lombard then -- was: “She’s got to be a good sport and have a sense of humor.”

Carole has shown herself a good sport in many different ways -- never more effectively, perhaps, than in keeping her cheerful optimistic attitude through a childhood in Fort Wayne, Indiana, which was shadowed by the unhappy marriage of her father and mother.

“It left scars on my mind and heart,” she once said.

Her mother, Mrs. Elizabeth Peters, brought her to Los Angeles when she was seven. She was Jane Peters then. Later Jane Alice Peters; then Carol Jane Peters; then Carol Lombard; then Carole Lombard. The Lombard came from an old friend of her mother. The "e" on the Carole came from a numerologist’s say-so.

At fifteen she went to a party, sat next to a Fox Film official, and came home with a movie contract. Her first role was in "Marriage in Transit," opposite Edmund Lowe. The critics gave her a hand. Her future seemed assured. Then a runaway motorcar busted itself into a tree and Carole’s face into the windshield. It would have been good-by career for most girls, but not for Carole. She went to the best plastic surgeon in California, and -- well, you can judge for yourself as to results.

On the screen the heavy make-up powder hides all trace of the scar. Even across the dining table, where I sat not so many moons ago, it is wholly imperceptible. But if it hadn’t been for the girl’s own gameness and patience, all might have been different.

“My mouth was so stiff,” she explains, “that for several months I could hardly move it. I just had to keep a stiff upper lip!”

She has kept it ever since. When she recovered, her studio had troubles of its own and forgot all about the plump little girl who had played with Eddie Lowe. Undismayed, she took her curves over to Sennett’s laugh factory and sold them camerawise, as Gloria Swanson and Marie Prevost and Phyllis Haver had done before her.

Then, as the Sennett vogue passed, she played a season in the horse operas with Tim Mix and Buck Jones. She was good. But the horse age was passing, too. So the glamour girl hung up her saddle, took off her poundage, and went in for heavy dramatics on the Paramount lot.

All of which is by way of showing that Carole squares perfectly with Clark Gable’s first requirement. As for her sense of humor, she is an incurable ribber. In the early stages of her palship with Gable, he was emerging from a triumphant Chinese Theater premiere of one of his pictures, autographing programs, waving to cheering multitudes, when a Western Union boy bearing a huge ham fought his way through the crowd. On the outside wrapper was Gable’s own picture. Inside was Carole Lombard’s card.

A few weeks later, on the eve of St. Valentine’s Day, he drove his car into the garage of the Beverly Hills Hotel, where he was staying, and steered for his usual stall.

“I’m afraid it’s already occupied, Mr. Gable,” said the watchman.

Clark got out, and, to his amazement, discovered a dilapidated Model T Ford, painted white, with a pattern of large red hearts. Tied around the body was a huge red ribbon with a card reading: “To My Valentine, from Carole Lombard.”

This isn’t a pose. She has an insatiable appetite and a bottomless capacity for amusement. “I’d like never to do anything in my whole life but laugh,” she once said.

It is easy to see how this would appeal to a somewhat repressed but actually fun-loving fellow like Gable. Both Josephine Dillon, his first wife, and Rhea Langham, his second, were thoroughly serious women. Both were ten years older than he. In Carole -- imaginative, modernistic, unconventional, and oh, so young! -- he finds the exact antithesis of the women he had known.

Here is a girl who talks in a brisk slangy lingo; who is frankly thrilled by sapphire jewelry, perfumes, new hairdresses, and sleeping raw; who is ready at a moment’s notice to go more places and do more things than Josephine and Ria ever dreamed of.

But don’t think that there is anything childlike about Carole Lombard’s mind. Latterly she has acquired a poise which amounts almost to dignity -- and a well-aimed eye for the main chance.

A good deal of this worldly wisdom was doubtless acquired in Carole’s frequent jousts with Cupid in the years before she met Clark Gable. In 1931, when she married Bill Powell, she declared that she had already experienced six of the seven kinds of love, and that the one with Junior, as she always called Powell, was to be the seventh. In other words, it is not so much a question whether Carole is in love at last as it is whether she is in love again.

On her prenuptial list were child love, which she claims to have felt deeply at the age of eight for a playmate named Ralph Pop; emotion or physical love, which she sent in for in her teens (in a nice way, of course); ideal love, which doesn’t exist; on-the-rebound love; companionship love, which is all right in its way but doesn’t get you anywhere; maternal love, which takes a little boy and sends him on a man’s errand; and, as she naively added, “real love -- my love for Junior, Junior’s love for me.”

They met in a picture called "Ladies' Man," which Bill Powell certainly was not at that time. Five years of unhappiness with his first wife, Eileen Wilson; five years of separation before divorce; a long lonely mood-shadowed absence in Europe -- then Carole. At their first meeting they talked nine hours. But it was months before Bill could persuade her to marry him.

“We’ll never get on,” she used to say at this period. “Bill will strangle me -- or, at least, he’ll want to. He likes order and dignity and an organized kind of life. I can’t live that way. I always do whatever occurs to me at the moment. Bill won’t be able to stand me. He wants to marry and settle down. I couldn’t settle down. It would kill me!”

Following this blast, they were married. Whereupon Bill blossomed socially into the most popular man in Hollywood. Now he went everywhere and did everything. He even outdid his wife in perpetrating practical jokes and laughable folderal.

Everybody commented, too, how much love had done for Carole. She became lovable, tender, still witty but with less sting. She seemed suddenly to mature, to acquire graciousness.

But hard luck dogged the young wife’s footsteps. She became ill on her honeymoon, and remained so, off and on, throughout the first year of her marriage. She would no sooner get started on a picture than she would have to quit.

Bill worried about her. There is no doubt but that he tried to get her to give up her career and take it easy. Well, Carole has fought hard for the position she holds and she isn’t the type that gives up easily.

Then, too, there was the question of hours. Bill was making a few big pictures a year. Carole, at that time, was making a good many smaller ones. Between pictures Bill would want to run away for a little vacation. If he did so, he ran alone. So they talked it all over one Fourth of July morning. “Bill and I are adult persons,” Carole explained -- and the next day Carole was on her way to Reno.

All Powell would say was, “For Carole and me there simply was no married life.”

Their story that there had been no quarrel was accepted by Hollywood as true -- and their conduct after Carole returned abundantly confirmed it. Divorce seemed to make little or no difference to the friendly relations between them. The very first night after her return, Gloria Swanson gave a dinner for them, then the Barthelmesses, then the Clive Brooks. They were seen tete-a-tete at the Derby, the Grove, the Colony, and the Culver Club. They went to the premiere of "Dinner at Eight." When Ronnie Colman came home from the Goldwyn wars, Carole gave him a party -- such a party! -- and borrowed Bill’s house to give it in.

Of course the pace couldn’t last. The studios were calling. Bill went into his routine. Carole went into her dance; it was "Bolero," with George Raft. Presently the gossips went to work.

Carole’s bungalow dressing room on the Paramount lot is right next door to Gary Cooper’s. Here is a social center for Paramount players. Everybody is always dropping in -- but the fan writers make a good deal of the fact that tall Gary was among the droppers.

Cooper was, at that time, at the peak of his romance with Countess di Frasso. Everybody knew that. When someone ran to Bill Powell, he laughed: “A romance with Gary? Don’t be crazy!”

Then the gossips switched, first to George Raft -- who, it turned out, was concerned only because he couldn’t have his own favorite cameraman and was forced to take Carole’s -- and later to Gene Raymond. But Carole squelched all these rumors with: “I do not believe that screen stars should marry.”

Soon, however, she had fallen under the spell of Russ Columbo’s golden voice and ebony eyelashes. When he met his tragic death, she put on black.

“Russ and I loved each other,” she explained. “Eventually, I believe, we would have married. How soon I don’t know. His love for me was the kind that comes rarely to any woman. I never expected to have such worship, such idolatry, such sweetness from any man.”

But she promptly consoled herself with Bob Riskin, champion screen writer. He was not only seen everywhere with Carole, but was said to do his most inspired writing in the patio of her new house. All she would say was: “I have always attached myself to interesting minds, to people who stimulate me mentally and spiritually.”

It can’t be that Bob’s mental stimulus died. He wrote "Mr. Deeds Goes to Town" after he was superseded in Carole’s affections. So it must have been something spiritual that the brawny Mr. Gable supplied.

Mrs. Donald Ogden Stewart, wife of the writer, was not strong enough for an evening party, so Donald and Clark and Jock Whitney threw an evening party for her in the daytime. Hollywood arrived for luncheon at the Stewart homestead in full evening dress. Practically all of the guests had assembled when gongs sounded, an ambulance backed up to the front door, and a beautiful lady in startling white and ostrich-plume hat was carried in on a stretcher. It was Carole.

Now, Gable had seen Carole before. They had played together in "No Man of Her Own." But that was when they were both married and working hard at it. Now Clark was separated from Rhea, Carole divorced from Bill. All afternoon they were inseparable. They have been ever since.

Will it last?

With Carole, yes. Whatever she may been before, there is no doubt about her being in love at last.

There was a little flurry when Carole and her delightful ex went to Universal to play in "My Man Godfrey." Jean Harlow, who had moved into the blonde vacancy in Bill’s life, was said to be not a bit keen about it. How Clark felt, nobody knows.

But after it was all over Bill went back to Jean, and Carole -- well, it can’t be said that she had really left Clark, but she is certainly with him now.

Whether she will be with him a year from now, five years from now, depends largely on whether she is willing to fit into his life.

I know Clark Gable. He won’t keep up this social whirl long. And now he is running around with the partyingest girl in the cinema capital.

Bill Powell followed the Lombard pace for two years.

How long will Gable follow it?

Will he follow it to the altar?


_________________________________________

Some thoughts on this article, after noting that the picture directly above features the men labeled Carole's first five Hollywood lovers (William Powell, Gary Cooper, George Raft, Gene Raymond -- who I have never heard romantically aligned with Lombard -- and Russ Columbo):

* The Sennett-era Lombard "decidedly on the plump side"? True, she was a few pounds heavier, and curvier, than her '30s self, but no one would have confused her with Madelynne Fields.

* Unless she consulted a numerologist before 1925, the "adding 'e' to Carol" story doesn't hold up; we have documented proof (http://carole-and-co.livejournal.com/394176.html).

* "At fifteen she went to a party, sat next to a Fox Film official, and came home with a movie contract." Hadn't heard this story before, so I have my doubts, especially because Lewis was either unaware of, or decided to ignore, that Jane Alice Peters had appeared in a 1921 movie.

* Lewis gets Lombard's career trajectory wrong, placing her Sennett career before her work with Buck Jones (and if Carole made a movie with Tom Mix, I'm not familiar with it).

* While Lewis' line, "They met in a picture called 'Ladies Man,' which Bill Powell certainly was not at that time," has some dramatics to it, the assertion is incorrect. The first Lombard-Powell film was "Man Of The World," made earlier in 1931.

* Lewis has Lombard sending Gable a ham as a gag gift early in their relationship, but that incident actually took place a few years earlier, at a wrap party for "No Man Of Her Own." Want proof? Here it is:



* It's obvious Lewis used a Photoplay article from October 1933, "There are 7 Kinds of Love," as source material (http://carole-and-co.livejournal.com/100718.html).

* Had never heard that Robert Riskin did some of his screenwriting on the patio of Lombard's Hollywood Boulevard house. Of course, he probably did his share of work -- and play -- inside the house as well.

* Was Jean Harlow really concerned about Powell working with his ex Carole in "My Man Godfrey"? By the spring of 1936, Lombard and Harlow knew each other, and certainly Jean was aware that Carole was becoming involved with Gable. Moreover, Lombard and Powell had been publicly socializing since shortly after their divorce.



Earlier today, we noted Lombard had cruised to an 80-16 win over Gail Patrick in the first round of the 2012 Favorite Classic Movie Actress Tourney, and listed results of the other matches in the Silents/1930s bracket. Here are results from the other three brackets:

1940s:
"Funny Ladies/Girls Next Door"

#1 Rosalind Russell 58, #8 Jeanne Crain 17
#2 Lucille Ball 53, #7 Maureen O'Hara 37
#3 Eve Arden 35, #6 Teresa Wright 27
#4 Jane Wyman 47, #5 Donna Reed 43

"Singers/Dancers"
#1 Judy Garland 57, #8 Margaret O'Brien 12
#2 Rita Hayworth 48, #7 Hedy Lamarr 19
#3 Ann Miller 34, #6 Virginia Mayo 24
#4 Betty Grable 39, #5 June Allyson 25

1950s:
"Singers/Dancers"

#1 Doris Day 47, #8 Jane Russell 22
#2 Debbie Reynolds 40, #7 Jane Powell 21
#3 Cyd Charisse 46, #6 Dorothy Dandridge 14
#4 Vera-Ellen 32, #5 Leslie Caron 27

"Funny Ladies/Girls Next Door"
#1 Judy Holliday 46, #8 Pier Angeli 10
#2 Marilyn Monroe 53, #7 Joanne Woodward 13
#3 Thelma Ritter 45, #6 Eva Marie Saint 17
#5 Janet Leigh 49, #4 Jayne Mansfield 13

1960s:
"Singers/Dancers"

#1 Julie Andrews 53, #8 Jeanne Moreau 12
#2 Shirley MacLaine 49, #7 Edie Adams 16
#3 Ann-Margret 33, #6 Raquel Welch 27
#4 Shirley Jones 39, #5 Rita Moreno 23

"Funny Ladies/Girls Next Door"
#1 Natalie Wood 52, #8 Stella Stevens 9
#2 Jane Fonda 41, #7 Patty Duke 16
#3 Sandra Dee 35, #6 Glynis Johns 23
#5 Hayley Mills 35, #4 Tuesday Weld 22

The second round begins Monday (Lombard will face Jean Arthur beginning Thursday).
To vote in Silents/1930s, go to http://mythicalmonkey.blogspot.com.
To vote in 1940s, go to http://rosalind-russell.blogspot.com.
To vote in 1950s, go to http://dawnschickflicks.blogspot.com.
To vote in 1960s, go to http://www.poohtiger-allgoodthings.blogspot.com.

Comments:


June Alex Ferris
June Alex Ferris at 2012-03-11 16:15 (UTC) (Link)

Am I imagining it?

Hey, in all these many years of devotion to both Carole and Clark, I just noticed something I had not seen before....or didn't want to. Ah, denial. Carole seems to have aged quite a bit from 36 to '39 and after. Life with the Man? Tell me it's just the lighting. June
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