CAST AWAYS: Part VII

Rita Hayworth throws herself into the bullring and takes

down Tyrone Power in Blood and Sand.

Blood and Quicksand


In the Golden Era, the battle of Stars vs. the Studios was a constantly waged and painstakingly contained one. A star could use his or her box-office power to get away with a lot of things that the top dogs would otherwise refer to as "deviant behavior," but the moguls too had ways of getting their performers to toe the line. One method was "career threat." When a celebrity got too pushy or started to go too far, another, younger actor would be presented-- one who was almost a double of the alleged offender. This was the studio's way of saying: "Go ahead. Misbehave. There are plenty of people waiting to take your place." This ominous warning would often cause whatever diva was having a tantrum to back down. It was but one of many games in the dog-eat-dog world of Hollywood, where biting the hand that feeds was the appetizer de rigueur. Victims and villains were hard to tell apart: moguls thought that they were betrayed by the childish, narcissistic stars they had helped to create, and stars thought that they were abused, overworked, and under-appreciated by the greedy men behind the metaphorical curtain. In such an environment, if you weren't a business mastermind, it was often hard to keep your head above water. Suffice it to say, there were rarely winners, and mostly losers.

Carole Landis (left) was one of the many who played the game and lost, though her complete victimization by the system is not up for debate. An actress who was very far from the accepted cinematic Drama Queen, Carole was selfless, friendly, and hard-working. This did not, however, leave her free from punishment. Just being a woman in Hollywood was burden enough on its own. When Carole was signed at Twentieth-Century Fox, she quickly became accustomed to this fact. Early in her career, her beauty, singing talent, and natural charisma in front of the camera made her a prime pawn of actress intimidation. Low on the totem pole, Carole wasn't immediately given leading roles, for her box-office power hadn't been tested. Thus, her presence was used to intimidate other actresses-- whom she resembled in some respect-- and keep them in line. Alice Faye and Betty Grable were two unenthusiastic recipients of this maneuver. Her presence reminded them of their own career vulnerability. Carole, of course, was innocent of these studio machinations, and merely used whatever opportunity she had to better her standing and hone her acting skills. Slowly, with the help of the publicity machine and the public's growing attentions, Carole found her popularity rising. She gained a little position and started using it. Thus, she in turn found herself being equally intimidated by other actresses, some of whom snagged plum roles right out from under her.

A favorite beauty that Zanuck loved to use against Carole was Rita Hayworth (right), who was signed at rival studio Columbia Pictures. Zanuck's disdain for Carole had nothing to do with her professionalism and everything to do with her refusal to go to bed with him. After an initial affair, Carole put her foot down and claimed her independence, refusing to be further manipulated or taken advantage of. Zanuck thereafter went about trying to destroy her career, finding that nursing a bruised ego was more important than cashing in on a viable, talented asset. When a remake of Blood and Sand was presented to Fox for production, Carole was a front-runner for the role of Dona Sol, and she wanted it badly. But, instead of giving Carole a rich part that she could really sink her teeth into, not to mention one that could help to further her career, Zanuck paid Harry Cohn five times Rita Hayworth's salary to borrow her on loan-out for the role. He would commit the exact same crime when My Gal Sal was filmed, though Carole was allowed to remain in this picture. However, that time around she was forced to play a minor role beneath her stature, still under the starring Rita Hayworth. Rita, like Carole, was not guilty of any malevolence. In fact, the two had a lot in common, and were simply sweet women stuck in a rotten game. Today, it is hard to imagine anyone else beside Rita playing the seductive and heartless Dona Sol opposite Tyrone Power's toreador, but with Carole's equal talent and sex appeal, it makes one yearn for what could have been had she landed the part. The reason for the final outcome had less to do with perfect casting, and more to do with the fact that-- between the two of them-- the sensitive Rita was more apt to do as she was told. Carole??? She had less of a problem speaking her mind.


Love Me or Leave Me? Given the option...

Speaking of feisty women and toreadors, Hollywood's favorite She-Wolf, Ava Gardner, didn't take too kindly to orders. She too had had her fill of harsh studio treatment, and after playing nice for many years, she was no longer in the mood to sit back and do as she was told. After an arduous shoot on The Barefoot Contessa and an enduring, tumultuous marriage to Frank Sinatra, Ava now found herself in the hospital suffering severe pangs from kidney stones. MGM ordered her back to work starting on Love Me or Leave Me, but Ava was having none of it. For starters, they were ignoring her illness, claiming that she was "faking it," which ticked her off. Then, they offered her a part in a biopic musical (about the life of Ruth Etting) in which her voice would certainly be dubbed, which ticked her off more. After the humiliation of singing her heart out in Show Boat (left) only to have her voice replaced by Annette Warren, Ava was not about to go through an embarrassing repetition. She refused, mostly because she didn't like lip-syncing and looking like "a goddamn goldfish." At her wit's end emotionally and physically, she said "hell no" and headed for Europe, leaving the way free and clear for Doris Day, for whom co-star James Cagney had been enthusiastically rallying. Doris was known up to now as a pretty, ever-smiling songstress, but this role allowed her to indulge in her underutilized talents. The depth and pain she gave to her interpretation opened a lot of eyes, though she would rarely get this serious again. She soon after hit her stride in romantic comedies opposite the likes of Rock Hudson. As for Ava, she preferred Spain... and its bullfighters.

James Cagney fought to have Doris Day star opposite him in 

Love Me or Leave Me. He chose a perfect sparring partner, and the duo

 produced some poignant and painful scenes together.

Opportunity Always Rings Twice

The hot and heavy film noir masterpiece The Postman Always Rings Twice, whose success depended very much upon the chemistry of its leading characters, could have been a very different film. Originally, Joel McCrea was offered the role of Frank Chambers. However, Joel was always very astute about his career and his star persona, and he turned the role down, not thinking himself right for it. So, the offer was given to the darker, more rugged John Garfield, who was ecstatic at the opportunity. Unfortunately, just as filming was about to begin, WWII came roaring onto the scene, and John backed out of the film to fight overseas. Then, John was refused entree into the service because of his heart condition. Deeply upset, he felt that he had missed out on two golden opportunities: the role of a lifetime and the chance of a lifetime to serve his country. Luckily, MGM offered him the role again, and this time Chambers was his. This was a fortunate result. The steamy connection between John and Lana Turner (together, right) remains one of the most romantic and dangerous cinematic couplings of all time. Becoming thick thieves and pals behind the scenes helped them to create a trusting and relaxed environment, which left them free to explode on the screen. Joel McCrea could certainly hold his own with the ladies, but his boy-next-door, "aw' shucks" persona did not have the same edge nor sexual dynamism of Garfield. John would recall this film as one of his favorites, and his partnership with Lana did not end when the filming stopped: they remained lifelong friends.


Queen Kong???

When Merian C. Cooper embarked on his now iconic adventure film, King Kong, he had a clear vision. From the outlandish story to the bold and fascinating new special effects that he intended to use, he was determined to create an incredible new world for his viewers. However, he was also aware that making a film that starred a huge, stop-motion monkey was going to be a hard one for audiences to buy. He needed to give viewers an emotional connection, one which would allow them to suspend their disbelief and get swept up into the unimaginable universe which he had invited them. The key was in casting the right girl to play Kong's captive/daughter/love interest, Ann Darrow. The actress would need to be able to relay sincere reactions and emotions, ranging from feminine sensitivity to abject fear. Merian needed an unparalleled beauty, both inside and out, to kill his beast. He found it in Fay Wray, (left) who seemed born for the role by name alone, as her horrified shrieks provided a vast amount of the film's resulting soundtrack. When Merian first offered her the part, he told her very little other than that she would be starring opposite the "tallest, darkest leading man in Hollywood." Fay's heart, which was all aflutter at the prospect of working with Cary Grant, was quickly palpitating for other reasons when she learned the truth! Her part in King Kong remains her most famous performance, which has kept her very much alive in the public consciousness. This is fortunate for her, since the role almost when to Dorothy Jordan...or Jean Harlow! Jean's version certainly would have been interesting and perhaps a bit more provocative, though it would be hard to imagine a sweet and sexy Jean screaming at an ape for an hour. With her demeanor, they probably would have hunkered down and played a hand of cards after the first 5 minutes... All the better for Merian's decision: he needed a girl who could scream, not seduce!

A match made in Movie heaven. Fay's probably missing Cary about now...

HISTORY LESSON: Movie Stars and the Mob

Hollywood's favorite Gangster: James Cagney

There is something intoxicating about the element of danger, isn't there? All of our favorite actors possess it. Who is Brando without it? For that matter, who is Davis without it? Just as different celebrities hypnotize us through their various characters, so too were they mesmerized by a certain breed of the male animal that was even more intoxicating than themselves-- the gangster. Brutal, violent, merciless, not to mention unlawful, the birth of the thug came with the death of alcohol. In protecting human beings by taking away their booze, prohibition ironically unearthed an even more foul, yet even more tempting, villain. Iconically remembered with Tommy guns, cigars, and sometimes baseball bats (thanks to Robert De Niro's turn in The Untouchables), these tough guys emerged from a world of hard knocks and ruthlessness with no other agenda than to make a buck off other men's weaknesses. Businessmen and bruisers, they became rich and powerful through drugs, gambling, white slavery... You name it. Their legacy is a strange and dark mutation of the American dream. Living as the Royalty of the Underworld, it wasn't long before live villains started rubbing elbows with screen heroes. Elbows... and then some.

Why do good girls always want the bad boys? You'd think a lady would know to run far and fast when a man with a more-than-disreputable reputation came into view, yet the opposite effect more popularly occurs. Even some of our most beloved starlets have been hoodwinked by the charms of a devious gangster. Be it the allure of being that close to danger, the attraction of power, the money and spoils the "hood" is able to provide (however his means of obtaining them), certain women have temporarily muted their common sense for a forbidden adrenaline rush. One such lady was Lucille Ball (looking very much the gangster's moll in her role for Dance Girl Dance, left). As a fourteen year-old youngster, her first major boyfriend was a local hood named Johnny DeVita, whose resume included "chauffeuring" for his sketchy father-- aka transporting whiskey. Johnny was tough, which Lucille found a turn-on, and the fact that he carried a gun around made her even more enamored. However, not long after his dad was shot and killed, Johnny would find himself in Jail for his own transgressions. Lucy's taste didn't change much when she became a struggling model in NY. Working for Hattie Carnegie, she often came across gang members looking for good-looking dames to show a swell time. Lucy struck up friendships with many of these fellows, which helped her get a free meal or two, not to mention a false sense of protection. After a neighborhood shootout, she earned the nickname "two-gun." Just why remains a mystery.

Another tough guy Lucy would date and befriend was George Raft. Raft (right) had a lot of mobster ties dating all the way back to his boyhood. He had no ambitions to rise in the ranks of that type of "business," but he ingratiated himself to a number of wise guys who would later call on him for favors when he became a movie star. Mae West would recall meeting Raft for the first time when he was a mere chauffeur for Owney Madden. They had a brief fling, which left Mae reminiscing in later years that George was "all man." Mae, like Lucy, had a taste for the bad boys, but was too smart a business woman to get involved too deeply with them. Emotions remained out of the equation. Strangely, she tried to coerce Raft into appearing in her latest stage production, "Sex," but George had no ambitions toward being an actor either. He had no ambitions at all it seemed, other than to just live as comfortably as possible. It was thus a shock to Mae when, later, George made it to Hollywood before she did and secured a role for her in what would be her film debut: Night After Night. It was a welcome reunion. Despite this, Raft was known by some as hot-tempered and threatening. He still carried around a gun, cozied up to thugs, and had no qualms about slapping someone around. He would even testify on behalf of Bugsy Siegel when the latter was brought up on bookmaking charges. Yet, George seemed to have a soft spot for certain ladies. In addition to Mae, he was helpful to Lucy when he loaned her the money to rent her first bungalow in Hollywood. It was a touching move, for it allowed her to move her entire family from Jamestown to L.A. It would take her more than six years to pay him back, but her pal said that there was no rush.

Pat DiCicco also had mob connections. Publicly an acting agent, privately he was good friends with the likes of Lucky Luciano. Luckily, whatever fling Lucy Ball had with Pat was brief, but Carole Landis was too suckered by his deceptive charms. Initially turned on by his confidence and swagger, she soon found that her Prince Charming had some major rage issues. Their affair would quickly come to an end after a mysterious hospital visit: she was reported to be undergoing cosmetic surgery on her nose, though it is commonly believed that she was repairing the physical damage of a brutal beating. The girl was perfect, after all; she didn't need plastic surgery. Whatever the source of her visit, it marked the end of their relationship. Most notoriously, it was comedienne Thelma Todd who was all too seriously involved with Pat. The two were married in the 1930s (see newlyweds left). Like the others, Thelma fell for what she mistook as Pat's strength, only to find herself constantly on the receiving end of his anger and jealousy. A common error, most women sought these men in hopes of finding protection but put themselves in the line of fire instead... literally. As their marriage was ending, Pat introduced Thelma to Lucky Luciano aka Charles Lucifer, and the two began their own affair. But, as Lucky put the pressure on Thelma to give him space in her Sidewalk Cafe to use as a gambling center, Thelma adamantly refused. Consequently, she was found dead in her garage on December 16, 1935. Though Lucky was certainly the mastermind behind her "accidental" demise, many believed Pat too played an intricate part in ending his ex-wife's life. Since all of Tinsel Town knew this, it makes it strange that any other woman would give Pat a second glance, but in addition to winning over Lucy and Carole, Pat too would tac Joan Blondell, Gloria Vanderbilt, Virginia Bruce, and Elizabeth Taylor onto his roster.

Another infamous Hollywood death that has been tied to in some respect to gang warfare is that of The Black Dahlia, Elizabeth Short. Though many would attest that the macabre nature of her death and the precision with which she was brutally sawed in half suggested the work of a calculating psychopath or serial killer, there were also clues attached to her body that pointed to none other than Bugsy Siegel (right). One theory postulates that newspaper magnate Norman Chandler paid Siegel, along with the aid of a couple of other thugs and a doctor, to kill Bettie after she became pregnant with Norman's child. He feared the threat of a scandal and the tarnishing of his illustrious family's name. If so, this would explain the brutality with which Bettie was beaten across the head and face-- the sadistic Bugsy had a penchant for "pistol whipping." Because her uterus was removed, this too lends to the speculation that her murder was used to cover up an abortion/pregnancy. Also, her body was dumped not far from Bugsy foe Jack Dragna's house, and-- something the police did not let the press in on-- a "D" was carved into her skin, which many attribute to an antagonistic Sicilian "Eff you" from Bugsy to Dragna. With Bugsy's schedule, flying back and forth non-stop while finalizing his precious Flamingo Hotel in Las Vegas, it is possible that he was present to have just enough time to take part in the murder and, knowing him, enjoy it.

Whether or not he did play a role in Bettie's end, Bugsy had a very prominent role in Hollywood-- with both the women and the men. Whatever his sickening and reprehensible behavior in fact, he was able to at least concoct enough fiction to make him fascinating to all of the glitterati. He could be seen on the town at various shindigs, rubbing elbows with Clark Gable and Gary Cooper-- and George Raft, of course. Naturally, the man known as the handsomest thug too partnered up with several actresses, including Marie McDonald and Wendy Barrie. He was also in tight with Jean Harlow's abysmal step-father, Marino Bello, which put him in contact with Jean as well. (Harlow, of course, is also rumored to have had a relationship with Abner "Longie" Zwillman, who helped her secure her first acting contract. He too was said to carry around a locket containing hair from her... uh... nether-regions). Whether these actors truly liked Bugsy or merely tolerated him out of fear is uncertain. One would at least hope that they had their guards up. Most notoriously, Bugsy had a violent and torrential relationship with wannabe actress Virginia "Sugar" Hill (left), who was supposedly just as venomous and abusive as her lover. It would be at Virginia's home in Beverly Hills, 810 N. Linden Drive, where Bugsy would finally meet his maker and face the music for all of his worldly crimes. He was shot clean through the eye. His murder was believed to be payback for all of the money he owed his Flamingo investors.

But all of these names were floating around Hollywood for a reason. The Mob was moving West-- away from the Metropolises of New York and Chicago-- to do big business in show business. Names like Siegel, Luciano, Mickey Cohen, Meyer Lansky, and Frank Nitti are attached to Movieland for very specific reasons. One is now known as "The Great Hollywood Shakedown." Two lesser known names involved are those most responsible for what was to become an enormous extortion racket- Willie Bioff (right) and George Brown. Their scheme started in Chicago, where after dabbling in prostitution, they set their sights on the Stagehands Union. Step one, membership. The slogan was simple: join us you little, underpaid children... or be beaten within an inch of your life. Step Two, after Increasing dues, B&B threatened theater owners with "strikes" if they didn't pay up monthly fees for the use of the union members. Theater owners Sam Katz and Barney Balaban were some of the first hit with the new, raw deal. To keep their theaters running, they played the game, and business continued smoothly. Frank Nitti, Al Capone's heir, soon partnered up (or rather took over), and the venture moved West. Capone had already laid the ground work, and Nitti wanted to finish the job. With the corrupt Buron Fitts running things as the District Attorney in Los Angeles, a complete goon-takeover wouldn't be difficult.

Next, New York's Lucky Luciano (left) was brought into the loop in a temporary or at least feigned truce, and the two branches would work together to take over Tinsel Town. Adding the projectionists' unions and IATSE to the scheme, they could return to men like Balaban, now in Hollywood running Paramount, and demand huge payments to keep their theaters running and their studios filming. The film-businessmen would be forced to pay or suffer the consequences: the loss of their livelihoods or worse, the loss of their lives. All of the major studios were hit: Paramount, Warners, Twentieth-Century, MGM... Game, Set, Match. In a way, it worked for everyone. Under mob control, the studios ran more efficiently than ever, as long as they payed up, and moguls actually saved money paying the bad guys instead of paying the Unions directly. Needless to say, the union members were the ones getting truly and financially screwed. As hot-shot gang members became commonplace at Hollywood parties, corruption whipped into full swing. Producer Joe Schenck even got in on the action via a Dupont Film monopoly, for which he paid ol' Bioff off with a Ranch. The feds caught up with him, however, ironically from a tip from Montgomery Clift, then the SAG President, whose informants alerted the IRS to the fishy financial goings-on. Schenck served five years in prison as a result. By the end of the '40s, with the cat out of the bag, the whole troupe of accomplices was led into court both for participation in the extortion plot and tax evasion. Most would get off due to their connections, but some did not fare as well, including Nitti, who blew his own brains out when the prospect of facing jail time became too daunting. The only one who escaped completely was Lucky, who (after killing Thelma Todd), had left the whole racket, or rather was kicked out by his own partners, to return to New York. He was later deported back to his native Sicily where he would die in 1962 at the ripe old age of 69. One hopes his soul did not fare as well.

Frank Sinatra (right) was the man most notoriously associated with the Mafia in the latter days of Hollywood's golden age. It is common knowledge by now that it was through Old Blue Eyes's influence and mob connections that the Kennedys were able to buy their way into the White House. Of course, after they got what they wanted, the Prez quickly disappeared from Frank's life so that his pristine public image wouldn't be maligned. Frank was... ticked. (There are continuing theories that many members of the mafia, who had connections with the Kennedy family, were outraged by the political family's inability to "do business" properly. While many in America were shocked when JFK was shot dead, those in the underworld were not). Frank often overcompensated for his diminutive stature by surrounding himself by powerful people. His big voice and even bigger ego were all the guy needed, but his need to appear tough and throw his weight around was enhanced by his relationships with gangsters. Sam Giancana and Mickey Cohen were co-owners of Frank's Cal Neva Lodge. Skinny D'Amato was the manager. Frank was also throughout his life associated with Joe and Rocco Fischetti and John Formosa. While this made him somewhat of a moral and political threat, it equally boosted his fan appeal and public image. His male fans particularly were more intrigued when they learned that little Frankie was more than just a singing heartthrob for the ladies. He was a bad-ass mother-f*cker! Say what you will, no one messed with Frank. Well, almost. Frank got a little miffed at Lucille's beloved Desi Arnaz after he started producing "The Untouchables." He felt it was insulting to both Italians and "his friends." Yet, even after he tried to persuade his Cuban comrade to pull the plug, Desi sweet-talked him out of his anger. As Frank himself would say, "I just can't stay mad at the guy."

Edward G. Robinson takes a bullet and makes a hit in Little Caesar.

"The Untouchables" turned out to be a huge hit for Desilu Studios, and one of many Hollywood products that contributed to our understanding of gang warfare. The show would make Robert Stack a star, though his role was that of Det. Eliot Ness (a character reprised by Kevin Kostner in the film version). The show was, however, more about the triumph of good over evil, whereas earlier Hollywood films made in the gangster infiltration hey-day-- specifically those produced during the pre-code era-- had a tendency to glorify the thugs, the goons, and the hoods. It's funny that, aside from Sinatra and Raft, some of the actors most famous for playing these guys were very far from their screen selves. Edward G. Robinson, the infamous pug-faced actor who rose to fame in Little Caesar, was in life an educated aesthete who collected fine art, had a wide knowledge of music and culture, and could speak seven languages fluently. And Cagney, the mad hero of Public Enemy and White Heat? His portrayals of gangsters were convincing, because he observed them while growing up in the Lower East Side of NY. But, while he studied them, he did not assimilate, despite the fact that many of his friends did. He put his passions and angst into his art, becoming a song and dance man instead. His true self would come to the forefront in Yankee Doodle Dandy. Though admitted facades that could never possess the brutality of the real truth, the classic reel tales of booze, violence, and "bidness," are still offers we can't refuse. I guess the flesh and blood (and I do mean blood) realities were just as enticing for some celebs, though dancing with the Devil too often left then burned.

MENTAL MONTAGE: Who's Your Daddy?

Adoption seems to be a popular sport among today's celebrity elite. Sometimes a famous lady or gent has simply gotten impatient while waiting for Mr. or Ms. Right and decides to start a family on his or her own. Other times, a svelte actress may opt to visit the orphanage to protect her figure instead of having babes the ol' fashioned way. Then, of course, there is option three, wherein certain celebs become invested in a strange, maternal gluttony-- a la Mia Farrow or Angelina Jolie-- and keep adding to their litter like bitches in heat without the heat. (I suppose all the extra nannies help). Adoption in Hollywood is not a new phenomenon, however. Joan Crawford accrued a tally of four lucky (if you ask the younger two) or unlucky (if you ask the elder two) tots, and Cecil B. DeMille had only one legitimate daughter (Cecilia) before adding on another three, due to his wife's charitable love of children and alleged distaste of the marital bed. This brings me to the point of today's segment: those mysterious, adopted children who suspiciously resemble their new parents. Coincidence? Perhaps. But Scandal is much easier (and  more fun) to believe and, in Hollywood, almost always true.

Cecil ponders: how am I gonna pull this one over???

Returning to Cecil, he had an older brother, William (left), who was also a director. The two were very close and mutually respected each other. While Cecil went on to be a much more famous and powerful man in the business, he still looked up to and admired his big bro. Perhaps this is why, when Bill ran into a little trouble, Cecil was all too ready to offer his help. See, William had married Anna George in 1903. This, however, didn't stop him from having a few extramarital dalliances, including one with writer Lorna Moon. This affair led to the birth of a son, Richard, in 1922. In order to save his marriage and to save the child from an unknown fate, William asked Cecil to adopt the child as his own, so at least William could watch him grow up. Cecil agreed to the request, since he had already adopted two other children, John and Katherine DeMille. Cecil was known for having trysts of his own, most particularly with writer Jeanie Macpherson, actress Julia Faye, and secretary Gladys Rosson, though aside from Julia he never dabbled with his actresses, sensing the danger it would cause on the set. For this reason, Cecil held no judgement against his brother, and took on the task of raising Richard and supporting Lorna until her death of tuberculosis in 1930. It was publicly stated that the child was abandoned and left inside Cecil's car and that he took it in. This and Cecil's own checkered romantic life raised many eyebrows, and it was often incorrectly speculated that Richard was his own child. The only two people who supposedly knew the truth were the two brothers. Cecil kept the secret until after Bill's death, when, as agreed, he told Richard about his true parentage. This brought forth a rush of understanding on Richard's part, who, though always treated with the same love and tenderness as the other kids, suddenly understood both his uncanny feelings of somehow being "apart" from the rest of his family and his strange attachment to his mysterious Uncle Bill. However, it never changed his relationship with CB, who continued to treat him as his own son.

A sudden and questionable bundle of joy also arrived in (William) Wallace Reid's life in 1922. Wally (right) was the All American Boy whom no woman could resist, as many women of his time could attest. After successfully wooing and wedding actress Dorothy Davenport, the two became the delighted parents of Bill, Jr, Wally's pride and joy. However, as time wore on and the marriage cooled, Wally's hijinks and shenanigans did not. Living a fast-paced and debaucherous life as one of the most desired men in American-- and even the world-- this superstar found it hard to resist the temptations that came with fame and fortune. Of course, his outward bravado also hid a sensitive and somewhat sad overgrown boy who was constantly searching for comfort, whether it be in inebriation or the arms of an all too inviting woman. As such, it is rumored that Wally fathered a child out of wedlock with an extra girl, who appeared on his doorstep and begged his wife Dorothy to take the baby girl in as her own. Whether or not these are the exact circumstances is unknown, but Wally and Dorothy did adopt daughter Betty Anna Mummert in 1922. It is said that Wally, who loved being a father, adored her just as dearly as his "legitimate son," so much so that if anyone insinuated or mentioned the fact that she was adopted, Wally's eyes would turn red with anger. He could be seen playing with his two tots in his backyard on DeLongpre, where they enjoyed splashing around in the family's fashionable swimming pool. Many would recall the strange resemblance Betty had with her adopted father and sibling Bill, and it is also recorded that she inherited some of Wally's more tortured mental traits. After Wally died as a result of his morphine addiction in 1923, Betty would live for another fifty years, having become estranged from her remaining family. If she was in fact his true daughter, all concerned took that information to their graves.

Dorothy, Wally, Betty, and Bill, Jr.

Barbara La Marr (left) also allegedly adopted her own child in 1923. This task was much more daunting for a female, since she could not simply take on the child after its birth as the father could, but had to carry it to term without raising attention. Since producer Paul Bern had been pining away for Barbara for some time, and the newborn seemed to bear a slight resemblance to him, many opined that it was indeed his child. However, this throws a wrench in all of the rumors built up around Paul, which include the theory that he had infantile sex organs and was unable to pleasure future wife Jean Harlow, (coincidentally leading to his mysterious "suicide"). If in fact this whole story about Paul's anatomy was a fabrication concocted by Mayer to cover up Bern's mysterious death, his possible paternity of Barbara's child also begs the question why he wouldn't marry her when she became pregnant, since one hears nothing but how infatuated he was with her. It is possible that she simply turned him down, as she was not in love with him. (There were additional stories that Bern tried to drown himself in his own toilet when Barbara broke things off. Clearly, this was either an incredibly unstable man or one whose memory people loved to desecrate). In any case, the child is popularly believed to be Barbara's own, one that she placed in an orphanage temporarily to complete the ruse. Though the child's true father is unknown, there is another papa possibility- William Haines-- who was a constant "friend with benefits" to Barbara at this time.

But, the most famous case of celebrity "adoption" is the story of Judy Lewis (Mary Judith Clark), who was adopted by her own mother Loretta Young in 1937 (both pictured right). This one gets even juicier because not only was this lovely girl the offspring of one of the most gorgeous and powerful women in Hollywood, but her true father was none other than the King himself, Clark Gable. When Clark and Loretta met and began work on Call of the Wild, it wasn't long before the sparks started to fly, and Loretta's high Christian morals were soon overcome by Clark's charms. The two entered into an affair, he still being wed to Ria Langham at this point. Loretta, to her own shock and shame, became pregnant. Of course, there was no way to solve this disgraceful problem except to have the child aborted, which is what the studio wanted in order to protect both of their stars' images. However, Loretta's faith would not allow her to do so, so she concocted a plan: she would "take ill" in Venice Beach until the baby was born (on November 6, 1935) and place it in an orphanage (St. Elizabeth's Infant Hospital for unwed mothers) with the understanding that she would return within a matter of  months to adopt it. With the help of Irving Thalberg, this is exactly what she did. 

Clark and Loretta adhere to the Call of the Wild... 

and pay for it 9 months later.

Of course, everyone in Hollywood knew the real story, but for the press, Loretta went on the with act-- perhaps the best of her career. Clark made a few visits to mother and daughter after the birth, and by Nov. 30, Loretta gave her first interview, sans child, about how she had completely recuperated from her illness. Judy remained well taken care of, basically sitting in wait for her mother to return to her, which she did after a year and a half. The world bought the whole story, however, the secret became more difficult to hide as Judy aged. Not only did she resemble her mother greatly, but she had also inherited her father's trademark ears, which Loretta kept firmly hidden underneath a bonnet until she was forced to have them surgically pinned back. Later, after being prodded by a friend at school with the curiosity, Judith asked her mother why, if she were adopted, the two should look so alike? Loretta fumbled for an answer, stating that it was simply that they had spent so much time together and used the same mannerisms and way of speaking, etc. When the truth came out in Judy's early twenties, and Loretta was finally forced to confess to her daughter, she became so overwrought that she rushed to the restroom and threw up. Loretta had been tortured by both her love of Judith and her knowledge that she was the result of outright "sin." For Judith's part, once she knew and accepted the truth, she said that it made her feel whole for the first time in her life. And while her sketchy history and upbringing has become the stuff of Hollywood legend, she remains secure in herself and proud of both parents, despite their naughty, naughty ways. (Judy shows her resemblance to both parents, with mother Loretta, left).

There are certainly more stories from whence these dollops came, but uncovering them all would take a large chunk of time. The sad truth is that in these studio days, when celebrities were looked up to as Gods, it was intolerable for them to commit human errors. Many adhered to studio regulations when being punished for their immoral crimes, hence the number of "appendectomies" that female stars had to undergo. (Marlene Dietrich once quipped that abortion was the only studio supported method of birth control). For some, like the aforementioned, who chose to bravely go against the grain and have their children against studio objection, they still had to sacrifice honesty for a continued life of fame and fortune. Since most people in the community knew the truth, it makes one wonder why people chose to wear the facade of morality when all concerned knew that it was a facade. Between the shame of studio condemnation and the knowledge that a pious audience may too turn their backs on them, these players were forced to keep up the ruse and maintain their pristine reputations. As always, The Greatest Show on Earth takes place behind the cameras.