By Ruth Barton
Hedy Lamarr's existence was once punctuated through salacious rumors and public scandal, however it was once her attractive seems and vintage Hollywood glamour that constantly captivated audiences. Born Hedwig Kiesler, she escaped an unsatisfied marriage with palms broker Fritz Mandl in Austria to aim her success in Hollywood, the place her outstanding visual appeal made her a display legend. Her infamous nude function within the erotic Czech movie Ecstasy (1933), in addition to her paintings with Cecil B. DeMille ( Samson and Delilah, 1949), Walter Wanger ( Algiers, 1938), and studio govt Louis B. Mayer catapulted her fascinating and provocative attractiveness as a high-profile intercourse symbol.
In Hedy Lamarr: the main appealing girl in Film, Ruth Barton explores the various aspects of the display legend, together with her lifestyles as an inventor. operating with avant-garde composer and movie scorer George Antheil, Lamarr helped to enhance and patent unfold spectrum know-how, that's nonetheless utilized in cellular phone verbal exchange. even though, regardless of her display character and medical good fortune, Lamarr's own existence triggered particularly a scandal. A string of failed marriages, a lawsuit opposed to her writer concerning her sensational autobiography, and shoplifting fees made her notorious past her celebrity.
Drawing on wide study into either the recorded truths of Lamarr's existence and the rumors that made her infamous, Barton acknowledges Lamarr's contributions to either movie and expertise whereas revealing the arguable and conflicted girl beneath. Hedy Lamarr: the main attractive girl in Film illuminates the lifetime of a vintage Hollywood icon.
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Extra resources for Hedy Lamarr: The Most Beautiful Woman in Film (Screen Classics)
10, 1939, reproduced in The Merritt Crawford Papers, ed. : University Publications of America, 1986), microﬁlm, reels 3, 4. See also Charles Musser, Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company (Berkeley: University of California Press, 1991), 209. 4. : University Publications of America, 1985), 11. 5. Percy Williams, “The Orpheum, Week commencing October 27, 1902,” unpublished Managers’ Report Books, vol. 0, p. 33, Keith/Albee Collection, University of Iowa, Iowa City.
On colored prints of A Trip to the Moon, see also Jacques Malthête, “Les Bandes cinématographiques en couleurs artiﬁcielles, un exemple: Les ﬁlms de Georges Méliès coloriés à la main,” 1895, no. 2 (1987): 7, n. 16; Jacques B. Brunius, “Passé, present, futur du cinéma en couleurs,” pt. 1, Cinéma-tographe, no. 1 (March 1937): 14. 52. Thomas Elsaesser, unpublished conference paper, cited in Richard Abel, The Ciné Goes to Town: French Cinema, 1896–1914, rev. ed. (Berkeley: University of California Press, 1998), 61.
References courtesy of Louis Pelletier. 10. Herbert Birett, Das Filmangebot in Deutschland, 1895–1911 (Munich, Germany: Filmbuchverlag Winterberg, 1991), 541. 11. Mauro Conciatori, “ ‘Le fantasie luminose’ di Georges Méliès nei cinematograﬁ italiani,” in “ ‘Verso il centenario’: Méliès,” ed. Riccardo Redi (Rome: Di Giacomo, 1987), 52; Aldo Bernardini, Gli ambulanti: Cinema italiano delle origine (Gemona, Italy: Cineteca del Friuli, 2001), 92. 12. Jean-Jacques Meusy, Paris-Palaces, ou les temps des cinémas (1894–1918), rev.