During the filming of Gilda, Harry Cohn, who was obsessed with Rita Hayworth and endlessly lusted after her, began to suspect that something was up between his two stars; a situation that made him very agitated. Cohn learned that Glenn and Rita did not go home after work but hid out together in Rita’s dressing room until later in the evening. One day the studio boss summoned Glenn to his office to talk about it.
Glenn described their meeting:
I went to see him. He was very unpleasant. He demanded to know what Rita and I were up to — he knew exactly how long we were in the dressing room together. When I told him we were rehearsing and just having a couple of drinks at the end of the day, he snorted that he wasn’t going to keep the studio open all night anymore, and we were to go right home after work.
The situation became ridiculous. We found out that Harry had planted listening devices in the dressing rooms. We were both furious. But then we decided to play a joke on Harry. Just for Cohn’s microphones we acted out a scene like we could never have gotten away with in the movie. I’d start groaning, “Oh Rita…come on, baby, give it to me!” And Rita would moan back, “Oh, Glenn, that’s great…yes, yes!!” Rita would repeat the refrain from the song “Amado Mio” from the film, “Love me forever and let forever begin tonight.”
Harry never picked up on our mischief. Sometimes we’d have to rush out of the dressing room because we were laughing so hard and didn’t want the microphones to pick it up.
3/100 photographs of Grace Kelly
Kisses in Fred Astaire & Ginger Rogers films
Portraits by Armando Seguso for Gone with the Wind, directed by Victor Fleming, 1939
Some of the Gables’s candid footage.
Favorite Films: Sunset Blvd. (1950)
They took the idols and smashed them, the Fairbankses, the Gilberts, the Valentinos! And who’ve we got now? Some nobodies!
Ingrid Bergman in Notorious (Alfred Hitchcock, 1946)
Elizabeth Taylor and Montgomery Clift on the Paramount lot
during a break in filming A Place in the Sun, 1950.
“I’ll never forget the day Marilyn and I were walking around New York City, just having a stroll on a nice day. She loved New York because no one bothered her there like they did in Hollywood, she could put on her plain-jane clothes and no one would notice her. She loved that. So as we we’re walking down Broadway, she turns to me and says ‘Do you want to see me become her?’ I didn’t know what she meant but I just said ‘Yes’- and then I saw it. I don’t know how to explain what she did because it was so very subtle, but she turned something on within herself that was almost like magic. And suddenly cars were slowing and people were turning their heads and stopping to stare. They were recognizing that this was Marilyn Monroe as if she pulled off a mask or something, even though a second ago nobody noticed her. I had never seen anything like it before.”
- Amy Greene, wife of Marilyn’s personal photographer Milton Greene
Must the roles I play be tragic, full of Oscar-winning magic, should I drink the cup of drama to its dregs? Or do you think it is permissable to be for once quite kissable and give them a peep of my leg?
Filming behind the scenes of Casablanca (1942)