Tag Archives: turner classic movies

Olivia de Havilland, Allison Janney, and Right of Publicity in the California Courts

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Going about my day this afternoon, an opinion piece in the Los Angeles Times entitled “What Does Olivia de Havilland Have Against Allison Janney?” came to my attention. Following the de Havilland case closely as I have been, there are some things from the article that I would like to address and discuss.

First of all, full disclosure–I am not a lawyer. I have, however, scrutinized the ins and outs of the case, and have read the briefs in detail. I have also familiarized myself with certain precedents in the California legal system that would be either detrimental or favorable to de Havilland’s side.

The author of the piece in question is Jennifer E. Rothman, a respected law professor at the Loyola Law School in Los Angeles, who has written a book entitled The Right of Publicity: Privacy Reimagined for a Public World. The book champions rights held under the First Amendment, as well it should. In this day and age, when the First Amendment is frequently under attack from the highest officeholders in our government, recognition of our rights is more important than ever. I thank Ms. Rothman for her very timely and important work on the subject of First Amendment rights and how they relate to intellectual property law.

Constitutional rights are not absolutes, and don’t hold in every circumstance. The court has acknowledged that the Olivia de Havilland suit is indeed a First Amendment issue, but when FX filed an anti-SLAPP motion (to have the case thrown out as frivolous), the court found that de Havilland’s side had enough merit to potentially override FX’s First Amendment protections. In her article, Rothman referred to the “transformative” test in California courts, which says that a work must significantly transcend literal depictions of a person to ensure that the work is artistic and not an imitation. If they meet the transformative test, they are protected by the First Amendment. Because, to give one example, Feud copied de Havilland’s exact outfit when she presented at the Academy Awards, the lower court has ruled that the transformative test does not apply.

Rothman references Allison Janney in I, Tonya, opening the article with “If two-time Academy Award-winning actress Olivia de Havilland had her way, Allison Janney would not win an Oscar on Sunday night for her portrayal of Tonya Harding’s mother in I, Tonya.” However, I see some key differences between Janney’s portrayal and this case. I, Tonya includes a disclaimer at the beginning and makes clear that the interviews depicted are actual interviews. They are recreated throughout, word for word. It’s reality–or at least it’s someone’s interpretation of reality. It is clear where the interviews end and the dramatic interpretations begin. Feud created an interview with de Havilland that did not exist, and did not make it clear that it was not based in reality. The series does not make a distinction between what is reality and what is not. If someone were to be unfamiliar with Olivia de Havilland and watch Feud, that person might think that de Havilland actually filmed that interview, gossiped about others and called her sister a “bitch” (the vulgar way that Feud had her talk is one of the bases for the suit). I myself wondered if the interview invented by Feud was simply one I had somehow missed. I, Tonya differentiates between the dramatic and the real. Feud doesn’t.

I would like to touch, also, on two cases that Rothman cites in the article–Zacchini v. Scripps-Howard Broadcasting Co. (one in which a human cannonball performer sued for his act being broadcast on TV) and Sarver v. Chartier (the “Hurt Locker” case). Zacchini won his suit in the Supreme Court, and though Rothman says that was an unusual case that lower courts have struggled with, the wording in that decision is relevant to the de Havilland case: that it upholds “the right of publicity in a variety of contexts where the defendant appropriates the economic value that the plaintiff has built in an identity or performance.” This is exactly what de Havilland alleges Feud did. From the original suit:

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Sarver v. Chartier attempted to use the Zacchini case to uphold their argument, but the court threw out the case because he did not benefit financially from his own image in the same way that Zacchini did–and in the way Olivia de Havilland does. The Sarver case shows us that the court does indeed see a difference between an image having economic value for the individual, and not. Going back to I, Tonya, Tonya Harding’s mother does not intrinsically derive economic value from her image. Olivia de Havilland, as an actress and a public figure, depends on it.

We will see what happens at the appellate court on March 20, and it will surely be fascinating to watch. Thanks for reading!



Marion Davies’ 121st birthday


Marion Davies was born on this date in 1897. She and her nephew, the screenwriter Charles Lederer, always celebrated their birthdays together on New Year’s Day (Lederer was born on December 31), but January 3 was the actual date of her birth.

January of 1897 is one of the warmest Januarys on record for Brooklyn, where Marion was born. The fact that she was born during a warm spell is symbolic of her life–Marion became known as one of the warmest and most tenderhearted people in the entire film colony, generous to a fault, with always a nice and encouraging word to say to the underdog. She was a vivacious, bubbling personality, with a true gift for comedy and mimicry that shone through in many of her film roles.

Marion Davies has been the focus of my life for the past 4 years. In November of 2013, I began the process of writing a biography about Marion–and have traveled the world in search of people and information relating to the life of this remarkable woman. Every moment has been a joy. A biographer lives with the biographical subject all day, every day, and I can’t think of anyone in whose presence I would rather spend my days than Marion Davies. I really like her immensely, which is a true gift for a writer.

As the book enters its final stages of completion, I will keep Backlots readers posted about its progress. In the meantime, in honor of Marion’s birthday, I would highly recommend checking out a few of her movies. Here are a few of my recommendations, with clips for each:

Show People (1928)

Probably Marion’s finest film from a technical standpoint, Show People is tightly woven, funny, and self-aware. In the clip below, you can see how Marion enjoyed herself on set, and how adept she was at using her face for comedy.

The Patsy (1928)

This is where Marion really gets to show us her stuff. The Patsy is the film that demonstrates the best of what Marion was capable of doing, and it’s a knockout. Her talent for mimicry is shown in impressions of silent stars Mae Murray, Lillian Gish, and Pola Negri. If you’ve never seen a movie with any of these stars, rest assured that these impressions are spot on.

Quality Street (1927)

Though primarily known among silent film fans for her comedic work, Marion also had a significant talent for drama. In drama as well as in comedy, she uses her face in subtle and meaningful ways, unique even for a silent actress. Quality Street is not very easily found, but if you can manage to get your hands on a copy, it’s a very worthwhile movie. Here is one of the few clips available online from it–apologies for the shots of the crowd.

The Red Mill (1927)

Marion was covered in freckles from head to toe. Normally they’re covered with makeup, but in The Red Mill, one of Marion’s most whimsical movies, we see them out in full force. This is perhaps the closest we get to the way Marion was in real life–from her au naturel makeup, to her impish, prankster character.

Blondie of the Follies (1932)

I’m sorry to say that there seems to be no clip online of Blondie of the Follies, which is really too bad, as it’s one of her greatest roles. Earlier in her career, Marion had been resigned too often to two-dimensional characterizations–due to fears on the part of Cosmopolitan and her real-life romantic partner William Randolph Hearst that the public would see her as imperfect. But here, she is finally given a meaty role, and she’s marvelous in it.


Marion was never terribly comfortable in talkies, and as a result her screen presence in talkies sometimes reflected her discomfort. She had a significant stutter from early childhood, and speaking made her self-conscious onscreen. But a common characteristic among people who stutter is the ability to speak fluently when reciting memorized dialogue…and this was the case with Marion. She never stuttered onscreen, and had a beautiful deep alto speaking voice. So that you may hear Marion speak, I am including an amalgam of clips from her final film, Ever Since Eve (1937).

If you’d like to learn more about my project and about Marion Davies before my book comes out, visit my book’s website/my author page at http://www.laragfowler.com. Thank you for reading!

The Motion Picture & Television Fund: Looking Out for the Film Industry

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Mary Pickford breaks ground on the new Motion Picture & Television Country House and Hospital, 1941.

Every Wednesday this month, Turner Classic Movies dedicates its programming to highlighting the Motion Picture & Television Fund, one of the great treasures of the film industry. Securing the livelihoods of countless people who work or have worked in motion pictures, the MPTF operates a hospital, a senior home for those who need those services, and a general fund to help elderly people remain in their homes or to provide a safety net for former film workers who have fallen on hard times.

The programming consists of movies introduced by the people who were a part of them, now residents of the Motion Picture Country House. I was thrilled to hear about this tribute, as I find that few people outside of the world of film and television know much about the MPTF, truly a labor of love and dedication to, as the slogan says, “Taking Care of Our Own.”



The history of the MPTF is a storied one. Mary Pickford, Douglas Fairbanks, D.W. Griffith, and Charlie Chaplin (the same group that created United Artists) saw a need to provide a fund for those working in movies who were down on their luck. To start it, they created a simple coin box system, in which people could donate their spare change to help their fellow Hollywood folk. In 1921, the fund was incorporated as the Motion Picture Relief Fund, with Joe Schenck serving as its first president, and Pickford serving as vice-president. No one served in an advisory capacity for very long–as an egalitarian organization, and one by the film industry and for the film industry, presidents served on a rotating basis and came from varying Hollywood backgrounds, including Harold Lloyd, Jesse Lasky, and Marion Davies.

Pickford campaigned tirelessly for the fund, gathering donations and organizing events and programs that would serve as benefits. The 1929 stock market crash combined with the coming of talkies to Hollywood had left many of the film colony without work, and the fund was needed now more than ever. She noted, to her frustration, that there were 20,000 people working in films, but only 400 people were signed up as contributors to the Motion Picture Relief Fund. In order to streamline her campaigning, she instituted the Payroll Pledge Program in 1932, in which a very small portion of an person’s paycheck from working in the movies went to the fund–much like a social security program or insurance policy for Hollywood workers. In the midst of the Depression, the Motion Picture Relief Fund saved 75 people from being evicted and purchased groceries for 2,500.


Even as early as 1924, the need for a specialized senior care facility was on the minds of Pickford and those invested in the Motion Picture Relief Fund. In order to raise money for the construction, in 1939 Jean Hersholt (president of the fund at the time) came up with the idea of having a radio show in which many big name celebrities would appear, who would all donate their salaries to the Motion Picture Relief Fund. The plan worked, the radio show was a smash hit, and construction on the Motion Picture Country House (“house” instead of “home” because, as Pickford said, Hollywood people always consider themselves “between engagements”) began in 1941. Operations started in 1948, and among its more prominent residents over the years have been Norma Shearer, Bud Abbott, Mary Astor, Mack Sennett, Donald O’Connor, Joel McCrea, Edna Purviance, and countless others. Today, it is home to more than 100 long-term residents, and operates 6 outpatient facilities across Los Angeles.


The dining room at the Motion Picture Country House today.

Upon a visit to the Motion Picture Country House a number of years ago to see a friend, it was clear what remarkable and important work the MPTF does. My friend is valued and respected, getting care that goes above and beyond the call of duty. I came away from the visit with a deep sense of appreciation for the MPTF and everything the organization does for the industry. I’m happy to see that TCM is helping to shine a light on their work.

Be sure to see residents of the Motion Picture Country House every Wednesday in September on TCM, introducing movies they had a part in. For more information on the activities of Mary Pickford surrounding the Motion Picture Relief Fund, please see Cari Beauchamp’s article for the Mary Pickford Foundation, from which much of this piece was drawn, by clicking here.

If you would like to donate to the current Motion Picture & Television Fund, you can do so online at http://mptf.com/donate or by mail:

MPTF Foundation
PO Box 51151
Los Angeles, CA 90051-9727

Thanks for reading!

The Nostalgia Myth and Classic Movies in 2017 America

Earlier this morning on Twitter, I saw a tweet directed at TCM’s Ben Mankiewicz, accusing him of being “SJW” (the abbreviation for Social Justice Warrior, a derogatory term for a person who engages in left-wing ideology for personal gains) because he condemned the Hollywood blacklist on air. The response was immediate and mostly indignant, defending Mankiewicz and TCM against accusations of a political agenda. But this is not an isolated incident–for the past 6 months or so, the Turner Classic Movies social media accounts have been inundated with viewers telling the channel to “stick to the movies,” that TCM is a place where people come to escape from politics, and that TCM is trying to brainwash its viewers into a left-wing political agenda.

It is a disturbing trend. Given our current political climate and efforts to restrict public access to information, television viewers have fallen down a rabbit hole of misinformation. We have found ourselves in a dystopian world where we don’t know what is true and what is not, and historical context seems to matter little. Perhaps most disturbing, we have begun to see it reflected back in the anti-intellectualism that has become part of the American landscape. We are a country that is scared, wanting to retreat somewhere. History has not changed–but our collective reaction to hearing it has.

Dalton Trumbo gives his testimony in front of the House Un-American Activities Committee.

2017 is the 70th anniversary of the Hollywood blacklist. Due to fear of communist infiltration from Russia seeping into American life, in 1947 the House Un-American Activities Committee targeted members of the film industry for alleged communist activities, asking them not only to divulge their own political allegiances, but also to name others. Prison sentences, ruined careers, and suicides were commonplace as the government manipulated public fear to destroy lives…and secure their own re-elections.

The actions of the HUAC (and its counterpart in the Senate, the Senate Internal Security Subcommittee) cost lives and careers, during a time of paralyzing fear. For TCM to ignore those actions in the name of “sticking to the movies” would be misguided at best, and promoting ignorance at worst, especially in our current era.

Choreographer Jack Cole, spotlighted last month on TCM’s tribute to gay Hollywood, works with Marilyn Monroe on the set of Let’s Make Love, 1960.

Fortunately, TCM holds itself above that. As the only channel on national television to provide historical context to classic movies, it does important work in tearing down the myth of blind classic movie nostalgia, and as such, it has received its share of ignorant commentary from those who don’t want to hear it, preferring to live in a world where the whole story is not told. Last month, the channel did a month-long spotlight on LGBT figures in Hollywood, and how they shaped the industry as a whole. As I followed their posts on the Facebook page, I saw comments coming in that followed a few standard blueprints:

“I don’t pay extra for cable to have TCM brainwash me into a political agenda.”

“When are they going to have Straight Hollywood Month?”

“Look at the guests they have on–TCM has become a bunch of lefties.”

“Why don’t they just stick to the movies? I come to TCM to escape from politics.”

Each of these statements merits its own lengthy blog post, but in regard to the final one, I fear that people are watching TCM with a warped and shallow view of classic movies.  Classic Hollywood was not created in a vacuum. Far from the ideal utopian world that many seem to think they’re retreating into, classic movies were affected by a world outside that was often in chaos. Hollywood was built by strong, talented, and assertive women and minorities, fighting to get the representation they deserved in a society that shunned them. Far too often, in the name of nostalgia (a concept that I find dangerous), the true history of Hollywood gets lost. TCM brings it back, and I am so grateful that they do.

Backlots at the TCM Classic Film Festival 2017


For the 5th year in a row, Backlots will be joining the ranks of the media in early April,  covering the TCM Classic Film Festival in Hollywood. In the years since its inception in 2010, the TCM Classic Film Festival has easily become the most prominent classic film festival in the country, attracting world-class speakers and attended by fans from all over the world.

The festival always has an overarching theme, and this year TCM is saluting comedy in the movies with a theme they call “Make ‘Em Laugh.”

The schedule is still in the works, but the lineup announced so far is phenomenal, even by TCM’s standards. Some of the highlights for me thus far:

  • The Palm Beach Story


Starring Claudette Colbert, Joel McCrea, and a marvelously funny Mary Astor, The Palm Beach Story is a staple of the screwball comedy genre about a woman who divorces her husband to finance his career with the money of a millionaire she starts to date. This is a movie that we’ve been hoping to have at the festival for some time, as it’s a real crowd-pleaser and very much in the vein of The More the Merrier, which was such a big hit last year.

  • Red-Headed Woman


In this steamy pre-code, Jean Harlow uses her feminine power to climb the ladder of success, wrecking marriages, engaging in affairs, and attempting murder along the way. With a screenplay written by Anita Loos, Red-Headed Woman is a must-see in Jean Harlow’s filmography, and a delicious example of what we think of when we think of that raw and glorious era between 1929 and 1934.

Having attended the TCM Classic Film Festival 6 times (5 as press with Backlots), I have come to recognize general trends among festivalgoers, and which movies will be sellouts. TCM has an intricate ticketing system–about an hour before the movie starts, the staff starts passing out numbers to passholders in line, starting with the Spotlight and Essential passes and then moving to the Classic and Media. Once the numbers get past the number of seats in the theater, the movie has sold out. Thus, if you hold a Classic or Media pass, it is important to get in line as early as possible, in order to avoid being shut out of a movie. The festival leaves TBA slots open on the last day of the festival to re-screen select movies that sold out, but it is left to their discretion which ones are re-screened.

Red-Headed Woman is a sellout if I’ve ever seen one. Pre-codes are immensely popular at the TCM Festival, as is Jean Harlow, as are movies from any year of the 1930s. Last year, Double Harness sold out, was re-screened, and sold out again. I would expect this event to repeat with Red-Headed Woman. If you’re attending the festival and would like to see Red-Headed Woman, I would advise you to get in line about 2 hours ahead of time. It will fill up so quickly your head will spin.

  • Twentieth Century


Considered to be one of the first screwball comedies, Twentieth Century features Carole Lombard and John Barrymore in a zany piece filled with hilarious Carole Lombard lines and over-the-top acting by Barrymore that leaves the viewer in stitches. It’s one that I’m surprised hasn’t been shown up to now, it’s such a marvelous fit for TCM. Watch for this one being sold out too–Carole Lombard always sells well at this festival.

  • Born Yesterday


The winner of the Best Actress Oscar of 1950 (it came as a thrilling surprise–Judy Holliday was up against Gloria Swanson in Sunset Boulevard and Bette Davis for All About Eve), Born Yesterday is an exploration of how a newly-educated woman equips herself to leave her abusive boyfriend. While on the surface it may look like a standard 1950s comedy, the movie is really an ode to the powers of education, and to a woman’s right to her own happiness. It seems especially significant in this day and age, when both education and women’s rights are under threat. I wrote a blog post about Born Yesterday some time ago, feel free to take a look.

Stay tuned to hear more festival news as it comes in. Looking forward to reporting to you from Hollywood!

Remembering Robert Osborne


The classic film world has lost a monumental force, one of our preeminent modern film historians and certainly among the most visible. Robert Osborne, the beloved host of Turner Classic Movies since 1994, died on Monday at the age of 84.

Osborne had been on a long hiatus from TCM due to illness, and was absent from the past few TCM festivals in Hollywood. His death hit the classic film world hard, with posts and tributes written almost immediately and emotions running high.


TCM has a unique fan base, and Osborne was the face of the network. Many of us grew up with him, his soothing voice becoming synonymous with evenings in front of the television watching a classic movie. More than just a representative of TCM, however, Osborne transcended the network. His knowledge of movie history, and of the stars and directors who made it, was staggeringly detailed, nuanced, and deep. Always polished and dapper on air, Osborne’s presence on the network was representative of a different era of television–one that seems to have otherwise disappeared. His sophistication and elegance harkened back to the news programs of Edward R. Murrow and Walter Cronkite, as he informed us respectfully, intelligently, and passionately, about the movies he loved as we did.

Osborne began his career as an actor with Desilu, and it was Lucille Ball, in her infinite wisdom, who first noticed Osborne’s talent for journalism when he was still a young actor. He published his first book in 1965, then became a longstanding columnist for The Hollywood Reporter. Osborne enjoyed relating the story of his first major interview, for which his subject was Natalie Wood. Osborne told of the incident in an article for a Natalie Wood tribute on TCM:

By the time I met her in 1965, she was already a Hollywood veteran at the age of 27. And along with her determination and brilliance, she also turned out to be incredibly kind, especially to an admittedly novice journalist like me. She was, in fact, my first major celebrity interview and when I arrived at her home, with those beautiful brown eyes looking at me, waiting for me to begin, I realized just how much of a beginner I was. My questions had no rhythm to them, and my notes were, I realized too late, completely disorganized. Looking back, she could have stopped that interview then and there, or quickly answered my questions and ended it almost as soon as it had begun. But she didn’t. Instead, Natalie ended up sitting down on the floor with me and giving me suggestions on how to best organize the interview to get the most interesting story.

That day she became my mentor and, more importantly, my friend.

He went on to be one of the great classic Hollywood interviewers and the author of several books, including a series on the Academy Awards. The series began in 1965 with The Academy Awards Illustrated, and culminated in 85 Years of the Oscar, published in 2013. He was a respected and sought-after co-author, with credits on a seemingly endless list of classic film books.


Osborne was a dear friend of many classic Hollywood stars, including Lucille Ball, Bette Davis, and particularly Olivia de Havilland, with whom Osborne spoke every Sunday. It was de Havilland who introduced him to Bette Davis, and the two became fast friends. When he was looking for an apartment in Manhattan in the late 1980s and had finally found one he liked, he called Bette Davis to come see it with him, to get her opinion. Davis liked it, and Osborne took it. The building, serendipitously enough, was called the Osborne, and he lived there for the rest of his life.

I had the great fortune to meet Robert Osborne at the TCM Classic Film Festival in 2012. It wasn’t a very formal meeting, but it was incredibly memorable for me. I related to him my love of Rita Hayworth, and we chatted for a few minutes about her. I feel so fortunate to have met a scholar and man of his stature, and to be able to talk about a mutual love.

Here he is introducing Cover Girl, one of his favorite Rita Hayworth movies. Robert Osborne’s loss is immeasurable, and will be felt forever in the classic film community. He is and will continue to be greatly missed.

Trailblazing Women to be Highlighted on Turner Classic Movies in October


For the second year in a row, Turner Classic Movies will pay tribute to significant contributions to the film industry by women, through their Trailblazing Women series in partnership with Women in Film. Last year’s programming was a huge success, with a spotlight on female directors in what has become a crushingly male-dominated industry. This year’s theme will be “Actresses Who Made a Difference,” focusing on those women who contributed to issues outside of acting, and made waves that are still felt today in the film world and beyond.

The month-long Tuesday/Thursday night programming is hosted by Illeana Douglas, joined by a different female guest each night who will discuss the actresses, why they were chosen, and introduce a film made during a significant period in their life. On the first night, October 4, Douglas will be joined by the leading expert on women in early Hollywood, Cari Beauchamp, author of Without Lying Down: Frances Marion and the Powerful Women of Early Hollywood. The subjects on the first night will be three actresses who seized the idea of the traditionally male studio executive and turned it on its head.


Mary Pickford was one of the most prominent figures in early Hollywood, both on and off the screen. While moviegoing audiences knew her as “Little Mary,” a perpetual little girl in curls even at the age of 30, in reality she was a woman with an steel will and iron constitution, a shrewd businesswoman and a savvy investor who knew the industry inside and out. In 1919, she founded United Artists with Charlie Chaplin, Douglas Fairbanks, and D.W. Griffith, and subsequently founded the Academy of Motion Picture Arts and Sciences and the Motion Picture Relief Fund, which (now operating as the Motion Picture and Television Fund) still serves those in need in the industry. She will be discussed and profiled in conjunction with Little Annie Rooney, a movie she produced and performed in at the height of her position as a head of United Artists Studio in 1925.


Lucille Ball, former contract player at RKO and “Queen of the Bs,” decided in 1950 to join with her husband Desi Arnaz to form their own production company, Desilu, in order to pitch a series based on Ball’s radio program My Favorite Wife. The series eventually became I Love Lucy, the production company became one of the most formidable forces in the business, and Lucille Ball became one of the most influential figures in movies and television. In 1960, she became the sole owner of Desilu and was directly responsible for shows such as Star Trek and The Untouchables getting to air. The movie Yours, Mine, and Ours was made in 1968, while Lucille Ball was serving as the powerful president of Desilu.


Following directly in Lucille Ball’s footsteps was Mary Tyler Moore. 3 years out of her debut hit series The Dick Van Dyke Show (in which she broke significant ground for women on television in her own right), Moore created MTM Enterprises with husband Grant Tinker in order to pitch The Mary Tyler Moore Show in 1969. The show premiered the following year and lasted for 7 phenomenal seasons, during which time MTM Enterprises grew and produced not only the show’s spinoffs, Rhoda, Phyllis, and Lou Grant, but also the popular  The Bob Newhart Show, Hill Street Blues, and St. Elsewhere. The movie Thoroughly Modern Millie, chosen to represent Mary Tyler Moore this first evening, was made in 1967, in the in-between time just after Moore’s run on The Dick Van Dyke Show ended, and MTM Enterprises began.

Other nights to watch with significant women profiled:

Bette Midler, discussing women who controlled their own destiny, including:

  • Olivia de Havilland, the first person to make a major dent in the studio system by winning a contract case against Warner Bros. The ruling, the De Havilland Decision, is still cited often in entertainment law cases. She will be profiled in conjunction with Devotion (1946), filmed in 1943 but unable to be released until after she won the lawsuit.


  • Marilyn Monroe, who left her Twentieth Century Fox contract behind to study at the Actor’s Studio in New York, only to return and demand director approval on all her projects–then form Marilyn Monroe Productions in 1956 in which she had full control over her work. Her work will be discussed with The Prince and the Showgirl (1956), produced by Marilyn Monroe Productions, as an example.

Jane Fonda, discussing women activists, including:

  • Myrna Loy, who served as the co-chair on the Advisory Council of the National Committee Against Discrimination in Housing, campaigned actively against McCarthyism and the Vietnam War, and became the first Hollywood personality appointed to U.S. National Commission for UNESCO. One of her best-loved movies, The Thin Man (1934), will be shown to profile her onscreen work.
  • 193679

Dr. Emily Carman, discussing actresses’ wartime contributions, including:

  • Bette Davis, who together with John Garfield established the Hollywood Canteen, where soldiers could eat and be entertained for free while on leave. A semi-Hollywood movie, Hollywood Canteen, was made in 1944 to promote the canteen and enhance the war effort, and TCM will show it this evening.


  • Hedy Lamarr, who developed frequency-hopping technology to help with communication between Allied forces, an invention that is still used today in cell phones, wifi networks, and Bluetooth technology. The Conspirators (1944) will be shown to highlight Hedy Lamarr’s war efforts as well as her film work.

Be sure to tune in every Tuesday/Thursday in October for what promises to be a timely and informative look at a group of women who made a difference in the betterment of their industry and their world.