fireball carole lombard

Glendale Forever

I once wrote a book called Fireball about an actress named Carole Lombard. Just to give you an idea of the theme, America’s preeminent Hollywood historian Leonard Maltin, as much as he loves Carole Lombard, never could crack Fireball open because it’s about, in part, her grisly death in a plane crash. Don’t get me wrong—Fireball is indeed part forensics study as recovery teams tried to clean up a crash scene where 23 people died and also understand how that crash happened. But more than anything, Fireball is a love story.

The experience of Fireball came back to me kaleidoscopically the other day as I watched the 1932 Paramount pre-Code picture No Man of Her Own, which starred a hot newcomer to the screen, Clark Gable, then age 31, and Paramount’s slowly rising star, Carole Lombard, then not quite 24. Given the fact this picture is now 91 years old, I understand if you don’t know who either of these people were but suffice to say Gable had burst on the scene in 1930, first portraying a convict in a stage play and then a love ’em and leave ’em tough guy in a number of movies made at MGM. Carole Lombard, meanwhile, had managed to land a contract at Paramount Pictures and was at this time struggling to find her footing. I think it’s fair to say early on she possessed mediocre talent balanced with buckets of natural charm.

MGM loaned Gable to Paramount so he could appear with Lombard and give her a career boost in one of those ridiculously plotted melodramas of the period; he plays a card sharp who goes on the lam from New York City and in the rural town of Glendale meets librarian Lombard. Lickety-split she falls in love with him and they wed on a bet, after which for 70 plodding moments we think how can this stupid thing ever work itself out, because by the nature of this kind of star vehicle, they have to live happily ever after.

Don’t worry—I don’t write movie reviews. The points I want to make are spooky points because there are spooky aspects about No Man of Her Own given that the love story in Fireball concerns these very same people, Clark Gable and Carole Lombard. When they made this picture 91 years ago, they didn’t know each other, and both were on their best behavior. Gable was married by convenience to a much older society matron, and Lombard was one year into a miserable marriage with a much older actor. Sparks between Clark and Carole didn’t fly in real life any more than they flew onscreen. Once in a while, you can see a glimmer of chemistry between them as the film lumbers along, but mostly they seem to be workers punching a timeclock.

In the picture she is the mature, stable, down-to-earth woman who, when she learns that her husband is a scoundrel who fleeces people in card games, doesn’t leave him. She chooses to stay and become his moral compass, which is exactly what Carole Lombard became for Clark Gable when they married seven years later and she discovered he was a scoundrel who had sex with every willing woman in Hollywood—and women threw themselves at Clark Gable every day because he was then considered “King of the Movies” and the most desirable man in the continent if not the world.

As described in Fireball, Lombard knew what she had gotten when marrying Gable: he was in demand and something of a scoundrel, but just like her character in the movie, she saw good points as well and determined to steer him on a navigable course. But real life wasn’t as clean and simple as a 1932 romantic melodrama, Carole learned when her husband began seeing a sexy starlet named Lana Turner who was just past her teens but already worldly. Suddenly, the bargain Carole had made took a Faustian turn that led directly to her death in flames on the mountain, as you will read in Fireball.

It struck me while watching No Man of Her Own how much the art of 1932 mirrored real life in 1941 as the dutiful wife stuck by her man through thick and thin until a particular other woman came along. It’s no stretch of the imagination to believe that a conversation like the one at a pivotal point in the movie played out at various points in real life.

Her: Don’t you know this had to happen sooner or later?

Him: What had to happen?

Her: Me finding out you’re a cheat.

Him: Don’t say that to me!

Her: I’ve been fighting the thought for weeks.

Him: My affairs are my own. Don’t butt into them!

Her: I thought we were married, and your affairs were mine.

This exchange written for actors in 1932 captures the dark side of the Gable-Lombard relationship. Other dialogue is downright chilling, as when they talk about settling down in Glendale, which in the movie is a fictional town somewhere in the east, maybe but probably not Glendale in the Queens borough of New York. In real life, a town by the name of Glendale is exactly where these two actors reside today, side by side in Glendale, California, in the Great Mausoleum at Forest Lawn Cemetery.

Fun fact: Carole Lombard comes back to life for an appearance in my new book, Season of the Gods, which will be released on October 3, 2023.

The Pluses and Minuses of Time Travel

First seen through a windshield in 1973. (Hooker, looking at the bad guy: “He’s not so tough.” Gondorf (alarmed): “Neither are we.”)

Did you ever notice that some movies are like a time machine? And I mean very much like Rod Taylor’s contraption. You step into the movie, and it transports you instantly to another place and time—where you were when you saw it and how old you were, and you reconnect with your sensibilities back then and can feel who was sitting next to you at the theater. You can see the room if you were watching it on TV and remember your self back then. Who you were and what the world was like.

As the years pass this happens to me more and more. For example, Frankenstein Meets the Wolf Man, a Universal horror B-picture released in 1943, isn’t very good. In fact, it’s downright bad, with plot inconsistencies to give you a headache and some questionable casting. But it’s my favorite because every time I see the Universal logo and hear the fanfare, I’m 10 again and staying up late to watch Chiller Theatre on WIIC in Pittsburgh Saturday night at 11:30, after the news. What a struggle it was to stay awake back then after marauding through town all day and playing hours of baseball in any pick-up game I could find.

I never did get to see House of Frankenstein as a kid because I’d always manage to fall asleep. What I remember about House of Frankenstein is imagining how spooky it was as my friends (made of sterner stuff) stayed awake all the way through and described the horrific goings-on. But I must have made it through Frankenstein Meets the Wolf Man at least once for the memories it evokes of the living room in the house where I grew up, a place long ago demolished. The living room and being alone in the dark watching the TV and wondering if the Wolf Man was going to bound down the stairs and tear me apart.

I managed to survive my youth without the Wolf Man tearing me apart in the dark.

Watching The Sting takes me back to Cuppies Drive-In and watching the screen over my dad’s right shoulder and my mom’s left and through a windshield, with the tinny sound of a speaker attached to the driver’s-side window. The Sting shoots me into their world, and I feel my parents as they absorb the time and place—the 1930s during the Depression when they were young. I have to credit the accuracy of the time period recreated during production of The Sting in 1972 because my parents never had the spell broken by something inappropriate to the 1930s. They loved The Sting. In fact, they loved the movies, which is where I caught the bug. That fact makes the time machine experience of particular movies bittersweet because for fleeting minutes they’re alive again and in their prime and then, poof, gone. And here you are, alone, murmuring, “Damn.” For a little while it’s as if you could reach out and touch them as we all sat at the drive-in watching The Sting. The time machine is that powerful a piece of mental machinery.

I still can’t watch JFK because I saw it with my friend Tom during a dark time in my life, as a relationship was falling apart. Those were black, black days and seeing any reference to JFK picks me up and tosses me back into the pit of despair; better to walk a wide circle around that one. I remember my good friend John telling me a similar story about breaking up with his girlfriend at the time Gray Lady Down was released. He told me this a couple of decades ago, but I bet he still can’t stand to watch Gray Lady Down, and I get it.

This and the accompanying music is all it takes to send me back in time.

Why is it that those long-ago movie experiences made such an impression? I can remember more recent pictures seen in theater settings that don’t result in the same time transport. I guess it all ended with Star Wars—every time I see that distinctive title screen and hear the first note of John Williams’ fanfare, it’s 1977 all over again and a new world of adventure opens. I’ve got goosebumps just writing about it. I was right there at the vanguard and saw Star Wars in first run six times in the spring and summer of 1977, and every time I’ve seen it since, that’s where I am, at the Showcase East in Monroeville queueing up. Just a kid. I remember reading about Star Wars and this evil character named Darth Vader and thinking, “No, he’s too scary. What if I can’t handle it?” I could imagine myself running screaming from the theater. But I hung tough and made it all the way through Star Wars and can reconnect with my youthful self by sitting down and popping in a Blu-Ray. It’s pretty cool to be able to do that.

I can’t be alone, right? So what are your time-machine movies and where do they take you?

Nexus

Ocean’s 11 is one of those pictures, like Breakfast at Tiffany’s, that’s a time capsule of a bygone era. In fact, Audrey was making the latter while the former continued a long and successful run as the hip and swingin’ hit of 1960. Ocean’s 11 was what Frank Sinatra considered to be “a gas.”

First of all, let’s get this straight: The remake with Clooney doesn’t exist to me; it never has, it never will. I’m sure they one-upped the smugness and self-satisfaction of the original; hell, I’m sure they boosted it to modern-day excess, but it really doesn’t matter because I won’t ever see that particular version or its sequels.

Ocean’s 11, directed by already-a-legend Lewis Milestone and starring Sinatra and his cronies, is a personal picture for me because of my own connection to Las Vegas. As explored in Fireball, Vegas is where Carole Lombard and her 21 companions last walked the earth, departure point of TWA Flight 3, launch point of the rescue, nexus of Gable’s imploding world during his lost weekend of January 1942. As Ocean’s 11 was being shot at the beginning of 1960, the El Rancho Las Vegas still operated. This first attraction in Clark County, the trailblazer, sprawled at the intersection of Rt. 91 (now Las Vegas Boulevard) and Sahara Road, and it was here in the motor court where Gable holed up with his MGM handlers and stared out at Mt. Potosi across the vast brown desert plain. Ma’s up there. Ma can’t be dead. Ma’s gonna walk through that door and yell “Surprise!” and laugh her fool head off because this is her greatest prank ever.

Dutch Girl: Audrey Hepburn and World War II by Robert Matzen

El Rancho Vegas as seen from the air in the 1940s. The casino building at center would burn in June of 1960, but the motor court would continue to operate without a casino through the 1960s. Oh, to be assigned to Gable’s bungalow and feel the ghosts.

That’s my Las Vegas, which still largely existed in 1960. Hell, Gable himself still existed in 1960 as Ocean’s 11 completed production. In 1960 he was baking in the sun farther up north in Nevada making The Misfits, hands serving as sifters for a crumbling Marilyn Monroe. There are other ties between Carole Lombard and Ocean’s 11, namely Cesar Romero. How is it possible that nobody’s done a book on Butch Romero, for God’s sake? Butch escorted Carole to the White Mayfair Ball in January 1936—where on that very night she and Gable began their tempestuous, sex-filled, hijinx-laced relationship that burned like a torch until the moment plane met mountain six years later. Romero was known to starlets of the 1930s as the king of escorts, which you’d think meant he was a playboy, but word had it he was gay and therefore deemed safe for the female population of a Hollywood where every straight man was an octopus and most had the power to make or break a girl’s career. Lombard loved Butch like a brother, and when she deserted him for Gable at the ball, no problem—he knew everybody in the room and the party went on. Romero would blaze a Hollywood picture career that ran all the way from the early 1930s to 1990 when he wrapped up with some Disney live-action programmers before passing on at 86. Playing New York mobster Duke Santos, an observer as five Vegas casinos are hit by Danny Ocean and his gang of ex-paratroopers, Romero was exactly at mid-career. Ahead he couldn’t even imagine three years of steady work as the most visible and garish villain on television—Batman’s arch-enemy, the Joker.

Still a force at age 53, Cesar Romero pauses from a shave to steal Ocean’s 11.

Cesar Romero was an actor’s actor, six-foot-three of pure sophistication. Am I the only one who thinks Romero stole Ocean’s 11 out from under the noses of Sinatra, Dean Martin, Peter Lawford, Sammy Davis Jr., and Joey Bishop? Back when Warner Bros. made Ocean’s 11, the big news, the coup, was signing veteran character actor Akim Tamiroff as the comic relief. Only problem is Tamiroff has stood the test of time about as well as Mickey Rooney in Breakfast at Tiffany’s, with the unfortunate complication that Tamiroff has a lot more screen time. That’s one huge problem because Tamiroff’s performance makes me want to transport back in time just so I can strangle him and save my own viewing experience 60 years in the future.

Another big drawback of Ocean’s 11 for me is that smugness of the Rat Pack and what appears to be ad-libbing in several scenes, each one dragging the narrative to a dead stop. There is so much ad-libbing, in fact, that you go, “What the hell are they talking about?” They’re having too good a time, their egos always nearing the big POP that comes with overinflation. At points like this in Ocean’s 11, or in Breakfast at Tiffany’s when Holly Golightly jumps out of character to sing Moon River on a fire escape, I have to remind myself to relax and just go with the flow.

There’s a third debit with Danny Ocean’s picture, and that’s a representation of four types of women, and four only, populating his world:

1) Superbitch—represented by Patrice Wymore.

2) Pushover—Angie Dickenson as Danny’s estranged but loyal wife.

3) Ditz—Ilka Chase as Peter Lawford’s rich and addled mother.

4) Stripper/harem girl—all the babes who are massaging or ogling the Rat Packers or being ogled by them or merely sashaying through a scene in a tight skirt.

Women are to be seen and condescended to in Danny Ocean’s world, which was fine in the white WASP U.S. society of 1960 and still plays in Donald Trump’s America, but, boy, it’s not a world that any woman I know today in the professional world would sign up to populate.

Directly above the cab of the dump truck, there looms Potosi, the tallest peak in the Vegas area. Where that high stretch forms a little saddle or V, roughly in its center, Flight 3 hit. In this shot from Ocean’s 11, Sammy Davis Jr., the dark blur at left, lugs duffel bags of cash pilfered from Vegas casinos.

Whenever Ocean’s 11 plays on television, I drop what I’m doing and wait for the panoramic exteriors of Vegas where in the distant background you can see the encircling mountains. I always look for Potosi, the mighty giant that swatted a plane out of the sky. Potosi features a distinctive knob on one end and its best cameo comes toward the climax when Sammy Davis Jr. is rescuing the duffels of looted cash from the dump. There beyond the vast, empty desert basin of old-days Vegas looms Mt. Potosi, bigger than life. I think of the wreckage up there as it must have looked in 1960 before the internet began luring souvenir hunters to the spot. I think of ethereal Carole gazing off in the distance and exclaiming, “Hey, they’re making a picture down there! Look, I can see the trucks and the reflectors and cameras!” I think of the El Rancho Vegas, soon to go up in a Viking pyre. I think of the funeral parlor on nearby Fremont Street where Gable picked out caskets for his wife, mother-in-law, and press agent. For me, Ocean’s 11 is much more than a heist picture; it’s a a set of nesting dolls, an onion of unfolding Vegas chronology, the history of a town and of Lombard, Gable, the Rat Pack, and an author who lived and re-lived a particular weekend in hell.

At the picture’s melancholy conclusion, the men of the heist take a walk in front of the Sands.

Badlands

Across the Mojave, Potosi’s snow-covered peaks are visible in the distance at left-center due south of Red Rock Canyon’s mouth.

Two years ago right about now, in conjunction with the anniversary of the crash of Flight 3, I was asked to speak in Las Vegas about Fireball, and to appear on the local NPR affiliate. While in the city, Mary and I visited our favorite haunts, which aren’t in Vegas proper at all. They’re the village of Blue Diamond and the Blue Diamond Mine off to the west, which, if you’ve read Fireball, you know are the settings for much of the story.

Tweed Wilson, right, as a young man. Much later he would be the tough old cowboy who led a rescue party up Potosi Mountain.

That day we went on to visit the Spring Mountain Ranch, also known as the Wilson Ranch, in Red Rock Canyon. There on January 16, 1942, Calvin Harper, head loader at the mine, came driving in a hurry on the blackest of nights looking for horses for a rescue mission up Potosi Mountain where “a plane fell.” Willard George answered the door that night and talked first to Harper and then to Maj. Herbert Anderson of McCarran Field in Las Vegas, who was trying to find a reported fire on the mountain due south of Wilson’s ranch. I already described some of our day in Red Rock Canyon, but not the ranch itself.

Visiting what had once been this key spot of ground in Fireball, now a Nevada state park, had a dreamlike quality about it for a number of reasons. The park office, which was a ranch home built at the site six years after the crash, didn’t mention Carole Lombard or Flight 3, but the exhibits bowled me over. First, I saw a 1900 photo of Tweed Wilson and his brother—41 years after it was taken, Tweed led rescuers up Potosi on horseback. And over there sat a framed photo of Willard H. George, a key eyewitness who saw the doomed airliner fly over and later gave testimony that confounded investigating bodies. And there, a photo of the Willard George house as it looked in 1942, just as Harper and Anderson found it that awful night looking for horses and riders for a rescue on the mountain, which seemed to be nearby but was really more than 10 impossible miles away.

I have to say, I experienced a case of the willies at Willard George’s place on this creepy January day with cold, damp fog and periodic rainbows. I had climbed Potosi four years and change earlier and now the place seemed to be welcoming me back, welcoming me home.

Willard George was working on his car when Flight 3 hit Potosi.

The Willard George place at the time of the crash. I learned a flash flood washed it away in the late 1950s.

Each book I write becomes a part of me, not only the people but the places, since I always consider the locations I write about to be characters. In fact, I think I choose my topics in part because of the places involved. Red Rock Canyon and Potosi Mountain were the biggest and baddest I ever encountered, in literature or in person, characters that could kick any Nazi’s ass any day. Tonight, contemplating the anniversary of the crash tomorrow, I’m thinking of a little ranch and some brave men and their horses who took on those badlands of Nevada—the same badlands that had swatted a DC-3 out of the sky, and there went Wayne C. Williams, Morgan Gillette, Alice Getz, Hal Browne, Jr., Kenneth Donahue, Fred Cook, Charles Nelson, Stuart Swenson, James Barham, Robert Crouch, Al Belejchak, Martin Tellkamp, Nicholas Varsamine, David Tilghman, Milton Affrime, Frederick Dittman, Robert and Edward Nygren, Lois Hamilton, Otto Winkler, Elizabeth Peters, and Carole Lombard.

Postscript: Just up the road from the old Wilson Ranch, on lands adjacent to Wilson’s spread, sits the Bonnie Springs Ranch. Once a stagecoach stop and for decades a local attraction with a western town and petting zoo geared for families, is scheduled for the wrecking ball. Please consider signing this petition to save the Bonnie Springs Ranch.

Friends

Young pre-Hollywood Audrey.

I’m done. The fun part is over—the fun part being sitting alone night after night, figuring out the story and writing it. If you commit to 1,000 words a session and understand that some of the words will be good, some bad, and some indifferent, before too long you get a book. Following that process, along with three trips to the Netherlands and a year associated with Dutch researcher Maddie van Leenders, Dutch Girl: Audrey Hepburn and World War II, is written and weighs in at about 103,000 words. Release is set for April 15, 2019. As a workaholic introvert, I have enjoyed the experience of spending two years alone with Audrey Hepburn more than I can tell you. She’s been very pleasant company; in fact about the pleasantest ever, right up there with George Washington.

When you work on a biography that long and get so deep inside the heart and soul of your subject, he or she invariably becomes a friend, or at least a “work friend.” When I produced the three documentary films on George Washington, we became pals and I still miss him after more than 10 years.

I would call Errol Flynn a work friend at best because here I was working in the same office with a tortured soul for two books and along the way finally figured out what was going on in his chaotic, complex mind. Just yesterday I watched his finest acting job, in Elizabeth and Essex, and because I know him so well, my heart broke at the heroic effort this generally lazy hedonist put into one very tough job, to make sure the powers trying to defeat him would not prevail. Then there was the leading lady of his lifetime, Olivia de Havilland, who I had to figure out for the book Errol & Olivia (BTW, Belated Happy Birthday this past July 1, OdeH). We had been correspondents for a long time, and I studied her from Saratoga, California, on; in fact it was there in the concrete driveway of the Fontaine home that I laid my hand over the tiny handprints of Livvie and her little sister Joan. They must have been six and five at the time they pressed them into the cement, but it’s as if these two future Academy Award winners were already performing their own Grauman’s Chinese ceremony. I think in retrospect Livvie’s the most interesting person I’ve ever tackled. She remains at age 102 a closed book, a loner, and 100% pure badass. I have come to admire her tremendously.

Loner Olivia de Havilland and complicated Errol Flynn.

I’ve documented Carole Lombard on these pages as well as in Fireball so I won’t bore you with more, except to say hers is a lively spirit to spend a couple of years alone with. There were a number of surprises on that project. Among them was Clark Gable, an interesting guy and, I concluded, an OK guy despite a flawed character. But then most of us are flawed characters one way or another. The second surprise involved the 15 Air Corps pilots on Lombard’s death plane who wanted their stories to be told. Who knew? One of these fellas even showed up a couple years ago, which introduced me to a new friend, Felicia Borla of the Clark County Coroner’s Office.

The lively Lombard and her cat-who-ate-the-canary smile.

Jim Stewart and I came to an understanding over the course of Mission’s development. During his lifetime, two things were sure about Jim: 1) he would not talk about his WWII combat career, and 2) he hated biographers. So what did I set out to write? His combat biography. You’d suppose that on the other side he wouldn’t be happy with me, but in describing Stewart in combat I put a spotlight on the great group of guys he commanded in battle. Those men deserved the kind of attention that their proximity to Jimmy Stewart the actor would have promoted, and Mission made that happen. So now Jim and I are OK; not tight, but OK.

And now we come to Audrey Hepburn. Audrey’s another tough cookie for a simple reason: She had secrets she felt could not be revealed, which led her to turn down several seven-figure offers from publishers to write her memoir. Then she died much too soon, and biographers went to town writing about her life and they’re still at it, and now I’ve done it too.

My book’s different from the others because I went right after the secrets, and had to hack and slash through a lot of false leads, inaccurate reporting, myths, and subterfuge to get at the truth, or at least what truth can be determined when files have been intentionally destroyed. I’m not going to give you any spoilers here, so you’re going to have to wait and read Dutch Girl to find out what the secrets are and if she makes it out of World War II alive.

I wanted to use this photo on the cover of Mission but got overruled.

Like always there was a get-acquainted period with Audrey, and I came to see her as a pretty fierce introvert. Well, to be precise, she wasn’t an introvert as a ballerina, which is all she ever wanted to be. It was the acting and particularly the speaking that gave her the shakes. We got along very well and the good vibes grew, and now I’m associated and sharing information with her son, Luca Dotti. Luca’s now in the process of adding some pretty incredible details to the narrative, things only someone inside the family could.

There’s nothing like the experience of positive energy aligning on a great project, and that’s what Dutch Girl has been—the most enjoyable adventure of my career thanks in large part to a wonderful group of Dutch people who love history, or lived it, or knew Audrey, or had some sort of expertise they were willing to provide to a clumsy American. They include Maddie along with Gety, Annemarth, Clan, Rosemarie, Ben, Herman, Patrick, Johan, Dick, and Robert, Luca in Rome, and Marina and Ann, my stateside researchers. They all have made collaboration a joy—even for a guy who likes nothing better than to sit alone and write.

In June 2017 with the help of Dutch historian and author Gety Hengeveld-de Jong, I interviewed Ben van Griethuysen, Annemarth Visser ‘t Hooft, and Rosemarie Kamphuisen, who lived in the village of Velp with Audrey during World War II. All provided information critical to the Dutch Girl narrative.

Fireballed

You may be wondering where I’ve been. Well, I’m working on my new book and it’s the bottom of the ninth, as in, after two years, I have to be done at the end of May. I only have a one-track mind, unlike later more sophisticated models of humans who can, as the kids say, multitask, and so getting this thing completed is pretty much all I’m eating and sleeping these days.

And because of that single track, I haven’t addressed a very interesting comment that came into this website at the end of April, so I thought I would pause to admire it in the sunlight. Mary Whittaker had first left a comment here saying that she had begun Fireball and was enjoying it. Then she followed up.

First of all, thank you Mary for reading and liking Fireball and for taking the time to write about the following:

So wow – I just finished “Fireball” and am still “not over it.” Thank you so much for writing this book. It was absolutely fascinating…and the most fascinating thing to ME is the question of WHY this story is so compelling (and it absolutely, positively is). The amount of angst and stress I felt reading it – having absolutely no personal knowledge of the individuals involved AND with full knowledge of pretty much how it all ended…was remarkable.

When I consider Lana’s retort (‘I didn’t make her get on that plane’), I find that I have to reluctantly somewhat agree. Gable didn’t make her get on it either. How is it possible that this smart, savvy, successful, confidant and seemingly universally loved woman was somehow reduced to changing her interests, going cross country in desperate pursuit of pregnancy, lurking around Hollywood sound stages to monitor her husband’s behavior and accepting a pattern of one sided adultery in her marriage? How did she get to a point where she was so desperate to hang onto a man that she was a wreck over an 8 day separation and the fact that he wasn’t answering the phone….to the point of defying solemn promises made to her traveling companions, ignoring military air travel demands during war time and throwing a celebrity fit in order to get her way? It’s maddening! I understand that he was “the king” and all…but she was not exactly chopped liver and absolutely nothing in her background would lead one to believe that she would not only put up with this kind of situation but literally kill herself and 2 others in her single minded desperation to retain it. I’m guessing that this wealthy high society party girl/hugely successful actress was not previously terribly interested in hunting/camping. Her prior relationships, marital opinions and career plans did not seem to have a lot of focus on motherhood. She seems to have been trying to become what she thought he wanted from the start – then obsessed with having a baby (really good idea with a straying husband) as a further means to hold him. You just want to reach through the pages and shake her — HE IS NOT WORTH IT!!!

An irony too I think is that if she hadn’t died like this, my guess would be eventual divorce when she had finally had enough. He certainly was not going to stop his behavior as her prior entreaties had not worked…it was just a matter of time before she either became too humiliated/fed up to take it any more…or he got someone pregnant (again) or found some other 20 something actress to replace his (in Hollywood) “aging” 30 something wife. I don’t think absent this tragedy the “Gable and Lombard” legendary love story would have endured.

I did not quite come away with much admiration for Gable. I felt for him and was mesmerized by the details of his attempt to climb up, time in Las Vegas waiting for the outcome/bodies and life after…but at the end of the day I couldn’t help but think that karma had kind of gotten him (with the incredibly unfortunate corresponding outcome for Winkler and Petey too). His treatment of his first wife – the ugly reality of his second marriage – the complete abdication of human/moral responsibility for Judy Lewis and of course his cavalier and hurtful behavior while with Lombard — all too much for me to erase via a few kind deeds later on.

As you so correctly pointed out, SO many people died in WW2…WHY does this one plane crash seem so compelling?! It is positively haunting to me and I’m not exactly sure why. The passage of 75 years….the fading photos of a long ago movie star who many/most today have never have even heard of….the lingering debris (including that wedding ring) still resting undisturbed on that mountain….the LONG list of reasons why this never had to happen and the various opportunities that would have changed everything are gut wrenching. I can certainly understand why Gable never recovered.

Thank you for an outstanding read. I never knew all the details…now I do and will never forget them.

My 2012 view of the place where all the stories intersected.

What more could any author want than a reader who is this literate and this energized after reading that author’s book? You bring up so many great points, Mary, with the first being, why did Carole bend herself into a pretzel to try to accommodate this particular man? I think the answer can be found in her capacity to love unconditionally. She was an old soul and she understood and was able to accept his baser instincts, insecurities, and shortcomings. It wasn’t ever a two-way street with these two. He was the king and she was his consort. But then she hit 30 in the place where one must never do that—Hollywood. And tastes changed among moviegoers, causing her to drive her career into a ditch. Once she was in there, it wasn’t so easy to get back out, and the result was fear she would lose her man to the hottie of 1941, Lana.

Another point you raise, the one that made you want to reach through the pages, concerned her rush to get home. As I read your reaction, it occurred to me that at age 33 years and 3 months, Carole still possessed the energy and invincibility of youth. Dying was for other people. If there’s one thing I understand above all (because she and I share this trait in spades), it’s Carole’s goal orientation. And that night her goal was, I gotta get home. She saw the prize and she went for it whereas after another 10 or 20 years of living, she might have tempered her impulse into, I want to get home, but he’ll be there tomorrow and I can’t put my traveling companions through emotional hell.

I’ve said it a thousand times and I’ll say it again. I remember vividly sitting there in the middle of writing Fireball in my quiet house. Dead quiet. And looking at the wall in front of me and thinking, “Will anyone care about this story of a movie star who’s been dead 70 years?” I’m going through it right now in a different sense because, Audrey Hepburn. Sheesh. But this time it’s, “Have I pulled this off? Have I told this story in a way that compels the reader to keep going?” You just never know.

But in both cases I’ve latched onto a story that all past biographers stepped right over without really even glancing back to see what that just was. In the case of the last days of Carole Lombard, I was like, wait a minute. There were so many stories that had never been told. Carole living the best full day of her life on the last full day of her life. The veteran airline pilot who made a rookie mistake. The first responders rushing up a mountain to make a rescue. The crash investigators trying to figure out what had happened. The poor young officer who had to pick up body parts on mountainside you couldn’t even walk across. The hotshot Army flyboy desperate to get to his fiancée. And on and on. You didn’t have to end up liking Gable because there were so many other people who were so goddamn cool, including some who broke your heart by not living to the end.

Audrey in the British picture Secret People playing a young dancer. She made this two years before she hit Hollywood.

In the case of Audrey Hepburn in World War II—that’s my next one, Audrey Hepburn in World War II—there’s an obligatory chapter on this topic in all the bios that came out after she died in 1993. A single chapter about six years of her life in the midst of the greatest crisis in human history! Oh let’s just get past this thing about Hitler and Jews, the murder of her uncle, the battle for Arnhem, the Hunger Winter, and all that other boring history. We have to blaze through it so we can get to the good stuff about sex with William Holden and the making of Breakfast at Tiffany’s! Well, fine, you all did that. There are some really good AH bios out there, particularly the one by Barry Paris.

Me? By focusing on the Netherlands, I found a story just as riveting as what there was on Potosi. Once again I’m sitting here thinking, I can’t believe I get to be the one to tell it! But, boy, I can’t just tell it. I have to tell it right. That’s the pressure and the sixty-four-dollar question. Have I told it right?

Anyway, that’s where I’ve been—back in time in the Netherlands circa 1940-45 learning how Audrey Hepburn became who she ended up being. Walking in her footsteps, breathing her air, meeting some of the people she knew in the places she knew them.

In the meantime this is just me poking my head in to say hello and to acknowledge the tremendous compliment paid by Mary Whittaker.

#ballbuster

Fireball: Carole Lombard and the Mystery of Flight 3 by Robert Matzen In case you haven’t noticed, we’re living through a gender revolution that will make the history books. Women from all walks of life are stepping out of the shadows to speak about the sexual abuse they’ve suffered, whether in the form of unwanted advances, or bullying, or rape. It began with actresses in Hollywood, but now workers in the casino, restaurant, and hospitality industries have come forward, and we stand at a moral crossroads. The movement has revealed the continued inequality of the sexes, and a truly surprising lack of progress made in the treatment of women by men. Personally, speaking only for myself as a male of the species, I would argue that men and women aren’t equal at all. Women are superior in almost every way.

When you stop to think about the fact that Harvey Weinstein and so many others have been getting away with vicious behavior in Hollywood in what should be an enlightened age, you have to wonder how bad things were 70 and 80 years ago when L.A. was, to an even greater degree, a “man’s world.”

Gable is his usual over-showered self but not his mate who emerged from a successful hunting trip unbathed and wearing no makeup. But still in a fur.

Since the Weinstein business came to light, we’ve seen a cascade of alleged male abusers. You know who this has brought to mind? Carole Lombard. I’ve gained new and growing awareness about how Lombard conducted herself during her Hollywood years. Back around the time she became a leading lady in 1928, she adopted a hard-edged vocabulary that earned her the alias “profane angel” and she used it with everyone, but particularly with men. She was an aggressive woman. She arranged to be photographed with men’s toys—cars, airplanes, guns. She kidded the hell out of men and in the rawest possible terms. She kept men off guard pretty much all the time. Throughout her career, she was known for cursing like a sailor and adopting a manner with men that was charming but also in the bounds of “confrontational.” In other words, she made it clear she was in charge of any situation, and since I got to know this woman pretty well while writing Fireball, I’m going to wonder if once she may have been sexually groped or assaulted.

Once.

If it did happen, her highly unconventional behavior of the next 15 years suddenly makes perfect sense. Supposedly her two older brothers, Fred and Stuart, helped Carole figure out how to live successfully in a man’s world through a tailored attitude and vocabulary. Whoever it was who came up with the formula, it worked. As one of the fan magazines trumpeted, Lombard ‘lives by a man’s rules’ in such grand fashion that, pretty soon, she had a reputation like a gunslinger: Don’t mess with this one; you could get hurt. Carole Lombard flat-out intimidated men—she who kept the massive ego of Clark Gable in check as easily as she wielded a shotgun.

Last month marked 76 years since Carole Lombard died in a plane crash near Las Vegas. That span of time boggles the mind because of how progressive she was. She negotiated paychecks comparable to those of some of the leading men of her day; she made it a point to learn all about directing, producing, and lighting—all of which were male domains; she cheerfully paid 80 percent of her income in taxes because it was for the common good; and she espoused equality of the sexes in a town, and a world, dominated by men. And now, viewed through the prism of the #metoo movement, she seemed to have found a way all those decades ago to take charge of her own safety. I used to think her blue language was eccentric, but now I realize the brilliance and practicality of her brash manner as a loaded weapon with the safety off.

Giving Robert Stack the business on the set of To Be or Not to Be.

Santa Claus and the Cold Hand of Death

Fox poster art for the June release dismissed the Christmas angle, which was known to be bad box office.

2021 author’s note: In honor of the holidays, I’m re-posting this piece on a picture I just watched yesterday (again). I wrote this about 17 months before the release of Dutch Girl.

On Thanksgiving morning I was watching a bit of New York City’s Macy’s parade on television, which inspired me to revisit one of my favorite seasonal touchstones, Miracle on 34^th Street. I try to watch it every year, but this time what really hit home was the scene when the woman brings the adopted Dutch girl to see Santa. Lately, I’ve been deep-diving into all things Netherlands—the language, the culture, and especially the history of life in Holland during the Nazi occupation of 1940 to 1945.

If you were living in the Netherlands when the Germans marched in on a pleasant May morning, there was a decent chance you would not be living when they were driven out in 1945. If you happened to live in Rotterdam, you could have died in the German bombing of the central city that forced the Dutch surrender four days after invasion. If you were a Jew, you would have been given a one-way ticket to a concentration camp. If you were deemed an enemy of the state, you might have been shot. If you got caught up in the combat of 1944 and 1945 when the Allies came in, well, either side could have gotten you. If you made it as far as the Hunger Winter just before war’s end, you might have starved. And if you happened to be standing under an Eighth Air Force bomber, well, duck, cover, and pray.

When Miracle on 34^th Street was released in June 1947, its audience knew all too well the horrors that Holland had weathered. So, when the Dutch girl’s adoptive mother explains to Santa that the girl comes from an orphanage in Rotterdam, it would have sent chills through many. The girl’s parents clearly had died in the war, and the child is emotionally scarred as a result. She has only one wish, and that’s to connect with Sinterklaas, the Dutch St. Nicholas who each November sails by ship from Spain and lands in some obscure part of the Netherlands with his sidekick, Zwarte Piet the Moor, who lugs a sack full of presents and candy for the good children. After stepping ashore like MacArthur in the Philippines, Sinter sets out on a white steed to make his way through the lowlands while poor Piet goes afoot. In many Dutch households, Sinterklaas knocks at the door and comes in for a December 5 sit-down that amounts to a performance review for the children living there. If you’re good, well, you don’t have to fear the bearded man with the lethal staff, scary mitre, and lurking strong-arm man. You get gifts and candy in your wooden shoes placed neatly under the Christmas tree. If you happened to be a bad kid, however—and this is where it gets a little weird—Zwarte Piet manhandles you into the sack and carries you back to Spain.

The forlorn look of a refugee from the world’s darkest days.

I always loved the Miracle on 34^th Street scene between Santa and the Dutch girl for the elemental conflict presented. Her poor caretaker doesn’t want to expose this little war orphan to a department-store Santa who can’t possibly understand her language or needs. I always understood her culture shock at being in New York, U.S.A. What only became clear on this viewing after my Nederland immersion is the aura of death surrounding the child and what motivated her forlorn look when she first interacts with the Macy’s Santa. The girl, who seems to be about seven years old judging by the missing front teeth, lights up when Santa suddenly begins speaking to her in Dutch and she gets the confirmation she needs: He really is Sinterklaas.

I have to hand it to Edmund Gwenn for doing as well as he does with what is truly a tough language to learn, even if it’s only a few lines. Marlene Lydon does as well with her Dutch impression as any seven-year-old California girl with missing front teeth possibly could. And at plot point one, when Natalie Wood as little Susan watches the interaction between Santa and the orphan and begins to suspect that Santa is more than a department-store stand-in, it’s the best moment of all—her jaw drops and she experiences real magic for the first time in her very sensible life.

In my experience, horses don’t do the roof any good, but there is Sinterklaas on his white steed, while poor Zwarte Piet ends up with the short end of the stick. In modern appearances Piet is usually played by a Caucasian in blackface, and there has been a formidable social backlash in the Netherlands.

There are so many things to love about Miracle on 34th Street (the original–I refuse to accept more recent imposters). I’m not the biggest Maureen O’Hara fan, but as Mrs. Walker she underplays beautifully throughout, like when she tries to tell Susan that Santa isn’t real even though, as Susan points out, he can speak Dutch. “I speak French,” Walker reasons, “but that doesn’t make me Joan of Arc.”

O’Hara, Wood, and Gwenn, part of a perfect cast in a perfect film.

I’m not breaking new ground here when I go on and on about this perfect film, a triple Oscar winner (one for Gwenn and two for the writing). I just wanted to take a moment to call out that scene and the all-new effect it had on me after a lifetime of viewings. And if I don’t get another column up in the next little while, Happy Holidays, one and all, from the Netherlands salt mines where I toil, pretty much night and day.

P.S. Don’t forget to order Mission: Jimmy Stewart and the Fight for Europe, which has proven to be the perfect holiday gift for active-duty service members, veterans, armchair generals, and lovers of everything Hollywood.

Curves and Straightaways

I know I’m not the first to make this realization, but while scanning 1950s articles about Hollywood the other day, I stumbled across a piece comparing and contrasting two stars on the rise in 1953, Marilyn Monroe and Audrey Hepburn.

Mission: Jimmy Stewart and the Fight for Europe by Robert Matzen

As the evil Rose in Niagara, Marilyn was dressed in several outfits to show off her feminine curves, and director Henry Hathaway gave her long, lingering walking-away shots to leave the boys in the audience panting.

It had never occurred to me that this dichotomous pair, arguably the two most iconic, recognizable, still-relevant Hollywood stars ever, burst upon the scene within months of each other. Yes, Marilyn had already appeared in many pictures as a supporting player from 1947 through 1952, but it was her role as the would-be husband killer in Niagara (released in February 1953) followed in quick succession by the musical Gentlemen Prefer Blondes (August) and comedy How to Marry a Millionaire (November) that launched her to superstardom.

Hepburn on the other hand had found Hollywood via Broadway, where she’d earned raves for Gigi in 1952. Just to show how stars are born, Marilyn clawed and scraped her way up the ladder, while Audrey lucked into break after break. A couple of bit parts had earned Hepburn a pair of supporting roles in European pictures. While making one of these, the playwright Collette stumbled upon Hepburn in a Monte Carlo hotel lobby and knew instantly that this was the girl to play her title character, Gigi.

Faster than you can say Air France, Hepburn was jetting to Broadway in 1952 and earning press that made Hollywood a logical next step. And who should snap her up but William Wyler at Paramount for Roman Holiday, a picture tailor made for a pretty, young European unknown with a mostly British accent. In other words, it had taken Marilyn six years, many nude modeling assignments, and by my count 20 motion pictures and however many casting couches to get where Audrey Hepburn found herself overnight in September 1953.

This is a face that had stared into the face of war. Despite no formal training, the life she’d lived gave Audrey tremendous depth as she starred in Roman Holiday at age 24

What struck me about the late-1953 article taking a first look at Monroe and Hepburn was its question posed to the American public: Which do you prefer: curves or straightaways? Marilyn was already well known for bombshell curves the likes of which Hollywood had rarely seen. She was like a crazy-deluxe combination of Mae West and Lana Turner. Then out of nowhere comes this Hepburn girl from Holland by way of London and New York. Hepburn was described out of the gate as “boyish” and “elfin.” Wyler even called her a strange combination of “pretty and ugly.” In retrospect this seems outlandish but in context, Audrey had lived through World War II and spent months emaciated from lack of food. After the war, she grew chubby from overeating. And all the while her face was transitioning from nothing special to drop-dead arresting. When she hit Broadway and then Hollywood, nobody had seen anything quite like her before, and that which has become a modern standard for beauty took consumers in the United States some getting used to.

Publicity shots at this stage of Marilyn’s career sold sex, sex, and more sex.

It’s amazing to me that IMDB lists 33 film and TV credits for Marilyn Monroe and 34 for Audrey Hepburn. Neither had a long career for vastly different reasons, and both left us wanting much more. As humans, they couldn’t have been any more different. Insecure Monroe became a super-sad super diva, while Hepburn retired from the screen for her two sons and for Unicef. Monroe coveted accolades as an actress and studied under Lee Strasburg; Hepburn spent her later years feeling she was never an actress and kept apologizing for it. Monroe was notorious for missing her call times by hours and half-days and Hepburn never showed up anywhere late even by a single minute. Yet today, given that Marilyn died 55 years ago and Audrey 24, they are the most famous of Hollywood icons, these two who hit the bigtime in 1953, one famous for curves, and the other for straightaways.

Audrey spent most of her career covered up. She always considered herself a ballet dancer and not an actress, but her lack of curves could be traced back to the war and long stretches of hunger.

Turnover

If you happened to be at the Great Mausoleum at Forest Lawn in Glendale, California, this past weekend, I want to be in touch with you because I wonder if you heard a kuh-thump sound. That would have been Carole Lombard turning over in her grave, because at the Heritage auction house in Dallas, Texas, a movie poster from one of her films auctioned today for $107,550. The reason she turned would have done the old flip-a-roo is that the poster represented Supernatural, her least favorite picture in a career spanning almost 80 screen appearances over 20 years.

As some of you may know, I’ve been involved with movie posters since high school, and to me there’s nothing so evocative as the smell of a stack of old lobby cards or other carefully aged, 80-year-old paper. I saw the Supernatural one sheet on a wall in Hollywood somewhere around 1985—the one that sold for $107K may have been the same copy for all I know. I believed it would go high because it’s rare (only a few survived) and scarce (many people want the few that exist) and stunning to look at. Lombard’s mesmerizing eyes follow you from all angles—it’s one of those posters, the spooky kind, as CL clutches a glowing crystal ball in her hands.

Roma Courtney, now possessed by the spirit of Ruth Rogen, who recently went to the chair for murder.

As recounted in Fireball, Supernatural is Carole’s only horror film, made in 1933 by the Halperin Brothers¾Victor, who directed, and Edward, who produced. Their reputation on poverty row preceded them to Paramount Pictures, where Lombard was then under contract and forced to make this tale of a dead murderess whose spirit drifts around possessing people, including at one point Roma Courtney as portrayed by our gal. The Halperins had just hit pay dirt creating one of Bela Lugosi’s signature features, White Zombie, great-great-great granddaddy of today’s endless stream of derivatives, including a series I just can’t stand called The Walking Dead.

Give me Supernatural any day. It’s a tons-of-fun sexy pre-code feature that moves at a mile a minute. The cast is solid led by Carole, Randolph Scott, H.B. Warner (relevant to today’s general viewer for It’s a Wonderful Life and Sunset Boulevard, although he goes way back in the silents), and Vivienne Osborne as the crazed, dead-then-undead killer. Everyone takes the proceedings oh so seriously, where today with something like this there’d be lots of winks and nods at the camera. Why Lombard was so exasperated making Supernatural I really don’t understand, because she was way into all things paranormal, cavorted with psychics and palmists, and should have seen the benefits of making a picture that was truly different from what was frankly a lot of crap that Paramount kept putting her in—mindless melodramas that induce migraines today. But exasperated she was, to such an extent that at one point during production she threw her arms open wide and screamed to the heavens, “Who do I have to screw to get off this picture?!”

Well, Carole, Supernatural lives on. Brother does it. Your mug made the cover of the Heritage auction catalog and the fact that the Supernatural one sheet, complete with your staring eyes and a pair of glowing, shadowy brow ridges that would make any gorilla proud, will hit the news in collecting circles for the fact that this poster cracked a hundred-grand and comfortably so. You might as well grin and bear it, baby. You have made the news in 2017.

Kuh-thump.