Anita Loos – one of early Hollywood’s greatest writers – helped invent the industry. Hell, she even helped to invent its inventors. She would pen some 200 screenplays and help turn Douglas Fairbanks, Jean Harlow and Audrey Hepburn into stars. During the Depression, she earned the then-astronomical sum of $1,000 a week at MGM. She also found time to write the best-seller Gentlemen Prefer Blondes and to conjure up showstoppers for Broadway. For more than 60 years, Loos was revered, widely imitated, called a genius by geniuses — and yet never was nominated for an Oscar. Why?
In this story, featured in the Hollywood Reporter‘s Oscars-and-the-gender-divide issue, Ms. Blume speaks with experts about the life and legacy of Ms. Loos, and why female screenwriters still have a near-impossible time getting high-level recognition today.
Part of the Times’s “Committed” series: 165 Years of Love (and War) in The New York Times Wedding Announcements.
“Shyness” was the diagnosis: After all, what else could possibly have caused Mary Landon Baker — heiress and socialite — to have left her fiancé, Allister McCormick, a fellow Chicagoan, at the altar so often in the early 1920s?
Newspapers around the world — including The New York Times, which referred to the would-be groom as “thrice jilted Allister McCormick” — delighted in covering the drama that unfolded between the two. In the end, nothing could compel Miss Baker to become Mrs. McCormick: not the Cartier sapphire engagement ring, nor the mountain of wedding gifts (valued at a reported $100,000), nor the thousand of well-heeled guests who showed up for the first wedding ceremony.
Called the “shy bride” by reporters, Miss Baker appears to have been anything but: Throughout the 1920s, she went through lovers like General Sherman blazing a path to the sea and provided excellent copy while doing so. Read Ms. Blume’s account of Ms. Baker’s anything-but-shy adventures here.
By his own admission, Stephen Starr has an aversion to fun. This may seem odd for a restaurateur who oversees more than 30 exuberant restaurants. But he’s quick to clarify: He wants you to have fun. He wants you to sip champagne and devour caviar and whoop it up. He just doesn’t want any of that stuff himself. “I’m the guy producing the show, watching it offstage with his arms folded,” he says.
The 59-year-old Philadelphia native is a maestro at creating sensory pleasures for others. Over the years, he has masterminded restaurants for all tastes, starting with a diner/comedy club in Philly and making his way into the foodie stratosphere; his best-known creations include New York’s Buddakan, Morimoto, Upland, and Le Coucou (which was recently awarded three stars by The New York Times). He has four new projects in the works, from Paris to South Beach. Yet, despite Starr’s success—which he craved early, unrepentantly—he was an accidental restaurateur.
In this story, he talks with Ms. Blume about who he would really be if only fate had made some different choices on his behalf, how divine intervention is required to make a restaurant click, and his obsession with canned tuna.
Like everyone else in the world, these past few weeks, I have been aghast at the real-time horror-show unfolding in Aleppo. Last night, I watched a handful of videos taken by a man who was scaling what had once been the city’s streets: devastated is too light a word for the destruction there. Pulverized—that’s more like it.
Years ago, I spent some time in Aleppo, and as I watched the videos, I desperately scanned the landscape for surviving landmarks. And I found that I was irrationally searching, above all, for staff members of the Baron Hotel, which had been my home during my time there, and for the hotel itself.
This is the story of my own poignant encounter with the Baron, and the cosmopolitan international world it once embodied.
Fashion designer Tom Ford’s feature films depict catastrophic loss of control and the sheer misery that ensues. In Ford’s debut feature, A Single Man (2009), an English professor grapples with the sudden death of his lover. In his latest film, Nocturnal Animals, out this month, a young man endures the kidnapping and murder of his wife and daughter. Why does Ford keep returning to this theme of ultimate loss?
“It sort of preys on my mind all the time,” he says. “Because in the end, there is no control. You think there is. We try for it; we struggle for it. But I’m going to pull out of that driveway and get hit by a truck on my way home. That’s just life.”
Read Ms. Blume’s profile on Mr. Ford, published on the eve of Nocturnal Animal‘s release. Designated WSJ Magazine’s film innovator of the year, Mr. Ford muses on what drives him (“Money and success buy you the freedom to do what you feel is right. I push boundaries because I can.”), how he envisions his legacy, his experience as a new father, and much more.
Photo by Terry Richardson.
It may be easy to poke fun at Love Story, the 1970 film starring Ali MacGraw and Ryan O’Neal as star-crossed lovers from different social stratas. But it’s harder not to cry during the movie’s tragic final scenes—just try. We challenge you.
The movie may be a tearjerker with some endearingly dated dialogue, but it also remains beguiling—and very stylish. Upon its 1970 premiere, Love Story became a runaway international hit; audiences around the globe sobbed in darkened theaters. The Academy bestowed its approval: seven nominations, including best actor and actress noms for MacGraw and O’Neal. MacGraw, until then a virtual unknown with one starter film under her belt, became an icon of her generation.
Most starlets endure trials-by-fire in Hollywood, but with Love Story as a vehicle, MacGraw had a gilded ascent, protected and championed by Paramount chief Robert Evans and director Arthur Hiller, to whom MacGraw remained close until his death two weeks ago. In this story, she shares her recollections of the film’s director, its producer and stars, and how it changed all of their lives forever.
At first glance, Rodarte’s designs – created by sisters Laura and Kate Mulleavy – might not summon images of Los Angeles, where the fashion scene has long been synonymous with yoga pants and denim cutoffs. But Rodarte’s rapid, almost astonishing ascent seems like a tale that only Hollywood could have conjured.
Since its 2005 debut, Rodarte has been worn by superstars like Michelle Obama, Cate Blanchett and Tilda Swinton, to name a few. The Mulleavy sisters have also collaborated with members of the creative intelligentsia (Benjamin Millepied, Frank Gehry and Gustavo Dudamel among them) on films, ballets and operas, and they are directing their first feature film, starring Kirsten Dunst. Yet despite their status as serious American fashion auteurs, they’ve long resisted the almost gravitational pull to New York City, the industry’s center, and remain fiercely loyal to the City of Angels.
“California is just so ingrained in us,” Laura says. “In an hour, you can be in the desert, or on the beach, or in the mountains. It’s always been the thing we go back to. Nine times out of ten, in our collections, there’s an influence that came from being here.” In this story, the Rodarte sisters give Ms. Blume a tour of their private and beloved home city.
It is lunchtime in Los Angeles, and I am waiting for Anjelica Huston in the back of Musso & Frank Grill, reputed to be the oldest restaurant in Hollywood. This is a treat for me: after all, Huston is one of this town’s most rewarding conversationalists: wise, blunt, whip-smart — and she has decades of Tinseltown gossip to impart. She first moved here in 1973, and by the 1980s had reached the Oscars strata, like her father and grandfather before her. She has since worked with Wes Anderson, Francis Ford Coppola, and Woody Allen. Huston’s advantages and successes should inspire legions of envious detractors, but somehow she seems universally adored and admired. (“Oh, that’s not true,” she says later. “I’m sure bitchy things have been said.”) When she arrives at the restaurant, everyone gawks as she strides down the aisle. In the subsequent interview, the Transparent star talked about her longtime connection to the LGBTQ community, the Hollywood icon she would have loved to seduce, and her unlikely talisman.
Over the years, television has brought us Lucy and Ethel, Laverne and Shirley, Mary and Rhoda. But in 1992 it spawned Absolutely Fabulous’s Patsy and Eddy, arguably the most hilariously despicable comedienne duo of all time. Relentlessly drunk, self-obsessed fashion slaves, Joanna Lumley’s magazine editor, Patsy Stone, and Jennifer Saunders’s publicist, Edina “Eddy” Monsoon, took madcap satire to giddy heights and sleazy lows.
The series ran sporadically through the 90s and into the 21st century, and this month Absolutely Fabulous: The Movie (written by Saunders) is being unleashed upon us all. (Cameos include everyone from Stella McCartney to Joan Collins to Jerry Hall.)
Yet if Patsy is sublimely soul-less, Lumley is her antithesis: a beloved activist (principally on behalf of retired Gurkha soldiers seeking the right to settle in Great Britain), a global traveler, and a wise soul; at 70, she is considered a national treasure in at least two countries. That said, she isn’t exactly vice-free, as she explains in her interview with Ms. Blume.
During my sophomore year of high school, my parents gave me a choice: Play an after-school sport or get a job. In the end, it came down to vanity. After six long, terrible, socially exiled years of wearing braces on my teeth, the idea of dodging lacrosse, field hockey or tennis balls did not appeal to me. Employment seemed a reasonable act of self-preservation.
I can’t remember how I landed at Toys in the Attic, a now defunct toy store. I didn’t like children, and I detest dolls — I mean, I really hate them, especially the ones whose eyes roll shut when you tilt them backward. But the store’s owner gave me an after-school-and-Saturdays gig. I might have seemed an incongruous hire, but she had a gift for hiring employees with no affinity for the under-10 crowd. This is what I learned from my unlikely comrades there.
My friends and I decided to meet there at six o’clock. Under other circumstances, this hour might have seemed unchic, even geriatric, but these were unusual circumstances indeed. You see, this is the last week in which NYC’s Four Seasons restaurant shall remain among us—soon it will be stripped down, emptied. It will simply cease until it is chiseled into something else.
We had been hearing rumors that a great party had been going on there at the bar and restaurant, a days-long fête that was only getting crazier each successive evening, that half of New York was showing up, that it wasn’t to be missed. Like many great parties, this one had been entirely unplanned. It had simply started the way wild fires sometimes start: no one knows how. This is what went down that night.
Legendary New York Times photographer Bill Cunningham, who for decades covered events and street fashion, has died at 87. For many of his lucky subjects, getting photographed by him was like getting approval from New York itself—an earlier incarnation of the city that shimmered with eccentric glamour and a particular sort of individualistic ambition.
Mr. Cunningham himself did not, at first glance, seem to exude glamour or ambition. Yes, he was spectacularly eccentric, but even the uninitiated could immediately deduce that Mr. Cunningham’s peculiarities were unaffected.
The more you knew about him—and everyone was always curious about this sweet, skinny man who darted around the corners of 57th St and Fifth Avenue and the ballrooms of the elite hotels with his 35 mm camera—you saw that he had an awful lot a lot in common with the city he documented. He was the city’s chief anthropologist and its mirror.
Read Ms. Blume’s love letter to Mr. Cunningham – and the NYC that is vanishing along with him.
By the mid-1920s, thousands of Americans were sending themselves over to Paris to take part in la vie boheme. The often-debauched cafes and bars of Montparnasse served as the heart and soul of the famous expat colony that grew there. Upon arrival, each expat picked his or her café affiliation carefully and was judged accordingly: each café was its own nation with its own rules – and once you became a citizen of one, you were expected to despise patrons of the others. The rivalries of expat patrons often paled in comparison to the black-hearted practices of the cafes’ owners, who regularly tried to sabotage one another. What follows: a brief guide – adapted from my new Hemingway biography, Everybody Behaves Badly – to the Lost Generation’s most notorious cafes and the low-grade war that raged among them.
Not all publicity is good publicity, after all: Consider the case of Pauline Pfeiffer Hemingway. Married to writer Ernest Hemingway from 1927 to 1940, she may best be remembered as one of modern literary history’s most controversial home-wreckers.
Hemingway himself had a hand in ensuring that this would be her legacy. In his beloved Paris memoir, A Moveable Feast, written after their divorce, he vilified Pauline and claimed that she had “murdered” his first marriage to the gentle, matronly Hadley Richardson through the “oldest trick”—namely by befriending Hadley to get access to him and then promptly seducing him. Pauline is remembered for other things as well, such as her wealth, which was reportedly a powerful lure for Hemingway when he first met her in 1925.
What gets overlooked, however, are Pauline’s own hard-earned accomplishments. At that time, she was a successful fashion journalist for Vogue, and few biographers have ever bothered to highlight exactly how good she actually was at her job. Nor have they considered how this professional savvy may have played a role in bringing about the eventual Pauline-Hemingway union in the first place.
As I was researching my upcoming book, Everybody Behaves Badly: The True Story Behind Hemingway’s Masterpiece The Sun Also Rises, in which Pauline played an important role, I wanted to learn more about Pauline’s life as a reporter—but I found scant material in mainstream Hemingway bios. So my research assistants and I dug into the Vogue archives to learn more about her—and there she was, hiding in plain sight.
Last year, I confessed to my best friend that I had fallen in love with another man. When she heard this man’s identity, she knew I was in trouble.
“First of all,” she told me, “you’re married. And so is he.”
“I know,” I said miserably.
“Plus, he has a mistress,” she pointed out.
“Yes,” I conceded.
“And, you know,” she went on, “he also happens to be dead.”
I had to admit that it was all rather inconvenient, but I was smitten and there was nothing I could do about it. My new boyfriend: F. Scott Fitzgerald, oracle of the Jazz Age, author of the great American novel. This is how it went down.
Several years ago, I came across a photograph of young Ernest Hemingway sitting at a cafe table with a group of people, including one beguiling, fashionable lady. There was something about the way she gazed at the camera; she managed to be both demure and coquettish.
I soon learned that her name was Lady Duff Twysden, and that she had been the prototype for Lady Brett Ashley, Hemingway’s iconic femme fatale in his debut novel, The Sun Also Rises. The image inspired me to write my upcoming biography, Everybody Behaves Badly: The True Story Behind Hemingway’s Masterpiece The Sun Also Rises (June 7, HMH).
Some time later, in the course of my research, I came across another powerful photograph, unearthed in the detritus of a long-forgotten estate. The image is undated, but it may be the last surviving photograph of Lady Duff Twysden, and this is the first time it has been published.
Here is the story behind it, and of the final days of the woman who inspired one of the most glamorous female characters in modern literature.
Vanity Fair‘s exclusive advance excerpt of Blume’s upcoming Hemingway biography, Everybody Behaves Badly: The True Story Behind Hemingway’s Masterpiece The Sun Also Rises.
Ernest Hemingway’s debut novel gave a voice to the Lost Generation—often by lifting it directly from his affluent expat circle in post-war Paris. In her new book – Everybody Behaves Badly: The True Story Behind Hemingway’s Masterpiece The Sun Also Rises — Lesley M. M. Blume recounts the scandalous trip to Pamplona that inspired Jake Barnes, Lady Brett Ashley, Robert Cohn, and the characters from literature’s greatest roman à clef.
Everybody Behaves Badly was originally conceived as a possible article for Vanity Fair, to which Blume is a regular contributor, but was immediately expanded into a book instead. It will be released on June 7 by Eamon Dolan Books / Houghton Mifflin Harcourt.
Rifat Ozbek belongs to a small but special club that has no name, comprised of artists who walk away from the spotlight at the peak of their fame. The fashion designer had a devout following in the 1980s and ’90s, but about a decade ago, Ozbek felt the cycles had grown too demanding, and so took refuge in designing his holiday home in Bodrum, Turkey. There he began making decorative cushions with textiles from Central Asia and Uzbekistan and filling them with down and Turkish lavender. From that, Yastik, his line of exquisite pillows, was born. “I wanted to simplify my life and do one product: no seasons, no fit problems,” he laughs. Exciting new projects are now in the works, and the stage is set for his second act.
My husband and I probably weren’t the most obvious candidates to move to Los Angeles. I am what people often describe as a quintessential New York character, for better or worse. Consider the evidence: I am invariably clad in black; I am addicted to my work; I am more inclined toward cheese plates than canyon hikes; I practically lived at Bemelmans and the 21 Club. But Los Angeles began to beckon us several years ago, and this year we made the leap. Read on to see my survival lessons for other New Yorkers looking to adopt L.A. as their home.
That Anderson Cooper hails from Vanderbilt lineage belongs to that strange category of well-known but still-surprising trivia. His own career trajectory—a newsman who has for decades covered wars, famine and natural disasters, along with the occasional New Year’s Eve—seems so profoundly un-Vanderbilt-y. His mother, Gloria Vanderbilt — a Studio 54 fixture and 1960s fashion icon — is in many ways a product of the Gilded Age, more Whartonian than Warholian. She hails from the now-extinct realm of dollar princesses and Newport “cottages.” For anyone who has ever wondered how Mr. Cooper relates to this heritage, a new book, The Rainbow Comes and Goes – a conversation between this famous mother and son – should provide some insight.