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The Bennetts
Forged with Flames is Ann Fogartys poignant and compelling story of her experiences of the Ash Wednesday bushfires in 1983 and its devastating aftermath as she struggled to survive the severe burns she sustained to 75% of her body, followed by a series of life-threatening events. These have had a profound effect on her psyche, her health and her spirit, yet the reader is repeatedly drawn to admire and be deeply inspired by her honesty and her incredible moral fortitude. Her triumph is coming out of it scathed but by no means defeated.
eBook
Can I go now? : the life of Sue Mengers, Hollywood's first superagent
Accompanied by anecdotes about and interviews with more than 200 show-business luminaries, a compelling biography of Hollywood's first superagent - one of the most outrageous showbiz characters of the 1960s and 1970s - charts show business as it evolved throughout the years.
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1900–1904
From the time they met during rehearsals of A Royal Family, Mabel Morrison was one woman Richard Bennett consistently failed to dominate. No doubt this first-generation actor was somewhat intimidated by Mabel’s distinguished theatrical pedigree. Her father, Lewis Morrison, was one of the most successful actor-managers of his time. Morrison had practically made a career out of touring in one role—Mephistopheles in his own production of Faust—and he had long been one of Richard’s idols. Mabel’s mother, Rose Wood, was one of the most prominent actresses of the 1880s. Rose had enjoyed her first success touring with stock
Book Chapter
1937–1940
Following her departure from MGM, Constance waited around for another decent contract offer to materialize. When none did, she signed a two-picture deal with Gaumont-British, a studio known for its Alfred Hitchcock thrillers and Jessie Matthews musicals. The first film was a World War I drama calledEverything Is Thunder, adapted from a novel by J.B. Hardy; the second was being developed under the working titleThe Hawk. Constance was to receive a salary of $55,000 for each picture—a swift drop from her asking price a couple of years earlier—plus 10 percent of the U.S. gross. Once production
Book Chapter
1927–1929
Jack Fox’s job with the Stock Exchange was short-lived. One night he told Joan that a hot theatrical prospect awaited him in London, the kind of opportunity he had been waiting for and that was guaranteed to launch him successfully in the business at last. Joan was skeptical, but at the last minute weakened and let him go, while she traveled to Los Angeles, where Jack’s parents were now living. Life with the Foxes was anything but merry. Joan found them “the Western distributors for Babbitry, ultraconservative types who offered no room at all for high spirits and fun.” One
Book Chapter
1934–1937
When he first came to Hollywood in 1931, Richard had tried to give the impression that filmmaking would fill the void left in his creative life after he had turned his back on Broadway. By 1934, he could no longer preserve this illusion, for himself or anyone else. With the exception ofArrowsmithandIf I Had a Million, a 1932 all-star comedy for Paramount, none of his movies was anything to be proud of, and he had wearied of the life of a Hollywood character actor. Regardless of the money, he loathed sitting around the set waiting for a
Book Chapter
1931–1932
Joan’s years as a contract actress with Fox Films were busy and prolific. She worked steadily, both for the studio and on loan-out, but it is doubtful whether any young actress was ever stuck with such a miserable run of films. In the next two years, she would complete ten pictures, nearly all of them worthless. Fox tried her out as everything from an accused murderess (The Trial of Vivienne Ware, 1932) to a backwoods tomboy named Salomy Jane in Wild Girl (1932). Unfortunately, it cannot be said that Joan rose above her material. In most of these films, her
Book Chapter
1941–1943
With her retirement from acting and marriage to Morton Downey in 1929, Barbara had chosen her place out of the sun—seemingly, without regret. Her quiet life as a Connecticut housewife and mother had given her a distinction all her own: while Constance and Joan had each had three husbands by the time they turned thirty, the press delighted in pointing to Barbara as the stable member of the family, the exception to the rule of tempestuous Bennetts. The truth was that her marriage to Morton had been in rocky shape for some time. During his peak years on the
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