Mary Astor – Photos and Quotes

POSTED SEPTEMBER 18, 2016 BIZARRE.LOS.ANGELES

“Hollywood is too deadly serious about the wrong things, and too flippant about the really important ones. We build our lives on the silly, tinsel elements of our work and we have practically no contact with the realities. In short, we’re fools, but there are so many of us crowded into one community that any attempt at change is swamped.” – Mary Astor in 1930.

 

Riding a spotted horse in Griffith Park on her way to a breakfast club meeting in 1923.

 

 

“At Metro, you practically had to go to the front office if you wanted something as real as having your hair mussed. . . All automobiles were shiny, a picture never hung crooked, a door never squeaked, stocking seams were always straight and no actress ever had a shiny nose.” — Mary Astor

 

“The Woman from Hell” (1929)

 

“It’s not good to make sentimental journeys. You see the differences instead of the sameness.” – Mary Astor

 

The Lash (1930). With Richard Barthelmess.

“I was as two-dimensional as the screen itself: cool, indifferent, looking lovely in close-ups. Period. Period. Period. When was I ever going to learn to act? You can’t learn if you can’t experiment and find out what works and doesn’t work. But the hours are long, the schedule rigid, so I did what I was told and saved time and money for the front office. And got a lot of jobs that way.”–Mary Astor

 

“You hear a lot about the difference in acting now and in the old days. As a matter of fact, there isn’t much difference. We spoke lines in the silent films, even though they weren’t recorded. And we had to work on emotions to achieve our characterizations. Actually, it was a real chore to put over a characterization without the aid of recorded dialogue.” — Mary Astor

Source: 1941

 

The Last Squadron (aka Hollywood’s Satan) (1932). With Erich von Stroheim, Mary Astor, Dorothy Jordan, Joel McCrea and Richard Dix.

 

“People write in that I’m cold on the screen, that my love scenes are about as warm as an icebox…I suppose it’s because I am given that type of role to play – and I have that type of face. To be frank, I feel a little silly in emotional parts. Possibly it’s because all the emotion and warmth is gone when you finally get to working in front of the camera after rehearsing ten times…” — Mary Astor

Source: Jerry Lane (1935)
Photo: 1934

Classic and never-before-seen photos of Marilyn Monroe

 

Classic and never-before-seen 

photos of Marilyn Monroe

Photographs by Milton H. Greene

Story by Kyle Almond, CNN

Milton H. Greene photographed some of the biggest movie stars in the world during the Golden Age of Hollywood: Cary Grant, Sophia Loren, Audrey Hepburn, Frank Sinatra, Ava Gardner, Marlene Dietrich.

But to this day, nothing sells like his iconic work with Marilyn Monroe.

“She's lived on from generation to generation to generation,” said Milton’s son, Joshua, who has restored many of his late father’s photos for a new book, “The Essential Marilyn Monroe.”

The book is made up of 284 images, “of which 176 have never seen the light of day,” Joshua Greene said. Many of these photos were long thought to be lost for good.

The film had deteriorated over the years, Joshua Greene said, and his father “died believing all his work was ruined.” But with new technology, the photos were able to be salvaged — albeit with hours and hours of restoration work.

This photo of Marilyn Monroe, never published before, is the limited-edition cover of the new book “The Essential Marilyn Monroe.” It was taken in October 1953 during a shoot for Look magazine, but it was never used. “That was like a found diamond,” Joshua Greene said. “You’ve got to realize that all these pictures were in such bad condition. And It's not until you really get down and work on them do they start coming back to life. It's like restoring an old car.”

Milton Greene first met Monroe on an assignment for Look magazine in the fall of 1953. They struck an immediate friendship and later formed a business partnership when Greene helped Monroe get out of her studio contract with 20th Century Fox.

The two created Marilyn Monroe Productions, giving Monroe more say over what films she would do and what roles she would play. They produced two films — “Bus Stop” and “The Prince and the Showgirl” — and took thousands of photos together.

The images in the new book come from 50 different photo shoots — some of which are familiar to Monroe fans, and some that have never been seen before.

This photo, taken in September 1953, is the main cover of the book. Monroe is wearing a negligee adorned with fur and a diamond bracelet.

“Milton would do a lot of these sittings not particularly while under assignment, but more to explore her range and to give her a sense of confidence and also show how good she was as a chameleon, if you will, how good she was in creating characters,” Joshua Greene said. “So a lot of his focus was to make her look like a character.”

Some of the photos were taken on the set of Monroe’s films. Others were taken in a private studio session or on the back lots of a movie studio. Some were serious, maybe sensual — others were fun and playful.

“She had a great sense of humor. My father had a great sense of humor,” Greene said. “They enjoyed each other's company and were able to really relax and explore and play and create these images that were all fantasy, you know?

Monroe is dressed as a palm reader after she and photographer Milton H. Greene ransacked the 20th Century Fox costume department in April 1956.

“You put on an outfit that looks like a ballerina dress. You put on an outfit that you look like a peasant and you go shoot on the back lots of 20th Century Fox in an environment that looks like a town in the countryside in France, in Europe at the time of the war. So there's these environments that they would use to play off of.”

Joshua Greene was just a few years old when he met Monroe, but he remembers her being like part of the family when she stayed at their Connecticut home after moving from Los Angeles.

“She would take care of me when my parents would go to the movies or give me bubble baths,” he said. He recalled jumping on her bed often, right into her arms. “She would tickle me and I’d get up and do it again over and over like a dog,” he laughed. “There are some fond memories.” It wasn’t until he got older when he became aware of just how famous she was.

Monroe wears her favorite outfit, a white terrycloth robe, just after finishing her makeup in March 1955.

Monroe’s business partnership with Milton Greene ended shortly after her marriage to playwright Arthur Miller, but Greene kept the film and the rights to all the photos they took together. And now, thanks to his son’s painstaking work, we are able to get a different look at one of the biggest icons in entertainment history.

“Her natural ability shows in the pictures,” Joshua Greene said. “And it's not just with my dad. I mean, she's a wonderful muse. …

“He loved photographing her. She was gifted, truly gifted in that way, and it shows.”

This photo of Monroe wearing a sweater coat was taken by Greene during their first sitting for Look magazine in September 1953. Many of the photos from the shoot were considered too risqué and weren’t published.

Monroe wears a jacket and matching trousers for a studio shoot in March 1955. This retro style became a signature look for her.

Monroe wears a red cashmere sweater in July 1955.

Monroe looks up at Laurence Olivier on the set of “The Prince and the Showgirl” in 1956.

Monroe poses with Pekingese dogs that were part of a Look magazine shoot in February 1955.

Monroe wears a black cape in October 1955. Greene had selected two outfits from a fashion shoot and used Monroe as a model while setting up lights for two shooting environments to be used the following day. “She was a young woman that was a sponge who wanted life to come in and show her what she had to do,” Amy Greene, Milton’s wife, said in the book. “She was ready for anything. That’s why she had such a great sense of humor. And she lived every day in the present.”

Photographs by Milton H. Greene ©2017 Joshua Greene

Milton H. Greene was an American fashion and celebrity photographer. He passed away in 1985. “The Essential Marilyn Monroe,” a new book of his work published by ACC Editions, is now available.

MARGARET BOURKE WHITE , FIRST FEMALE PHOTOGRAPHER COVERED INDIAN INDEPENDENCE ,WAR PHOTOS ETC

MARGARET BOURKE WHITE ,

FIRST FEMALE PHOTOGRAPHER COVERED 

INDIAN INDEPENDENCE ,WAR PHOTOS ETC
BORN JUNE 14,1904

Margaret Bourke-White

WW II, INDIAN INDEPENDECE 

Margaret Bourke-White (/ˌbɜːrkˈhwaɪt/; June 14, 1904 – August 27, 1971) was an American photographer and documentary photographer. She is best known as the first foreign photographer permitted to take pictures of Soviet industry, the firsthand American female war photojournalist, and the first female photographer for Henry Luce's Life magazine, where her photograph appeared on the first cover.[1] She died of Parkinson's disease about eighteen years after she developed her first symptoms.

Early life[edit]

Margaret Bourke-White[2] (born Margaret White),[3] in the Bronx, New York[4] to Joseph Whites, a non-practicing Jew from Poland, and Minnie Bourke, who was of Irish Catholic descent.[5]

 She grew up in Bound Brook, New Jersey (in a neighborhood now part of Middlesex), and graduated from Plainfield High School in Union County.[4][6] From her naturalist father, an engineer and inventor, she claims to have learned perfectionism; from her "resourceful homemaker" mother, she claims to have developed an unapologetic desire for self-improvement."[7] 

Bourke-White's brother Roger describes their parents as "Free thinkers who were intensely interested in advancing themselves and humanity through personal achievement," relating this quality in part to the success of Bourke-White, as a prominent Cleveland businessman and high-tech industry founder, and their older sister, Ruth White, who became well known for her work at the American Bar Association in Chicago, Ill.[5]

 Roger Bourke White is not surprised at her success: "My sister Margaret was not unfriendly or aloof. Her interest in photography began as a young woman's hobby, supported by her father's enthusiasm for cameras.[4] Despite her interest, in 1922, she began studying herpetology at Columbia University, only to have her interest in photography strengthened after studying under Clarence White (no relation).[4] She left after one semester, following the death of her father.[3] 

She transferred colleges several times, including: University of Michigan, where she became a member of Alpha Omicron Pi sorority;[8] Purdue University in Indiana; and Western Reserve University in Cleveland, Ohio.[3] Bourke-White ultimately graduated from Cornell University with her B.A. in 1927, leaving behind a photographic study of the rural campus for the school's newspaper, including photographs of her famed dormitory Risley Hall.[3][4][9] A year later, she moved from Ithaca, New York, to Cleveland, Ohio, where she started a commercial photography studio and began concentrating on architectural and industrial photography.

In 1924, during her studies, she married Everett Chapman, but the couple divorced two years later.[7] Margaret White added her mother's surname, "Bourke" to her name in 1927 and hyphenated it.[3]

Architectural and commercial photography[edit]

One of Bourke-White's clients was Otis Steel Company. Her success was due to her skills with both people and her technique. Her experience at Otis is a good example. As she explains in Portrait of Myself, the Otis security people were reluctant to let her shoot for many reasons.

Firstly, steel making was a defense industry, so they wanted to be sure national security was not endangered. Second, she was a woman, and in those days, people wondered if a woman and her delicate cameras could stand up to the intense heat, hazard, and generally dirty and gritty conditions inside a steel mill. When she finally got permission, technical problems began.

Black-and-white film in that era was sensitive to blue light, not the reds and oranges of hot steel, so she could see the beauty, but the photographs were coming out all black. She solved this problem by bringing along a new style of magnesium flare, which produces white light, and having assistants hold them to light her scenes. Her abilities resulted in some of the best steel factory photographs of that era, which earned her national attention.

Photojournalism[edit]

"Kentucky Flood", February 1937
In 1929, Bourke-White accepted a job as associate editor and staff photographer of Fortune magazine, a position she held until 1935.[3] In 1930, she became the first Western photographer allowed to take photographs of Soviet industry.[3]

She was hired by Henry Luce as the first female photojournalist for Life magazine in 1936.[3] Her photograph of the Fort Peck Dam construction appeared on its first cover on November 23, 1936.[1] She held the title of staff photographer until 1940, but returned from 1941 to 1942,[3] and again in 1945, where she stayed through her semi-retirement in 1957 (which ended her photography for the magazine)[1] and her full retirement in 1969.[3]

Her photographs of the construction of the Fort Peck Dam were featured in Life's first issue, dated November 23, 1936, including the cover.[10] This cover photograph became such a favorite (see [11]) that it was the 1930s' representative in the United States Postal Service's Celebrate the Century series of commemorative postage stamps. "Although Bourke-White titled the photo, New Deal, Montana: Fort Peck Dam, it is actually a photo of the spillway located three miles east of the dam," according to a United States Army Corps of Engineers web page.[12]

During the mid-1930s, Bourke-White, like Dorothea Lange, photographed drought victims of the Dust Bowl. In the February 15, 1937 issue of Life magazine, her famous photograph of black flood victims standing in-front of a sign which declared, "World's Highest Standard of Living", showing a white family, was published. The photograph later would become the basis for the artwork of Curtis Mayfield's 1975 album, There's No Place Like America Today.

Bourke-White and novelist Erskine Caldwell were married from 1939 to their divorce in 1942,[3] and they collaborated on You Have Seen Their Faces (1937), a book about conditions in the South during the Great Depression.

She also traveled to Europe to record how Germany, Austria, and Czechoslovakia were faring under Nazism and how Russia was faring under Communism. While in Russia, she photographed a rare occurrence, Joseph Stalin with a smile, as well as portraits of Stalin's mother and great-aunt when visiting Georgia.

World War II[edit]

Bourke-White was the first female war correspondent[3] and the first woman to be allowed to work in combat zones during World War II. In 1941, she traveled to the Soviet Union just as Germany broke its pact of non-aggression. She was the only foreign photographer in Moscow when German forces invaded. Taking refuge in the U.S. Embassy, she then captured the ensuing firestorms on camera.

As the war progressed, she was attached to the U.S. Army Air Force in North Africa, then to the U.S. Army in Italy and later in Germany. She repeatedly came under fire in Italy in areas of fierce fighting.


"The woman who had been torpedoed in the Mediterranean, strafed by the Luftwaffe, stranded on an Arctic island, bombarded in Moscow, and pulled out of the Chesapeake when her chopper crashed, was known to the Life staff as 'Maggie the Indestructible.'"[1] This incident in the Mediterranean refers to the sinking of the England-Africa bound British troopship SS Strathallan that she recorded in an article, "Women in Lifeboats", in Life, February 22, 1943. She was disliked by General Dwight D Eisenhower, but was friendly with his chauffeur/secretary, Irishwoman Kay Summersby, with whom she shared the lifeboat.

In the spring of 1945, she traveled throughout a collapsing Germany with Gen. George S. Patton. She arrived at Buchenwald, the notorious concentration camp, and later said, "Using a camera was almost a relief. It interposed a slight barrier between myself and the horror in front of me." After the war, she produced a book entitled, Dear Fatherland, Rest Quietly, a project that helped her come to grips with the brutality she had witnessed during and after the war.

"Too many who got in the way of a Bourke-White photograph — and that included not just bureaucrats and functionaries but professional colleagues like assistants, reporters, and other photographers — she was regarded as imperious, calculating, and insensitive."[1]

Recording the India–Pakistan partition violence[edit]

An iconic photograph that Margaret Bourke-White took of Mohandas K. Gandhi in 1946

Bourke-White is known equally well in both India and Pakistan for her photographs of Dr. Bhimrao Ramji Ambedkar at his home Rajgriha, Dadar in Mumbai on the occasion of a third impression of his book which was published in December 1940 as Thoughts on Pakistan

 (the book was republished in 1946 under the title India's Political What's What: Pakistan or Partition of India). These photographs were published on LIFE magazine cover. She also photographed M. K. Gandhi at his spinning wheel and Pakistan's founder, Mohammed Ali Jinnah, upright in a chair.[13][14]

She also was "one of the most effective chroniclers" of the violence that erupted at the independence and partition of India and Pakistan, according to Somini Sengupta, who calls her photographs of the episode "gut-wrenching, and staring at them, you glimpse the photographer's undaunted desire to stare down horror." She recorded streets littered with corpses, dead victims with open eyes, and refugees with vacant eyes. "Bourke-White's photographs seem to scream on the page," Sengupta wrote. The photographs were taken just two years after those Bourke-White took of the newly captured Buchenwald.[13]

Sixty-six of Bourke-White's photographs of the partition violence were included in a 2006 reissue of Khushwant Singh's 1956 novel about the disruption, Train to Pakistan. In connection with the reissue, many of the photographs in the book were displayed at "the posh shopping center Khan Market" in Delhi, India.

 "More astonishing than the images blown up large as life was the number of shoppers who seemed not to register them," Sengupta wrote. No memorial to the partition victims exists in India, according to Pramod Kapoor, head of Roli, the Indian publishing house coming out with the new book.[13]

She had a knack for being at the right place at the right time: she interviewed and photographed Mohandas K. Gandhi just a few hours before his assassination in 1948.[15] Alfred Eisenstaedt, her friend and colleague, said one of her strengths was that there was no assignment and no picture that was unimportant to her. She also started the first photography laboratory at Life magazine.[7]

Later years and death[edit]

In 1953, Bourke-White developed her first symptoms of Parkinson's disease.[3] She was forced to slow her career to fight encroaching paralysis.[1] In 1959 and 1961, she underwent several operations to treat her condition,[3] which effectively ended her tremors, but affected her speech.[1] In 1971 she died at Stamford Hospital in Stamford, Connecticut, aged 67, from Parkinson's disease.[2][3][16]

Bourke-White wrote an autobiography, Portrait of Myself, which was published in 1963 and became a bestseller, but she grew increasingly infirm and isolated in her home in Darien, Connecticut. In her living room there "was wallpapered in one huge, floor-to-ceiling, perfectly-stitched-together black-and-white photograph of an evergreen forest that she had shot in Czechoslovakia in 1938". A pension plan set up in the 1950s "though generous for that time" no longer covered her health-care costs. She also suffered financially from her personal generosity and "less-than-responsible attendant care."[1]

”லைஃப்” பத்திரிகை. மார்கரெட் புருக் ஒயிட் (Margaret Bourke-White) என்ற பெண் புகைப்படப் பத்திரிகை யாளரை இந்தியாவுக்கு.......

நூறு ரூபாய் காமிராவும்.. காந்தி புகைப்படமும்...! -
காந்தியின் வாழ்க்கையைச் சித்திரமாக ஆவணம் செய்தது, எப்போதுமே அவரது அருகாமையில் இருந்த அவரது பேரன் கனு காந்தியின் கேமரா. Kanu's camera had the ability to artificate the life of gandhi, a life that's mentioned nowhere in his experiment with truthGandhi's Photographs by his grand nephew kanu gandhi |

சாந்தமே உருவான முகத்துடன் கையில் நாளிதழோடு ராட்டையின் முன்பு காந்திஜி அமர்ந்திருக்கும் இந்தப் புகைப்படம் மிகவும் பிரபலமானது. அவரது அஹிம்சை, ஒத்துழையாமை, கிராம சுயராஜ்ஜியம், ஆங்கிலேயருக்கு எதிராக அவர் எடுத்த ஆயுதமான இராட்டை என அனைத்தையும் ஒருசேர கொண்டிருக்கும் இந்தப் புகைப்படம் உலகளவில் அஹிம்சையின் முகமாக இன்றளவும் அவரை நிலை நிறுத்திக் கொண்டிருக்கிறது.

1946-ம் ஆண்டு பிற்பகுதியில் இந்தியா சுதந்திரம் அடைவதற்கான சூழல் நிலவியதால் அதற்கு காரணமான காந்திஜியைப் பற்றி எழுத நினைத்தது அமெரிக்காவின் புகழ்பெற்ற ”லைஃப்” பத்திரிகை. அதற்காக மார்கரெட் புருக் ஒயிட் (Margaret Bourke-White) என்ற பெண் புகைப்படப் பத்திரிகையாளரை இந்தியாவுக்கு அனுப்பியது.

டெல்லியில் காந்திஜியை சந்திக்க சென்ற அவரை உடனே அனுமதிக்கவில்லை. மாறாக காந்திஜி சார்பில் நிபந்தனைகள் அவருக்கு விதிக்கப்பட்டது. ஒன்று புகைப்படம் எடுப்பதற்கு முன்பு இராட்டை சுற்றக் கற்றுக் கொள்ள வேண்டும். அப்போதுதான் நீங்கள் இராட்டையோடு காந்திஜியை புகைப்படம் எடுக்க அனுமதிக்க முடியும்.

 மற்றொன்று பிளாஷ் பயன்படுத்தக் கூடாது என்பது. காந்திஜியைப் புகைப்படம் எடுப்பது என்பது வரலாற்றில் அதிமுக்கியமான நிகழ்வு என்பதால் மார்கரெட் புருக் ஒயிட்டும் இராட்டை சுற்றக் கற்றுக் கொள்கிறார். ஆனால் பிளாஷ் பயன்படுத்த மட்டும் காந்திஜியின் உதவியாளர்கள் மூலம் அவரிடம் அனுமதி வாங்கிக் கொண்டார்.

அதன்பிறகு காந்திஜி மௌன விரதம் இருந்த ஒரு நாளில் புகைப்படம் எடுக்க அனுமதிக்கப்பட்டார் ஒயிட். அன்றைய தினம் மூன்றே படங்கள்தான் எடுத்தார் ஒயிட். முதல் இரண்டும் சரியாக வராதநிலையில் மூன்றாவதாக எடுத்தப் படம்தான் ஒழுங்காக பதிவானது.

ஆனால் அந்தப் புகைப்படம் வரலாற்று முக்கியத்துவம் வாய்ந்ததாக மாறும் என்று மார்கரெட் ஒயிட் எதிர்பார்க்கவில்லை. ஏனென்றால் எந்தக் கட்டுரைக்காக அவர் அமெரிக்காவில் இருந்து வந்தாரோ அந்தக் கட்டுரையில் அந்தப் புகைப்படம் வெளியாகவில்லை. ஆனால் 1948-ல் காந்திஜி இறந்த பிறகு உலக அளவில் மிகவும் சக்தி வாய்ந்த புகைப்படமாக மாறியது. காந்திஜி இறப்பிற்குப் பிறகு இந்தப் புகைப்படத்தைத்தான் உலகின் அனைத்து முன்னணிப் பத்திரிகையிலும் வெளியிட்டது.

அமெரிக்காவின் முதல் பெண் போர் போட்டோகிராபரான மார்கரெட் புருக் ஒயிட், ஜவஹர்லால் நேரு, முகமது அலி ஜின்னா, அம்பேத்கர், வல்லபாய் பட்டேல் உள்ளிட்ட முன்னணித் தலைவர்களை தனது காமிராவில் பதிவு செய்தவர். சோவியத் யூனியனில் அனுமதிக்கப்பட்ட முதல் பெண் புகைப்படக்காரரும் மார்கரெட் ஒயிட்தான். 1948 ஜனவரி 30-ம் தேதியன்று காந்திஜி சுட்டுக் கொல்லப்படுவதற்கு 2 மணி நேரத்திற்கு முன்பு அவரை இறுதியாக பேட்டி எடுத்தது இந்த மார்கரெட் புருக் ஒயிட்தான்.

6.மகாத்மா காந்திஜி மீது பேரன்பு கொண்ட பாகவதர், உலகின் மாஞானிகளோடு மகாத்மாவை ஒப்பிட்டுப் பாபநாசம் சிவனைப் பாடல் எழுதச் சொல்லி, தன் குரலில் பாடி மகிழ்ந்தார்.

(
“காந்தியைப் போல் ஒரு சாந்த சொரூபனைக் காண்பதும் எளிதாமோ – மகாத்மா
மாந்தரிலே ஞானயோகம் மேவும்
வேந்தரிலே சுயநலம் சிறிதும் இல்லா
அஹிம்சை தனிலே புத்தர் அவர் – ஆத்மா
சோதனையிலே ஏசுநாதர் அவர் அது
பகையும் வென்ற கர்மதீரர் அவர். நம்
பாக்கியத்தால் இந்த இந்திய நாட்டில் அவதரித்த
குழந்தையுள்ளமும் அன்புகனிந்த மொழியுங் கொண்டு
கொடுமைகளை எதிர்த்து வெல்லும் சித்தன்
முழங்கால் துணியும் மோகனப் புன்னகையும்
தவழப் பகைவரும் கண்டஞ்சும் சுத்தன் இனிமேல்