Review: Ava Gardner | Katharine Hepburn: The Untold Story | Books | The Guardian
LOS ANGELES (AP) _ The late actress Ava Gardner says in her autobiography that former lover George C. Scott drunkenly beat her and she Miss Gardner wrote that during her marriage to Sinatra, her third husband, she. Considering Ava Gardner's wild character, it is interesting to note . Her biggest Hollywood affair post-Sinatra was with George C. Scott, the. A biography of Ava Gardner shows that Hollywood had a bad girl to Her affair with George C Scott was characterised by booze and violence.
Jovial entertainer Mickey Rooney, for instance, emerges as an oversexed womaniser who "went through the ladies like a hot knife through fudge". He and Ava married in the early s but were divorced within a year because of Mickey's constant affairs, and tellingly perhaps, Rooney would marry a further seven times.Ava Gardner: Private Moments
Howard Hughes, who was her lover later in the s, was generous in the extreme, but neurotic and a racist. She was "crazy" about Mitchum, but exhausted by her six-year marriage to Sinatra, which apparently involved "fighting all the time, boozing and fighting".
George C Scott beat her when he was drunk, and dashing bandleader Artie Shaw undermined her intelligence before leaving her for another woman.
Ava's fit to kill - posavski-obzor.info
Ava seemed to have a divine talent for picking the wrong man, but her life was anything but dull and in Evans's book she leaves us in no doubt that she lived it to the full.
Gardner came from a dirt poor southern background, and only got discovered by accident. She was born, on Christmas Eve,into a family of cotton and tobacco small farmers. She was the youngest of seven children, and her father died from bronchitis when she was InAva was training to become a secretary when she paid a visit to her elder sister Beatrice in New York.
Beatrice's husband Larry Tarr was a professional photographer, and offered to take Ava's portrait. MGM talent scout Al Altman then asked Gardner to come in for a screen test, which involved walking towards the camera, walking away and arranging some flowers in a vase.
Altman decided not to record her voice because he found her strong southern accent virtually impenetrable, and thought her test a disaster — until he ran the film.
She leapt off the screen, and Altman is said to have sent the following famous telegram to studio boss Louis B Mayer: And though her early roles were mainly unmemorable walk-ons, she made a big splash in in Robert Siodmak's thriller The Killers. This was how the star factory worked.
The films would be not only about her, but about her transformation by film. The studio set out to remake her as they set out to remake everyone in those days. Film would draw out a hidden essence, rendering that essence as surface: She had to play many roles to get by, the most notable one being the child of nature constrained by the brutality of civilisation.
In reality she came to exemplify a certain kind of American modernity: She even played three Hemingway heroines, including the love interest in the dire Snows of Kilimanjaro. Some of the best directors she worked with — Albert Lewin, George Cukor, John Huston — tried to locate what they felt was the private, natural quality in her so as to catch it on film. But Gardner, who had been obviously shy when she was young, was still secretly shy when older, and even oddly shy before the camera.
As a result, although she always looked pretty, at first she was a wooden performer. She became an actor when she found a way of presenting herself on screen, the self she presented being in two senses a Hollywood creation: The quality those directors found was not the natural woman from Grabtown, but a product of the industry. Gardner conformed with this process, even as she seemed to rebel against it.
Her rebellions were also enacted on screen: The Cinderella myth has to do with the transformation of ordinariness. What was special about Hollywood stars was that they could be perfectly ordinary and untouchable princesses all at once.
A black eye for Old Blue Eyes – Variety
For the public, the women in those s films existed in a discrepancy between two models of knowledge and intimacy, both manufactured. There was the intimacy of film itself, the close scrutiny and imaginative identification with the star. And then there was the knowledge provided by the press, the gossip magazines, the newspaper photographs.
Above all, it exposes one essential part of the Gardner myth, present with every film star but uniquely strong in her case. Its male stars cannot have sex with her: She pays for this freedom with her life. In retrospect her career was not a bad one. She outlasted some other promising femmes fatales, such as Rita Hayworth or Jane Greer, whose movie work was effectively over by the early s.
In the end, her staying power was her strength. Yet she was never in a truly great film and her performances somehow fail to add up to an oeuvre. He spent his senior year at Harvard where he studied Government and specialized in Middle East Studies.
He teaches international relations, political philosophy and management at various institutions and business schools. Regards sur la France also includes a previously unpublished article by Vaclav Havel.
Ava's fit to kill
Her second husband, jazz star Artie Shaw, gave the uneducated Gardner a reading syllabus, sent her to therapy and, for reasons he never explained, moved them into a modest rented house in suburban Burbank, which they shared for a time with its owners and their teenage sons. The third husband was Sinatra. By then she was the bigger star, a perpetual cover girl and tabloid sensation, epitome of an emerging jet set which can equally be taken for a life on the runher movie career almost incidental to her celebrity, and indistinguishable from her often exaggerated notoriety.
Asked by a reporter what she saw in Sinatra - a lb has-been - she replied demurely that 19lb of it was cock. Based on her wisecracks, Gardner's career could have benefited from a couple of Billy Wilder pictures.
As a starlet she set the social pace: Her acting break came in with The Killers with Burt Lancaster. Rarely has anyone been more sexual on screen doing so little; she gave Lancaster an erection during a screen kiss, to the hilarity of the crew.
Like her lover Robert Mitchum - the subject of Lee Server's previous biography - she claimed not to take acting, or fame, seriously. Mitchum introduced her to the hipster life of LA jazz clubs and she revelled in his notoriety just after his dope bust.