Posts Tagged ‘Colleen Moore’

Robert J. Avrech

Reborn on the Fourth of July

by Robert J. Avrech

Every Independence Day, L.B. Mayer (1884 – 1957) would shut down production at MGM and celebrate twin holidays: America’s birth, and the birthday of L.B. Mayer.

Flags and bunting graced every building and sound stage. There was band music and rows of picnic tables groaning under the weight of food.

L.B. Mayer, Reborn on The Fourth of July
L.B. Mayer, a man without a birth date

Every MGM star was expected to attend and pay homage to America-and to L.B. Mayer. For in Mayer’s mind, the two were inseparable. All complied, except Greta Garbo, a woman far too narcissistic to lavish attention on any country or person other than her own mirrored island.

Though Yiddish was his first language, L.B. Mayer delivered a rousing Fourth of July speech. Mayer could be a forceful English speaker, mixing deeply personal anecdotes—usually about his beloved mother—and soaring rhetoric about his adopted home, America.

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Robert J. Avrech

Colleen Bobs Her Hair and The Stars and Stripes

by Robert J. Avrech

F. Scott Fitzgerald wrote: “I was the spark that lit up Flaming Youth, Colleen Moore was the torch. What little things we are to have caused all that trouble.”

In 1923, Colleen Moore’s starring vehicle, Flaming Youth was an international box office hit that ushered in the era of the Flapper. The Jazz crazy kids wore their galoshes unbuckled causing the rubber tongue to flap. Thus: Flappers.

 Colleen+Moore+Stars+Stripes.JPEG
Colleen Moore, studio portrait in the Stars and Stripes.

I’m waiting for that particular fashion statement to reappear.

Colleen Moore, born Kathleen Morrison, (1900-1988) and her husband John McCormick embarked on a grand tour of Europe to promote Flaming Youth, Colleen’s career, and enjoy a belated honeymoon.

Colleen’s look, specifically her Bobbed haircut, was a global fashion rage. Contrary to popular opinion it was Moore who pioneered the severe cut—not Louise Brooks. It is sad and certainly a skewed vision of film history that the current Louise Brooks cult has spread like a virus, whereas Moore, a far more important figure in motion pictures, is virtually forgotten.  George Cukor, a director who knew something about Hollywood stardom, was utterly baffled by the post-modern Brooks fever. When queried about the star of Pandora’s Box, Cukor forcefully exclaimed: “Louise Brooks? She was nothing!” (more…)