Clara Bow

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Clara Gordon Bow ( ; July 29, 1905 - September 27, 1965) was an American actress who starred in a silent film during the 1920s and successfully transitioned to a "talkie" after 1927 Her appearance as a bold shop girl in the film brings global fame and the nickname "The It Girl". Bow came to personify Roaring Twenties and was described as the main sex symbol.

She appeared in 46 silent films and 11 talkies, including hits like Mantrap (1926), This (1927), and Wing (1927). He was named the first box-office draw in 1928 and 1929 and a second box-office withdrawal in 1927 and 1930. His presence in a film is said to have convinced investors, with a probability of almost two to one, a "safe return". At the peak of his fame, he received over 45,000 fan letters in a month (January 1929).

Two years after marrying actor Rex Bell in 1931, Bow retired from acting and became a rancher in Nevada. His final film, Hoop-La , was released in 1933. In September 1965, Bow died of a heart attack at the age of 60.

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Bow was born in Prospect Heights, Brooklyn at 697 Bergen Street, in "a gloomy and rarely furnished space above a dilapidated Baptist Church." The year of its birth, according to the US Census of 1910 and 1920, is 1905. The 1930 census shows the year 1906 and in its 1945 headstone, the inscription says 1907, but 1905 was the year accepted by the majority of sources.

Bow is the third child of his parents, but his two older sisters, who were born in 1903 and 1904, died in infancy. His mother, Sarah Frances Bow (nÃÆ'Â © e Gordon, 1880-1923), was told by a doctor not to get pregnant again, because worried the next baby would die too. Despite the warning, Sarah became pregnant with Clara in late 1904. In addition to risky pregnancies, the heat wave surrounded New York in July 1905, and the temperature peaked at around 100 Â ° F (38 ° C). Years later, Clara said: "I do not think two people have seen death on the face more clearly than my mother and I am in the morning I was born, and we both gave up, but somehow we fought back to life."

Bow parents are descendants of British-Irish and Scottish immigrants who came to America in previous generations. Bow says that his father, Robert Walter Bow (1874-1959), "has a quick, sharp mind... all the natural qualities to make something of himself, but not... everything seems wrong to him, my poor dear". By the time Clara was four and a half years old, her father was not working, and between 1905 and 1923, her family lived in 14 different addresses, but rarely outside Prospect Heights, with Clara's father often absent. "I do not think my mother ever loved my father," he said. "She knows that, and that makes her very unhappy, because she always adores her."

When Bow's mother, Sarah, was 16, she fell from a second-story window and suffered a severe head injury. She was later diagnosed with "psychosis due to epilepsy". From the early years, Bow has learned how to take care of his mother during a seizure, as well as how to deal with his psychotic and enmity episodes. She says her mother can be "evil" to her, but "does not mean... she can not help it". However, Bow felt the loss of his childhood; "As a child I take care of my mother, she does not take care of me". Sarah deteriorates gradually, and when she realizes her daughter is set for a film career, Bow's mother tells him that she "would be much better off dead". One night in February 1922, Bow woke up with a butcher knife held in his throat by his mother. Clara was able to deflect the attack, and locked her mother. In the morning, Bow's mom does not remember the episode, and then she committed to the sanatorium by Robert Bow.

Clara talks about the incident later:

It's snowing. My mother and I were cold and hungry. We were cold and hungry for days. We lay in each other's arms and cried and tried to stay warm. It gets worse and worse. So that night my mother - but I can not tell you about it. Only when I remember it, it seems I can not live.

On January 5, 1923, Sarah died at the age of 43 years of epilepsy. When relatives gather to attend the funeral, Bow accuses them of being "hypocrites", and gets so angry that he even tries to jump to the grave.

Bow attended P.S. 111, P.S. 9, and P.S. 98. As she grew older, she felt embarrassed amongst the other girls, who teased her for her shabby clothes and "carrot top" hair. He told me about his childhood, "I never had clothes... And a lot of time did not have food to eat, we just live, that's it.. girls avoid me because I'm dressed so bad."

From the first grade, Bow prefers the boy's company, stating, "I can lick a boy my size, my right arm is quite famous, my right arm developed from pitching so much... As soon as I jumped behind a big fire engine I got a lot of credit from the gang for that. "A close friend, a younger boy who lives in his building, burned down in front of him after the accident. In 1919, Bow was enrolled at Bay Ridge High School for Girls. "I wear a sweater and an old skirt... do not want to be treated like a girl... there is one boy who always be my friend... he kisses me... I'm not sick I will not not be angry. horrified and hurt. "

Bow's interest in sports and her physical abilities led her to plan a career as an athletic instructor. He won five medals "on the cinder track" and credited Homer Baker - the national half-mile champion (1913 and 1914) and 660-yard world record holder - to become his coach. The Bows and Bakers share a home - still standing - at 33 Prospect Place in 1920.

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Careers

Initial years

In the early 1920s, about 50 million Americans - half the population at the time - attended movies every week. When Bow grows into a woman, his stature as a "boy" in his old gang becomes "impossible". He does not have a boyfriend, and school is "hurt" and his house "sad." On the silver screen, he finds comfort; "For the first time in my life, I know there is beauty in the world, for the first time I see a far country, quiet, beautiful house, romance, nobility, glamor". And then; "I always have a strange feeling about actors and actresses on screen... I know I will do it differently, I can not analyze it, but I can always feel it." "I'm going home and being a girl circus, taking parts of everyone I've seen, living it in front of a mirror." At 16, Bow says he "knows" he wants to become a film actress, even if he is "square, awkward, cute-faced kid."

Against his mother's wishes but with the support of his father, Bow competed in the annual Brewster's annual acting contest, "Fame and Fortune", in the fall of 1921. In previous years, other contest winners had found work in the films. In the final screen test of the contest, Bow confronts a woman who is already experienced in scenes that perform "beautiful acting". A member later stated that when Bow did the scene, he really became his character and "lived it". In the January 1922 edition of Motion Picture Classics, contest judges Howard Chandler Christy, Neysa McMein, and Harrison Fisher concluded:

He is still very young, only 16 years old. But he's full of confidence, determination, and ambition. He has a mentality far beyond his years. He has a genuine divine spark. The five different screen tests he showed, showing very clearly, his emotional expression range provoked the good enthusiasm of every contest judge who saw the test. He filters perfectly. Her personal appearance is almost enough to bring her to success without the help of her brain.

Bow won the evening dress and silver trophy, and the publisher committed to helping him "get a role in the movie", but nothing happened. Bow's father told him to "haunt" Brewster's office (located in Brooklyn) until they found something. "To get rid of me, or maybe they really mean (give me) all the time and just be busy", Bow was introduced to director Christy Cabanne, who threw it at Beyond the Rainbow, resulting in the late 1921 in New York City and was released February 19, 1922. Bow performed five scenes and impressed Cabanne with theatrical theatrical, but cut from the final print. "I'm sick to my stomach," she recalled and thought her mother was right about the movie business.

Bow, who dropped out of school (senior year) after he was told about winning the contest, probably in October 1921, got regular office work. However, film commercials and editorial commentaries from 1922 to 1923 show that Bow was not cut from Beyond the Rainbow. His name is on the list of players among other stars, usually marked "winners of the Brewster magazine beauty pageant" and sometimes even with a picture.

Movies are silent

Encouraged by his father, Bow continues to visit studio institutions asking for parts. "But there's always something, I'm too young, or too small, or too fat, I'm usually too fat." Finally, director Elmer Clifton needed a tomboy for his film Dropped into the Ocean in a Ship, saw the magazine Bow in Motion Picture Classic , and sent it for him. In an effort to overcome his young appearance, Bow lifts his hair and arrives with a dress that he "surreptitiously" from his mother. Clifton says he's too old, but laughs out loud when Bow stammer makes him believe he's the girl in the magazine. Clifton decided to bring Bow with him and offer $ 35 a week. Bow stays with $ 50 and Clifton agrees, but he can not say whether he will "fit the part". Bow later learned that one of Brewster's subdiitors had urged Clifton to give him a chance.

Down to the Sea on the Ship , shot in a location in New Bedford, Massachusetts and produced by an independent "The Whaling Film Corporation", documenting life, love and work in the whaling community. Production depends on a few lesser known local actors and talents. It premiered at the Olympia Theater in New Bedford, on September 25, and continued its general distribution on March 4, 1923. Bow was billed 10 in the film, but shone through:

• "Miss Bow will undoubtedly gain fame as a screen comedian".
• "He scored an incredible hit on Down to the Sea in Ships. (and).. has reached the front rank of the film's main cast."
• "With her beauty, her brain, her personality, and her true acting skills, it should not be many months before she enjoys the star in the fullest sense of the word, you should see 'Down to the Sea in Ships'".
• "In the movie language, he 'stole' the image...".

In mid-December 1923, mainly due to his services in Down to the Sea in Ships, Bow was chosen as the most successful of the 1924 WAMPAS Baby Stars. Three months before Down to the Sea in Ships was released, Bow danced half-naked, on the table, not rated in Enemies of Women (1923). In the spring she gets part in The Daring Years (1923), where she befriends actress Mary Carr, who taught her how to use makeup.

In the summer, she gets a "tomboy" section on Grit, a story related to juvenile crime and written by F. Scott Fitzgerald. Bow meets his first boyfriend, cameraman Arthur Jacobson, and he knows director Frank Tuttle, with whom he works in five later productions. Tuttle remembered:

His emotions are close to the surface. She can cry at the request, open the tear door almost as soon as I ask her to cry. He is dynamite, full of energy and nervous vitality and eager to please everyone.

Grit was released on January 7, 1924. The Study Variety says "... Ã, Clara Bow lives on, long after the photo is gone."

While filming Grit at Pyramid Studios, in Astoria, New York, Bow was approached by Jack Bachman from an independent photo of Preferred Pictures Hollywood. He wants to sign him for a three-month trial, paid fare, and $ 50 a week. "Nothing wrong," she tried. "Why can not I stay in New York and make a movie?" Bow asks his father, but he tells her not to worry.

On July 21, 1923, he was friends with Louella Parsons, who interviewed him for The New York Morning Telegraph. In 1931, when Bow was under tabloid scrutiny, Parsons defended him and held on to his first opinion of Bow:

She seemed unaffected as if she had never faced a pretense. He has no secrets from the world, he trusts everyone... he is almost too good to be true... (I) only hope some reformers who believe that a screen fouled everyone who associate him with it can meet this boy. However, on second thought it may not be safe: Clara uses dangerous eyes.

The interview also revealed that Bow had been thrown on Maytime and was very supportive of Chinese cuisine.

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On July 22, 1923, Bow left New York, his father, and his girlfriend in the back for Hollywood. As a companion to travel and living in southern California next, the studio appointed author/agent Maxine Alton, who was later branded by Bow as a liar. At the end of July, Bow enters the head office of studio B. P. Schulberg wearing a modest middle school uniform where he "has won several gold medals on a cinder track". He tested and a press release from early August said Bow had been a member of the "Selected Photos" permanent stock. Alton and he rented an apartment at The Hillview near Hollywood Boulevard. Preferred Pictures was run by Schulberg, who started as a publicity manager at Famous Players-Lasky, but after a power struggle around the United Artists formation, ended up on the losing side and lost his job. As a result, he founded Preferred in 1919, at the age of 27 years.

Maytime is the first photo of Bow in Hollywood, an adaptation of the popular Maytime opera where he wrote "Alice Tremaine". Prior to Maytime, Schulberg announced that Bow was given the lead in the largest seasonal assessment in the studio, Poisoned Paradise, but first he was loaned to First National Pictures to become a star in the adaptation of the seller best Gertrude Atherton in 1923 Black Oxen was shot in October, and became a movie star with Colleen Moore at Painted People, which was taken in November.

Directed by Frank Lloyd casting for part of the flapper of high society Janet Oglethorpe, and over 50 women, mostly with previous screen experiences, auditioned. Bow recalled: "He had not found exactly what he wanted and finally someone suggested me to him, and when I came to his office, a big smile appeared on his face and he looked amused to death." Lloyd told the press, "Bow is the ideal aristocratic flapper aristocrat, naughty, beautiful, aggressive, quick-tempered and very sentimental." It was released on January 4, 1924.

The New York Times said, "Flapper, imitated by the young actress, Clara Bow, has five talking titles, and each of them fully matches the character and mood of the scene, that it draws laughter from the Los Angeles Times commented that "Clara Bow, a vulgarian gift of many... funny and vibrant... but not included in the picture" and Variety says that "... a terrible little flapper is played well...".

Colleen Moore made her flapper debut in the successful adaptation of the bold novel Flaming Youth, released Nov. 12, 1923, six weeks before Black Oxen . Both films were produced by First National Pictures, and when Black Oxen was edited and Flaming Youth was not released, Bow was asked to star with Moore as his son. sister at Painted People ( The Swamp Angel ). Moore wrote a tomboy and Bow, according to Moore, "I do not like my part, I want to play your song." Moore, an established star earning $ 1,200 a week - Bow gets $ 200 - offended and deters directors from close-ups of Bow shots. Moore marries film producer and Bow protests in vain. "I'll get that bitch," he told his girlfriend Jacobson, who had arrived from New York. Bow had sinus problems and decided to let them attend that night as well. With Bow's face now in bandages, the studio has no choice but to re-order its parts.

During 1924, Bow's flapper "horrid" raced against "weird" Moore. In May, Moore renewed his efforts on The Perfect Flapper, produced by her husband. However, despite the good reviews, he suddenly resigned. "No more flappers... they have served their purpose... people are bored with soda-pop love affairs," he told the Los Angeles Times, which had commented a month earlier, "Clara Bow is an exceptional type, he's almost immediately selected for all the latest flapper parts ". In November 1933, looking back on his career period, Bow described the atmosphere in Hollywood as a scene from a movie about the French Revolution, where "the women shout and wave twice as hard as one... the only woman seen is those who cut off his head. "

On New Year's Day 1924, Bow challenged the possessive Maxine Alton and took his father to Hollywood. Bow remembers their reunion: "I do not care about rap, because (Maxine Alton), or BP Schulberg, or my film career, or Clara Bow, I just throw myself into his arms and kiss and kiss him, and we both cry like some stupid child Oh, that's amazing. "Bow feels Alton has abused his trust:" He wants to stick to me so he makes me think I will not get over it and that nothing but his smart management keeps me going. " Bow and his father moved to 1714 North Kingsley Drive in Hollywood, along with Jacobson, who at that time also worked for Preferred. When Schulberg learned of this arrangement, he fired Jacobson for potentially earning his "big star" into a scandal. When Bow knew, "He tore his contract and threw it into his face and told him that he could not run his private life." Jacobson concludes, "[Clara] is the sweetest girl in the world, but you do not cross it and you do not make mistakes on her." On September 7, 1924, The Los Angeles Times , in an important article "The dangerous little Devil is Clara, naughty, charming, but oh how he can act!", His father entitled "business manager" and Jacobson is called his brother.

Bow appeared in eight releases in 1924.

• In Poisoned Paradise , released on February 29, 1924, Bow got its first advantage. "... a smart newcomer whose work gets new recommendations with every new image in which he appears". In the scene described as "authentic", Bow adds "device" to the "modern flapper": he fights criminals using his fists, and significantly, does not "shrink back in fear".
• In Daughters of Pleasure, also released on February 29, 1924, Bow and Marie Prevost "flapping nonstop as De luxe flappers... I hope someone can star in Clara Bow. unlimited 'will prevent it tiring us no matter how many scenes he enters. "

Lending to Universal, Bow top-starred, for the first time, in a ban, pirated drama/comedy Wine , was released on August 20, 1924. This picture shows widespread liquor traffic in the upper classes, and Bow describes an innocent girl who developed into a "sexy mama".

• "If it's not taken as information, it spoils the good entertainment," Carl Sandburg says Sept. 29.
• "Do not miss Wine This is a really refreshing draft... there are only about five actresses who gave me real passion on screen - and Clara almost five of them."

Alma Whitaker dari The Los Angeles Times diamati pada 7 September 1924:

She exudes sex appeal that is forged with a mischievous sense of humor... She strikes her blond hair so it will take a dark picture in the picture... Her social courtesy is of a natural kind, kind, informal friendly... She can act or turn off the screen - taking delightful joy in accepting the challenge of teasing the chosen men - less promising specimens. When the unfortunate victim was frightened in silence, he gurgled with joy and tried the other.

Bow remembers: "I've been 'running wild', I guess, in the sense of trying to have fun... maybe this is a good thing, because I think a lot of that excitement, that joy of life, goes to the screen."

In 1925, Bow appeared in 14 productions: six for his contract owner, Choice Pictures, and eight as "outside loans".

• "Clara Bow... shows alarming symptoms into a year's sensation...", Motion Picture Classic Magazine wrote in June, and featured it on the cover.

I'm almost never satisfied with myself or my job or anything... when I'm ready to be a big star, I've been on screen for so long that everyone will be bored looking at me... (Tears fill his big round eyes and threaten to fall).

I work in two and even three images at a time. I played all sections in various pictures... It was very difficult at the time and I was used to tired and crying to sleep soundly after 18 hours a day on different sets, but now [end 1927] I am happy for it.

Image Options lent to producers "for amounts ranging from $ 1500 to $ 2000 a week" while paying a $ 200 to $ 750 a week salary Bow. The studio, like other independent studios or theater at the time, was attacked from "The Big Three", the MPAA, which has established the trust to block Independent and uphold the monopolistic studio system. On October 21, 1925, Schulberg filed the Option Picture for bankruptcy, with debts of $ 820,774 and $ 1,420 assets. Three days later, it was announced that Schulberg would join Adolph Zukor to become producer associate of Paramount Pictures, "... thrown into this position because he owns Clara Bow under a private contract".

Adolph Zukor, CEO of Paramount Picture, wrote in his memoir: "All the skills of the directors and all the booming drum press-agents are not going to be stars, only the audience can do it.We study the audience's reaction with extreme caution." Adela Rogers St. Johns has a different view: in 1950, he wrote, "If a star is made by public demand, it is Clara Bow." And Louise Brooks (from 1980): "(Bow) became a star without anybody's help..."

The Plastic Age is Bow's last attempt for Choice Pictures and his biggest blow up to that point. Bow starred as a good-bad college girl, Cynthia Day, against Donald Keith. It was shot on site at Pomona College in the summer of 1925, and was released on December 15, but due to blocking, it was not shown in New York until July 21, 1926.

• Photoplay is not happy: "The campus atmosphere does not make sense and Clara Bow is not our idea of ​​college girls."
• The theater owner, however, was pleased: "The picture is the biggest sensation we ever had in our theater... It's 100 percent at box-office."
• Some critics feel Bow has conquered new territory: "(Bow) presents a strange touch to his work that adds a greater accomplishment to the popularity of his rising star."
• Time selected Bow: "Clara Bow's only cute and smooth acting that saves images from unlikely limbo."

Bow started dating Gilbert Roland, who became his first fiancee. In June 1925, Bow was credited for being the first to use hand-painted feet in public, and reportedly had many followers on the California coast.

Throughout the 1920s, Bow played with gender conventions and sexuality in his public image. Along with his tomboy and flapper role, he starred in boxing films and posed for promotional photos as a boxer. Using traditional androgynous or masculine features, Bow presents himself as a confident, modern woman.

Paramount Pictures

"Train my sap," Bow explained in November 1929, and from the beginning of his career, he relied on direct directions: "Tell me what to do and I'll do it." Bow is interested in poetry and music, but according to Rogers St. Johns, his attention span did not allow him to appreciate the novel. Bow's focus point is the scene, and his creativity keeps directors calling an extra camera to cover up his spontaneous actions, rather than holding him back.

Years after Bow left Hollywood, director Victor Fleming compared Bow to a Stradivarius violin: "Touch him, and he answers with genius." The director of William Wellman is less poetic: "The film's fame is not acting ability - it's personality and temperament... I once directed Clara Bow." He's crazy and crazy, but WHAT is his personality! ". And in 1981, Budd Schulberg described Bow as an "easy winner of the dumbbell award" who "could not act," and compared it with a puppy whose father B. P. Schulberg "trained to become Lassie."

In 1926, Bow appeared in eight releases: five for Paramount, including a musical version of Kid Boots with Eddie Cantor, and three loans that had been filmed in 1925.

In late 1925, Bow returned to New York to become a star in the Ibsenesque Dancing Mothers drama , as a good/bad "flapperish" girl, Kittens. Alice Joyce starred as her dancing mother, with Conway Tearle as Naughton's "bad-boy". The image was released on March 1, 1926.

• "Clara Bow, known as the perfect flapper on the screen, does things as a child, and does it well."
• "...... his outstanding performance at Dancing Mothersà ¢ â,¬...".
• Louise Brooks remembers: "She's really sensational in the United States... at Dancing Mothers... she just swept... I know I saw her... and... I thought... amazing. "

On 12 April 1926, Bow signed his first contract with Paramount: "... to retain your services as an actress for a period of six months from 6 June 1926 to 6 December 1926, at a salary of $ 750.00 per week..".

In the comedy-triangle of Victor Fleming, Mantrap, Bow, as Alverna the manicurist, heals the lonely hearts of Joe Easter (Ernest Torrence), from the great north, and New York divorce lawyers popping up, Ralph Prescott (Percy Marmont). Bow commented: "(Alverna)... bad in the book, but - shit! - of course, they can not make it that way in the picture, so I play it as a flirt." The film was released on July 24, 1926.

• Variety : "Clara Bow just walked away with a picture from the moment she entered the camera range."
• Photoplay : "When he's on the screen there's nothing important.When he dies, the same is true."
• Carl Sandburg: "The smartest and fastest job ever seen from Miss Clara Bow."
• The Reel Journal : "Clara Bow takes over Gloria Swanson's place... (and)... fills the old need for popular flavor film artists."

On August 16, 1926, Bow's deal with Paramount was renewed into a five-year contract: "The salary will start at $ 1,700 a week and progress each year to $ 4000 a week for the past year." Bow added that he intended to leave the film business at the end of the contract, which was in 1931.

In 1927, Bow appeared in six Paramount releases: This , Divorce Children , Rough House Rosie , Wing >, Hula and Get Your Uncle . In the story of Cinderella It , the poor store girl Betty Lou Spence (Bow) conquered the heart of her employer Cyrus Waltham (Antonio Moreno). Personal quality - "It" - gives a miracle to make it happen. The movie gave Bow his nickname, "The Girl."

• New York Times : "(Bow)... excited and, like Betty Lou, cute, which is probably one of the ingredients of It ."
• Film Daily : "Clara Bow gets a real chance and carries it with praise... (and)... she's really a whole show."
• Carl Sandburg: "'It's clever, funny and real It makes a full-sized Clara Bow star.'
• Variety : "You can not get away from this Clara Bow girl She must have got 'It'... and she runs away with a movie."

Dorothy Parker is often said to have referred to Bow when he wrote, "Here, hell; he has it." Actually Parker's acting is not referring to Bow or Bow characters in the movie It, but for a different character, Ava Cleveland, in a novel of the same name.

In 1927, Bow starred in Wings, a war picture rewritten to accommodate him, because he was Paramount's biggest star, but was unhappy with his share: "[ Wing is]... a picture of a man and I just whipped cream on a cake. "The film then won the first Academy Award for Best Picture. In 1928, Bow appeared in four Paramount releases: Red Hair , Ladies of the Mob , and Three Weekends , everything is gone.

Adela Rogers St. Johns, a prominent screenwriter who has done a number of photos with Bow, writes about him:

[T] here seems to be no pattern, no purpose for his life. He swings from one emotion to another, but he gets nothing, saves nothing for the future. He lives fully in the present, not even for today, but at this moment. Clara is a total nonconformist. What he wants, if he can. What he wants to do. He has a big heart, an extraordinary brain, and the most common contempt for the world at large. Time is not there for him, except that he thinks it will stop tomorrow. He has real courage, because he lives bravely. Who are we, if he is wrong?

The Bohemian Bow lifestyle and the "appalling" behavior are regarded as a reminder of Hollywood's elite position in upper-class society. Bow angrily: "They scolded me for being dignified, but what kind of people are dignified? The people who made the samples for me? They are the snobs... The frightening guys... I'm curious in Hollywood I'm ' ma big freak, because I'm alone! "

MGM executive Paul Bern says Bow is "the greatest emotional actress on the screen", "sentimental, simple, childish and sweet," and considers her "harsh attitude" a "defense mechanism".

Movie sound

With the "The Wild Party" talkie, The Dangerous Curves, and The Saturday Night Kid, all released in 1929, Bow maintained its position as the top. drawing box-office and Hollywood queen.

Neither the quality of Bow's voice nor his Brooklyn accent is a problem for Bow, his fans, or Paramount. However, Bow, like Charlie Chaplin, Louise Brooks, and most other silent movie stars, disliked the novelty: "I hate talkies... they are rigid and limiting.You lose a lot of your cuteness, because there's no chance to act , and action is the most important thing for me. "A nervous looking bow should do some retakes at The Wild Party because his eyes keep wandering over the microphone. "I can not make progress, I have to do my best," he said. In October 1929, Bow described his nerves as "all shots", saying that he had reached the "top point", and Photoplay cited reports of a "row of sedative bottles" beside his bed.

According to the 1930 census, Bow lives in 512 Bedford Drive, along with his secretary and hairdresser, Daisy DeBoe (later DeVoe), in a $ 25,000 house with his neighbor entitled "Horse Guard", "Doctor", "Builder". Bow claims he is 23 years old, born in 1906, contrary to the 1910 and 1920 censuses.

"Now they're asking me to sing, I'm a bit half-sang, half-talked, with hip-and-eye stuff.You know what I mean - like Maurice Chevalier I used to sing at home and people will say," Pipe! You're horrible! "But the studio thinks my voice is good."

With Paramount on Parade, In accordance with the Navy , Love Among Millionaires , and Wedding Night , Bow is both at the box office just for Joan Crawford in 1930. With No Limit and Kick In Bow was fifth at box office in 1931, but the pressure of fame, scandal the public, too much work, and court trials that ruin the filling of his secretary Daisy DeVoe with financial mismanagement, taking their toll on Bro's fragile emotional health. As he gets closer to the big problem, his manager, B.P. Schulberg, began to call himself "Crisis-a-day-Clara". In April, Bow was taken to a sanatorium, and upon his request, Paramount released him from his last assignment: City Streets (1931). At the age of 25, his career is basically over.

B.P. Schulberg tried to replace Bow with his girlfriend Sylvia Sidney, but Paramount went to the curator, lost his position as the largest studio (to MGM), and fired Schulberg. David Selznick explains:

... [when] Bow is at his peak in the picture we can make a story with him in it and half a million and a half, where the other actress will get half a million in the same picture and with the same player.

Bow left Hollywood for his Rex Bell farm in Nevada, his "desert paradise", in June and married him in the small town of Las Vegas in December. In an interview on December 17, Bow detailed his way back to health: sleep, exercise and food, and the day after he returned to Hollywood "for one goal to make enough money to get out of there."

Soon, every studio in Hollywood (except Paramount) and even abroad wanted his services. Mary Pickford states that Bow "is a very great actress" and wants her to play her sister in Secrets (1933), Howard Hughes offers her a three-picture deal, and MGM wants her to star in Red-headed Woman (1932). Bow agreed with the script, but eventually refused the offer because Irving Thalberg required him to sign a long-term contract.

On April 28, 1932, Bow signed a two-picture contract with Fox Film Corporation, for Call Her Savage (1932) and Hoop-La (1933). Both succeeded; Variety favored last. The October 1934 Film Family rated the film as "pretty good entertainment", and from Miss Bow said: "This is the most acceptable thing from Miss Bow's acting." However, they noted, "Miss Bow is presented in dancing clothes as often as possible, and her dancing outfit will not weigh two pounds soaking wet." Bow commented on his expressing costume at Hoop-La : "Rex accuses me of enjoying myself, then I'm a little sick, he knows very well I do it because we can use a little money these days. can not? "

Bow reflected in his career:

My life in Hollywood has a lot of uproar. I apologize for many things but not too sorry. I have never done anything to harm others. I make a place for myself on the screen and you can not do it by being an idea of ​​Mother Alcott about a Little Woman.

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Retirement and years later

Bow and actor Rex Bell (later lieutenant governor of Nevada) has two sons, Tony Beldam (born 1934, renamed Rex Anthony Bell, Jr., died July 8, 2011) and George Beldam, Jr. (born 1938). Bow retired from acting in 1933. In September 1937, he and Bell opened The 'It' Cafe at the Hollywood Plaza Hotel at 1637 N Vine Street near Hollywood Boulevard in Los Angeles. It closed in 1943. His last public performance, though at first glance, came in 1947 on the radio show Truth or Consequences. Bow is a mysterious voice in "Mrs. Hush" contest.

Health issues

Bow finally started to show symptoms of psychiatric illness. She became socially interested, and although she refused to socialize with her husband, she also refused to let him leave home alone. In 1944, when Bell ran for the US House of Representatives, Bow attempted suicide. A note was found where Bow stated that he prefers death to public life.

In 1949, he entered the Institute of Living to be treated for chronic insomnia and spreading abdominal pain. Treatment of shock has been tried and many psychological tests are performed. IQ Bow is measured "normal light", while others claim that he can not reason, have poor judgment and exhibit inappropriate or even weird behavior. Her pain was considered delusional and she was diagnosed with schizophrenia; However, he does not experience auditory or visual hallucinations. The analyst attributes the onset of the disease, as well as insomnia, to the "meat knife episode" in 1922, but Bow rejects the psychological explanation and leaves the Institute. He did not return to his family. After leaving the institution, Bow lived alone in a bungalow, which he rarely left, until his death.

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Death

Bow spent his last years in Culver City, Los Angeles, under the care of a constant nurse, Estalla Smith, who lived on a plantation worth about $ 500,000 at the time of his death. He died of a heart attack on September 27, 1965, at the age of 60 years. An autopsy revealed that he had atherosclerosis, a heart disease that could start early in adolescence. Bow's heart shows scars from an undetectable heart attack before.

He was buried in the Freedom Mausoleum, Sanctuary of Heritage at Forest Lawn Memorial Park Cemetery in Glendale, California. The bearers of his body are Harry Richman, Richard Arlen, Jack Oakie, Maxie Rosenbloom, Jack Dempsey, and Buddy Rogers.

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Legacy

In 1999, film historian Leonard Maltin said, "You think of Greta Garbo, Lillian Gish, all these big names, great actresses, Clara Bow is more popular in box-office dollars, in terms of consistently bringing the audience to the cinema, she's right on top. "In 1999, the American Film Institute excluded Bow from his final 100 Years... 100 Stars list, even though he was on the nomination list.

The film historian Kevin Brownlow does not mention Bow in his book on the silent film, The Parade's Gone By (1968). Louise Brooks, who judges the entire chapter in the book, writes to Brownlow, "You brushed Clara Bow for some old unlike Brooks, Clara made three pictures that would never be exceeded: Dancing Mothers > Mantrap , and It . "Brownlow made up for this omission by including the entire segment of Bow in his Hollywood television documentary Hollywood: A Celebration of American Silent Film (1980) ), who interviewed Brooks.

Awards and honors

• For his contribution to the film industry, Bow was awarded a movie star on the Hollywood Walk of Fame in 1960. The star is located at 1500 Vine Street.
• In 1994, he was honored with drawings on United States stamps designed by caricaturist Al Hirschfeld.

Moviesography

In popular culture

• The Max Fleischer Betty Boop cartoon character is modeled after Bow and entertainer Helen Kane ("boop-boop-a-doop-girl").
• Bow's mass of tangled red hair is one of his most famous features. When the new star's fans find him putting henna in his hair, the dye sales triple.
• An autographed image of Bow was offered as an entertainment gift from a beauty contest in George Gershwin's 1931 musical Of Thee I Sing.
• During his lifetime, Bow was the subject of wild rumors about his sex life; most of them are not true. A tabloid named The Coast Reporter published a frightening allegation about it in 1931, accusing him of exhibitionism, incest, lesbianism, bestiality, drug addiction, alcoholism, and after having a venereal disease. The tabloid publisher then tried to blackmail Bow, offering to stop printing the story for $ 25,000, which led to him being captured by a federal agent and, later, an eight-year prison sentence.
• The main character of Peppy Miller from the 2011 film The Artist was inspired primarily by Clara Bow, and in playing her role, actress Bà ©  © rà ©  © nice Bejo uses a lot of Bow screen behavior.
• The inspiration for the character name of the player "Laura Bow" in the video game Colonel's Wasiat , and The Dagger of Amon Ra .
• On July 5, 2016, Variety announced that Silver Bullet Entertainment and MJW Media produced the film based on David Stenn's biography "Clara Bow: Runnin 'Wild"
• Touched on his dynamic facial expression, Clara Bow is mentioned in the song Prince of Condition of the Heart from the album Around the World in a Day.
• Bow is the subject of the 1986 song, "Clara Bow", by an independent cult pop group, The Cleaners from Venus.

Fictitious depictions

• Bow is played by actress Jennifer Tilly in the movie Back to Babylon (2013).

See also

• Betty Boop
• That girl
• Sex symbol

References

Information notes

Quotes

Bibliografi

• Basinger, Jeanine (2000). "Flapper: Colleen Moore dan Clara Bow". Silent Stars . Hanover, NH: Wesleyan University Press. ISBNÂ 0819564516
• Ball, Christina (Maret-April 2001). "The Silencing of Clara Bow". Gadfly Online.
• Gammel, Irene (2012). "Mengikat Sarung Tangan: Wanita, Tinju dan Modernitas", Sejarah Budaya dan Sosial 9.3: 369-390.
• Jacobson, Arthur (1991). Arthur Jacobson: Diwawancarai oleh Irene Kahn Atkin . Direksi Guild of American Oral History Series. New Jersey: Scarecrow Press.
• Morella, Joseph; Epstein, Edward Z. (1976). Gadis "It": Kisah Luar Biasa Clara Bow . New York: Delacorte Press. ISBNÂ 0-440-14068-4 < rentang>
• Schulberg, Budd (1981), Memindahkan Gambar , London: Allison & amp; Busby, ISBN 0-7490-0127-5.
• Stenn, David (1988). Clara Bow: Runnin 'Wild . Doubleday
• Panduan Film TCM (2006), Memimpin Wanita: 50 Aktris Paling Tak Terlupakan di Era Studio , San Francisco, California: Buku Chronicle.
• Vieira, Mark A. Sin dalam Soft Focus: Pra-Code Hollywood . New York: Harry N. Abrams, Inc. 1999. ISBNÂ 0-8109-8228-5

Tautan eksternal

• Clara Bow di IMDb
• Clara Bow di Basis Data Film TCM
• Clara Bow Page - menampilkan informasi luas tentang kelangsungan hidup dan status pelestarian filmnya. Situs ini tampaknya tidak aktif dengan sejumlah tautan mati, sayangnya.
• Foto dan bibliografi
• Clara Bow: My Life Story - cetak ulang tiga artikel majalah 1928 Photoplay .
• "Bela Lugosi's Clara Bow Nude Painting Menjual $ 30,000 Di Lelang" (tentang hubungan mereka)
• Kertas Clara Bow, Perpustakaan Margaret Herrick, Akademi Seni dan Sains Gambar Bergerak
• Clara Bow di Cari Makam

Source of the article : Wikipedia