Word: cinemactresses
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Dates: during 1930-1939
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...superimposing upon the pattern of Viennese waltz-time romance the kind of highly contemporary comedy of which William Powell is currently Hollywood's ablest exponent. That the result is mildly entertaining is thanks partly to Powell, partly to Director Robert Z. Leonard, but mostly to a totally unknown cinemactress named Luise Rainer. Miss Rainer is Leopoldine Major, private companion to an aging Viennese duchess. She is peremptorily whisked out of the obscurity of her position when a dashing young artist (Powell), compelled for reasons of gallantry to conceal the name of a lady whom he has sketched...
...little anecdote showing how the matrimonial differences of Dr. Donald Middleton (Joel McCrea) and his wife (Rosemary Ames) are eventually adjusted through the good offices of their mall daughter. As Molly Middleton, Shirley Temple tries hard to pull a vehicle which would be far too heavy for any adult cinemactress, manages to be surprisingly effective even in the sequence which shows Molly explaining to her Scottish terrier how she intends to run away because no one loves her any more. Most inevitable shot: Molly Middleton, informed by her mother's new admirer that she is coming to live...
Fabulous, enigmatic Cinemactress Greta Garbo (Gustaffson) began a vacation journey back to her native Sweden and the castle she bought from Ivar Kreuger's estate. In her old limousine she drove from Hollywood to Pasadena, where she hid from prying eyes in a bush with four bodyguards before making a spectacular dash for the Santa Fe train. Outside Chicago, she alighted in the railroad yards, set police and railroad men in a dither getting her a cab. Her next appearance was at Chicago's Union Station where she arrived ten minutes before train time, peeked around a corner...
...infected wisdom tooth necessitated the removal of a salivary gland from Cinemactress Kay Francis in London...
...dynamic actresses in Hollywood. Director Josef von Sternberg is an eccentric specialist who enjoys filling his camera lens with shadows, antique furniture, objects d'art and confetti. To most observers, these salient characteristics might suggest that, for the purpose of manufacturing profitable moving pictures, Director von Sternberg and Cinemactress Dietrich constituted less than an ideal partnership. To the executives of Paramount, on the other hand, they justified a series of five pictures (Morocco, Dishonored, Shanghai Express, Blonde Venus, The Scarlet Empress), few of which made any money. The sixth, The Devil Is a Woman, is notable chiefly because, since...