Friday Photos: True Hollywood Confessions May 6, 2016 by Robert J. Avrech 12 Comments “Acting is experience with something sweet behind it.” —Humphrey Bogart Carmen Herrera b. 1915, age 100Futuro (diptych), 2009Acrylic on Canvas72 x 72 in. overall Jean-Baptiste-Siméon Chardin, Girl with Racket and Shuttlecock, 1740, oil on canvas, 82 x 66 cm (Uffizi Gallery, Florence) Photo by Adriana Duque“Aurora 2” 2015 Egon Schiele, Edith Schiele [the artist’s wife] In Striped Dress, 1915Oil on canvas 180.2 X 110.1 CM. This is not just shameless self-promotion but a lesson in what’s wrong with current movie posters. “Body Double” (1984) was my first Hollywood credit. The eye-catching graphic and tag line are powerful and entirely appropriate. The problem with the poster is the massive block of credits. Union contracts mandate font size and placement. And yes, I’m proud to have my name on posters. But credits now take up as much as a third of every poster which greatly limits creativity. On her studio’s attempts to promote her as “America’s Answer to Brigitte Bardot”:“Anyone who’d want to build me up as a sex siren would have to be crazy. Why is it most actresses must be bizarre, vulgar or temperamental to make good copy? Everyone in Hollywood tells me I have to develop an interview personality if I want to keep the press happy. They want me to be something I’m not…I’m an actress and a woman and I hope, a lady. But I found being a lady is a hardship here. It’s not encouraged. What I should be is a glib person, quick on repartee, and full of colorful quotes I gleamed from the ‘Reader’s Digest’ just before the interview!’”‘All I need are one or two good quotes, either controversial or funny, and I’ve got a column,’ I said.“”’No,’ said Miss Remick firmly. ‘I can’t think of one!’ Then she brightened, ’I have it,’ she said, ‘you can compare me with Greta Garbo. I have big feet too.’—excerpted from Joe Hyman’s 1959 New York Herald Tribune profile, “Lee Remick Boasts Garbo Feet” Carmen HerreraEstructura Roja, 1966/2012Plywood, automobile paint27 5/8 x 49 1/4 x 5 in. Director Josef von Sternberg, b. Jonas Sternberg, gave Marlene Dietrich this 1931 Rolls Royce as a gift. Her chauffer, Briggs—perfect name—carried a set of revolvers to protect his famous employer. When Dietrich traveled to Europe, she sent her Rolls and Briggs in advance. David Niven notes in his excellent autobiography, “The Moon’s a Balloon” that Dietrich supplied Briggs with a mink trimmed uniform, which, I suppose, qualifies Briggs as Hollywood’s first metrosexual chauffer-bodyguard. Gustav Klimt, Eugenia (Mada) Primavesi, 1913/14 Oil on canvas 140 X 85 cm. Ty Cobb, 1913Everything you think you know about Ty Cobb is wrong. Utamaro“Women Playing with the Mirror” 1797 “When you’re thirty you’re old enough to know better, but still young enough to go ahead and do it.”—Brigitte Bardot Carmen HerreraUntitled, 2007Acrylic on Wood60 x 50 in. Peter Paul RubensSamson and Delilah1609–1610Oil on wood73 in × 81 inNational Gallery London Michal Baratz Koren “Delilah” 2014, C-Print N. Jay Jaffee, American, 1921-1999Kishke King, Brownsville, Brooklyn, 1953, printed laterGelatin silver print13 15/16 × 11 in. (35.4 × 27.9 cm) Touching MezuzahSari Srulovitch, Israeli, b. 1964Israel, 2002Silver: hand-worked with repoussé7 11/16 × 2 3/8 × 5/8 in.Artist’s statement: “This mezuzah is indented like the well-worn steps of ancient buildings, as if to reflect the touch of thousands of hands that have reached up to kiss the mezuzah on the doorpost of Jewish homes for generations. The gentle indent on the clean, modern lines of this mezuzah beckons us to touch it. As we do so, we recall our heritage and the ancient command of the Lord to the Israelites in Egypt to mark the doorposts of their homes to protect them from the plague on Egypt’s firstborn. The touch of the ages has left an indentation in the shape of the Hebrew letter shin, a traditional ornamentation on mezuzot symbolizing one of God’s names. Part of the permanent collection at the Israel Museum, the Jewish Museum N.Y.and the Jewish Museum Berlin.” Robert Clary, born Robert Max Widerman, 1926, a French Jew was the youngest of fourteen children. In 1942 he was deported to the Nazi concentration camp, Ottmuth. He was later transferred to Buchenwald. Twelve other members of his immediate family were sent to Auschwitz at the same time. Clary was the only survivor. He was liberated in April 1945. When he returned to Paris after the war, he discovered that three of his siblings managed to survive the Nazi occupation of France. Clary’s best known role was as Corporal LeBeau, “Frenchie,” on “Hogan’s Heroes.” In 2001 Clary wrote a touching memoir, From the Holocaust to Hogan’s Heroes: The Autobiography of Robert Clary. Robert J. Avrech, (Pink) Firehouse, Station No. 2, Teaneck, N.J. 2016 Lielle Meital wishes all our friends and relatives an inspirational and peaceful Shabbat.