Seraphic Secret

Robert J. Avrech: Emmy Award winning screenwriter. Movie fanatic. Helplessly and hopelessly in love with my wife since age nine.

Take #3: The Meaning of Leaning in Hollywood

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Jean Harlow propped up on a leaning board between scenes for “Dinner at Eight” (’33). The form fitting silk gown designed by Adrian was so tight that Harlow could not sit. In fact, Harlow was sewn into the gown — sans underwear.
Jean Harlow propped up on a leaning board between scenes for “Dinner at Eight” (’33). The form fitting silk gown designed by Adrian was so tight that Harlow could not sit. In fact, Harlow was sewn into the gown — sans underwear.

Leaning boards ( also called Slant boards) were invented for Hollywood players to relax between takes. Hollywood costumes were frequently cut on-the-bias, and tailored so snugly that the actor could not sit without bursting a ladder of seams. In fact, most of the time, there were no zippers or buttons on the costumes. Actors were stitched into their garments.

When you see Jean Harlow in Dinner at Eight, and marvel at the impeccable fit of the famous white silk gown, be aware that Harlow’s mobility was severely limited. In fact, just breathing was something of a chore.

Remember, classic Hollywood movies were designed to project images of glamour. For the screen, costumes had to be photogenic. Comfort and practicality were of little concern.

These days, leaning boards are still in use, but they are the exception rather than the rule, for a variety of reasons. Modern fabrics are more forgiving. It is also quite rare for a costume to be designed, cut and sewn, for one actress. Most costumes are off the rack, and modified. Besides, in today’s Hollywood, stars who receive multiple millions for one film are loathe to suffer the indignities of such a tight fit.

Because of the massive weight of her elaborate costume, Margot Grahame, who played the evil Milady de Winter, had to use a leaning board between takes on “The Three Musketeers” ('35).
Because of the massive weight of her elaborate costume, Margot Grahame, who played the deliciously wicked Milady de Winter, had to use a leaning board between takes on “The Three Musketeers” (’35).

 

Ginger Rogers rests on the set of the classic musical “Top Hat” ('35).
Ginger Rogers leans on the set of the “Top Hat” (’35).

 

Brian Aherne, director W.S. Van Dyke, Fred Keating and Frank Morgan pose with Joan Crawford on her resting board during production of “I Live My Life” ('35).
Brian Aherne, director W.S. Van Dyke, Fred Keating and Frank Morgan pose with leaning Joan Crawford during production of “I Live My Life” (’35).

 

Joseph Cotten, director George Cukor and Ingrid Bergman, between takes of “Gaslight” ('44).
Joseph Cotten, director George Cukor and Ingrid Bergman, between takes of “Gaslight” (’44).

 

Merle Oberon in a rather constricting and unflattering costume for “Night in Paradise” ('46).
Merle Oberon in a constricting and unflattering costume for “Night in Paradise” (’46).

 

In a scene for “Singin' in the Rain ('52) struggling actor Don Lockwood (Gene Kelly) gets the brush-off from silent star diva Lina Lamont (Jean Hagen) as she rests on her leaning board.
In the classic musical “Singin’ in the Rain (’52) struggling actor Don Lockwood (Gene Kelly) gets the brush-off from silent star Lina Lamont (Jean Hagen) as she holds court from her leaning board.

 

Lielle Meital wishes all our friends and relatives a chag sameach. Seraphic Secret will be off-line until Monday in celebration of the last days of Succot.
No leaning board necessary for Lielle Meital, who wishes all our friends and relatives a joyous Shemini Atzeret and Simchat Torah. Seraphic Secret will be off-line until Monday in celebration of the last holidays of this season.

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Comments

    • Oh yes, Margo was a fine actress and her Milady is wonderful. I also admire Faye Dunaway’s Milady in Richard Lester’s Musketeer films. Lana’s Milady was blah. But she knew how to wear a costume.

      • I thought about Faye Dunaway but the George MacDonald Fraser/Richard Lester collaboration took the material in, if not a different direction, a different sensibility — and the filmmaking era was so radically different that Faye was unintentionally snubbed. As for Lana, she could be effective as shop girl, say Postman Always Rings Twice, or as a milk maid in almost any period, but not ever nobility.

        • Further thought re Milady and The Musketeers.
          Binnie Barnes did a fine job opposite Don Ameche and The Ritz Brothers. At one and the same time a burlesque in the Three Stooges style and a faithful retelling of Dumas. Directed by Allan Dwan and more faithful in tone than the Richard Lester variations, which, by the way, I like. No criticism intended.

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