Hollywood
actress in 3-D photos
Photoplay
magazine September 1953
3-D PINUP GIRLS
Marilyn
Monroe
Terry Moore
Elaine
Stewart
Doris Day
Virginia
Mayo
Rita
Heyworth
Betty Grable
Debra Paget
Mitzi Gaynor
Arlene Dahl
Vera-Ellen
Roberta
Haynes
Jane Russell
Θεάματα
Κινηματογραφικά
/
- Marilyn Monroe
/
- Terry Moore
/
- Elaine Stewart
/
- Doris Day
/
- Virginia Mayo
/
- Rita Hayworth
/
- Jane Russell
/
- Roberta Haynes
/
- Vera-Ellen
/ - Arlene Dahl
/
- Mitzi Gaynor
/
- Debra Paget
/
- Betty Grable
3-D PINUP
GIRLS
By
HILDEGAHDE JOHNSON
Ever since
the 3-D deluge hit Hollywood, things have been spinning in a wild tizzy. What
with polaroid glasses, Cinema-Scope and Cinerama, to say nothing of wide
screens and curved screens, everybody has been concentrating on techniques and
equipment. And some of the most valuable of all the equipment in Hollywood —
the appealing curves of the film stars — has been coming in for extra close and
extra careful scrutiny.
Would figures
that were perfect in 2-D be able to pass the tough inspection of the double or
wide-angle lens? Producers have been worried. Stars have been nervous. And fans
have been in suspense.
A GI reader
wrote photoplay: “I for one am dying to see what such stars as Marilyn Monroe,
Debra
Paget, Mitzi Gaynor look like in 3-D. Boy, if they are as shapely as they
are in 2-D films, then just you watch their stock boom!”
What does it
take to be a 3-D pinup girl? Arlene Dahl was among the first to go on trial, in “Sangaree”
(1953, 3-D color drama film).
"This is
a back-to-nature process,” Arlene Dahl announced. “The lighting on the set is
so merciless that you must wear less make-up, look completely natural, because
every detail will show up. And you don’t have to train down to ten pounds below
your normal weight. Two dimensional movies seem to add extra pounds by
flattening your figure out, making it seem wider than it really is. But in
three-dimensional movies the audience sees you just as you are.”
That was a
terrifying prospect for actresses who’d been relying too heavily on cosmetics
and camera flattery. The outlook was no happier for girls who’d been starving
themselves to keep that ten pounds off.
Amply curved Jane Russell
was promptly hailed as a 3-D ideal: height, 5'7"; weight, 135 pounds;
bust, 38 ½; waist, 25 ½; hips, 38 ½.
On the other hand, Vera-Ellen ( 5' 4½",
105, 33", 21", 33") was urged to fatten up if she didn’t want to
do a near-disappearing act in 3-D.
Arlene Dahl,
of course, had no problems. Her complexion needs no camouflage, and her figure
is voluptuous enough for any number of dimensions: 5'6½", 118, 36", 27",
36".
Marilyn Monroe
(in case there was any doubt in your mind) also is excellently equipped for the
new medium; and within the past year she has gaily let her famous hips expand
an inch. (Up-to-date statistics: 5'5½", 118, 37", 23½", 37½".)
In “How to Marry a
Millionaire” (1953 Sinema-Scope color comedy film) Cinema-Scope’s
wide, wide screen is going to show you an awful lot of Marilyn, while its curve
brings you closer to hers. One scene, for instance, plumps her down on a chaise
longue, and her reclining — and fabulous — figure seems to extend about half a
block. Yet, this king-sized Marilyn looks slimmer than she does on the average-proportioned
screen used for "Niagara” (1953 color
film Technicolor three-strip camera).
Just when the
girls were getting ready to relax and throw away their reducing, menus, up came
a word of warning from Helen Rose. As M-G-M’s chief designer, she wasn’t
anxious to drape her beautiful costumes on a bevy of hefty honeys. “3-D is
super-realistic,” she warned, “Overweight girls cannot rely on girdles to look
trim. They can be a little heavier, but they will have to get themselves in
genuine shape for the 3-D camera.”
So the diets
have not been discarded, after all. If a girl is close to the new-style lens
when a scene is shot, she’s going to land practically in the laps of the
audience when it’s screened.
Elaine Stewart,
Metro’s brunette threat to Monroe, can face such short-range scrutiny with no
fears. The same height as Marilyn, Elaine is constructed more delicately: 5' 6½",
118, 34", 25", 36".
Preparing for
her 3-Debut in “Lucky
Me” (film released 1954, color film, Cinema-Scope musical comedy
film) Doris
Day (5' 5¾", 116, 36", 25", 36"), always a fine,
healthy figger of a girl, has shed four pounds.
And Debra Paget
(5'2", 104, 33", 21½", 35") is a little less curve some
than she was a year ago.
Back in the
days when Rita Hayworth was Aly Khan’s princess, she didn’t have to worry
about her figure. Where Aly comes from, the men like their women
well-upholstered. But before she could make her movie comeback, there had to be
a good deal less of Rita. Dutifully, she brought herself down to camera weight.
In recent months, she’s taken off another inch here, another there, and the
tri-dimensional Hayworth of “Miss Sadie Thompson” (1953, 3-D color romantic
drama) is a neat 5' 6", 120, 35", 25", 35".
Luckily,
newcomer Roberta
Haynes didn’t try to look like a local lass when she locationed in Samoa
for “Return
to Paradise” (1953, color adventure drama film, Spherical, Starring Gary Cooper).
Like Aly,
Samoan gents go for generous curves. In their eyes, trimly built Roberta Haynes
(5' 3½", 112, 35", 24", 34½") was plenty of nothing. But
her pleasantly average proportions are made to order for the depth photography
of “Gun Fury”
(1953, 3-D Western color film).
Even when a
pinup queen has assured herself that her appearance will get by, her 3-D
troubles still aren’t over. Ask Virginia Mayo, who finished “Devil’s Canyon” (1953, 3-D
Western color film) before approaching motherhood began to change the flawless Virginia Mayo
figure (5' 5", 118, 34", 24" 34").
This Western
movie had a weird effect on Virginia’s off-screen conduct. Sharing her first
close-up with Dale Robertson, she looked at him as one would naturally do, only
to find that in the 3-D rushes she seemed to be staring off into space. To
avoid this uncomplimentary illusion, Virginia Mayo was told to look fixedly at
one of Dale’s eyes — the one closest to the camera. This trick worked
beautifully, as a look at the rushes proved.
Once an
actress has learned how to look lovingly at her leading man in 3-D, she
encounters still another problem if she happens to be working in a musical. Any
musical, with the arduous rehearsing its routines require, is rougher on its
players than the average dramatic film. But if it’s going to be viewed through
polaroid glasses, which have a slightly darkening effect, lighting on the set
must be extra-brilliant,
Rhonda Fleming (5' 6", 118, 37",
26", 36½") tackled “Those Sisters from Seattle” [“Those Redheads from Seattle”: 1953, 3-D musical
western color film – The film was originally called “The Sisters from Seattle”. Filming started March 1953. In April 1953 the title was changed to “Those Redheads from Seattle”]
feeling fairly calm mentally — but keeping cool physically was another matter.
“Red Garters” (released February 1, 1954, color Spherical
musical western film) as Rosemary Clooney (5' 6½", 118, 37",
24", 34") sizzling under the lights.
The
temperature’s more reasonable on the set of a musical being shot in
Cinema-Scope, which requires no glasses. But when Mitzi Gaynor (5' 6",
112, 35½", 23", 37") steps out in her first dance routine for
the wide screen, she’ll have to keep in mind the increased range of the camera.
The same
concern got Terry Moore (5' 2", 100, 35½", 23", 35") rather
rattled during her Cinema-Scope debut, “Beneath the
Twelve Mile Reef” (1953, Technicolor Sinema-Scope adventure film). In an early scene, Bob Wagner (Robert Wagner) was
supposed to chase her through a park, catch her and, after a tussle on the
grass, kiss her. During the first rehearsal, Terry Moore ran too fast. Next
time, she was too slow. The third time, with cameras rolling, everything went
beautifully. Wrestling on the grass, she turned and twisted her head to avoid
Bob’s kiss. At that point, the costars were completely broken up when a fan
watching through the park fence, cried out, “Oh, no! Terry, you fool, you!”
A reaction just about as implausible was
required of Cameron Mitchell in “How to Marry a
Millionaire.” There before him were all three of the comedy’s feminine
stars, lined up for a simultaneous shot in the sweeping range of Cinema-Scope:
luscious Marilyn
Monroe in a low-cut red bathing suit; small, trim Betty Grable
(5' 3½", 112, 36" 23½", 35½") in a halter-bra and shorts;
tall, lithe Lauren Bacall (5' 6½", 119, 34", 23½", 35") in
a sexy evening gown. This magnificent display was supposed to leave Cam cold
(it said here in the script). But when the cue came for his line of dialogue,
he announced fervently, “I’ll take them all!”
“Cut!” said
director Jean Negulesco. “Your line is ‘You haven’t got anything I want!”
“I know,” Cam
admitted sheepishly. “But when I looked at these 3-D dames, I guess I just lost
my head.”
The
End
Here’s another
colorful album of Hollywood stars in captivating poses, prepared by the editors
of Photoplay Magazine. This great new album is more glamorous than any of the
previous editions.
Each
thrilling photograph in Photoplay Pinups is reproduced in full-Υcolor. Each photograph is a
stunning picture of one of your favorite Hollywood stars. These breath-taking
pictures are printed so that each one can be cut out for framing or pinning up
without interfering with any other picture in the book.
You’ll
love the luscious photos of
/ - Debbie
Reynolds
/ - Marilyn
Monroe
/ - Doris
Day
/ - Anne
Francis
/ - Virginia
Mayo
/ - Zsa Zsa
Gabor
/ - Anne
Baxter
/ - Terry
Moore
/ - Mari
Blanchard
/ - Laurette
Luez
/ - Mona
Knox
/ - Paula
Doretti
/ - Marci
Lang
/ - Cleo
Moore
/ - Mara
Corday
/ - Jane
Greer
/ - Vanessa
Brown
/ - Piper
Laurie
/ - Rita
Hayworth
/ - Arlene
Dahl
/ - Ava
Gardner
/ - Janet
Leigh
Only
35c
Το κουπόνι παραγγελίας για το φωτογραφικό
άλμπουμ του περιοδικού Photoplay “Photoplay Pinups No. 3”
Διαφημιστική καταχώρηση στο Photoplay magazine,
September
1953.
/ - το εξώφυλλο του
τεύχους του Photoplay
September
1953
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[ ανάρτηση 11 Φεβρουαρίου
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Hollywood actress
in
3-D
photos
Photoplay magazine September 1953
3-D PINUP GIRLS
Θεάματα
Κινηματογραφικά ]
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