Thursday, January 7, 2016

Hollywood Scandal of the Week: Paul Bern

Jean Harlow (1911-1937) was the Hollywood it-girl of the 1930’s. She made her name starring in such classics as Hell's Angels (Howard Hughes, 1930), The Public Enemy (William Wellman, 1931) and Dinner at Eight (George Cukor, 1933). On July 2, 1932, Harlow stunned the Hollywood community when she married Paul Bern an executive (typically credited as an associate producer) working under Irving Thalberg at Metro-Goldwyn-Mayer. Harlow was the current Hollywood sex symbol and just barely 21 years old. Bern was a 42 year old, mousey, bookish producer. The partnership hardly seemed to be one of Hollywood fantasy.
Here is an photography of the happy couple, likely on the day of their wedding. Her hair and dress appear to match other photos noted to be taken on their wedding day. My thanks (and all credit and rights) go to http://www.allstarpics.net/1725651/015642974/jean-harlow-and-paul-bern-pic.html for this image.

On September 6, 1932, after a little over two months of marriage, Paul Bern reportedly committed suicide. He was found, dead from a gunshot wound to the head, in their $60,000 Benedict Canyon home. Bern reportedly left a suicide note, "Dearest Dear: Unfortunately this is the only way to make good the frightful wrong I have done you and to wipe out my abject humiliation. You understand that last night was only a comedy**. PAUL." ("Paul Bern A Suicide; Wed Jean Harlow" New York Times 6 September 1932). This is where any and all certainty ends, and the rumors begin.

There have also been repeated discussions in recent reports about Bern’s reported sexual inadequacies. Various sources have stated that Bern was impotent, and that these problems might be the "comedy" he references in his suicide note. Time Magazine briefly discusses this in the 19 September 1932 article "Death in Hollywood." "For several days the strongest evidence of a suicide-motive was his personal physician's statement that the autopsy showed Paul Bern had suffered "a physical handi cap that would have prevented a happy marriage." (Read more: http://www.time.com/time/magazine/article/0,9171,744399-2,00.html#ixzz1IfxT0AXm) A number of statements like these have lead to speculation that Bern and Harlow had never consummated their marriage, causing tension within the marriage, and likely insecurities within Bern.

The above stated article also mentions that upon finding Bern's body, his butler John Carmichael did not call the police; rather, he called Irving Thalberg (Bern's friend and the boy genius Head of Production at Metro-Goldwyn-Mayer) and David O. Selznick (a producer who would later split from Metro to make little picture of his own called Gone with the Wind) to the Bern home. Other sources report that studio head Louis B. Mayer himself could have also been present. It is uncertain how long the MGM execs were at the home before the police were summoned (An L.A. Times article dated 9 September, 1932 states "several hours"), and many sources hypothesize that it could  have been at least two hours. The knowledge of this fact alone begs the question, if this was simply a suicide, what were the studio executives doing at the Bern home unattended for so long?

Period sources concur that Harlow was not present in the home at the time of her husband's suicide, "They had dinner Sunday at their Benedict Canyon home. He then complained of a headache, due to overwork. She went to her mother's to spend Sunday night at Bern's suggestion... Bern was to join her there." ("Widow is Mystified By Bern's Suicide" LA Times 7 September, 1932). The article goes on to report that it took the police a day and a half to speak to Harlow, who was sedated and hysterical at the home of her mother and stepfather (the article states she attempted suicide herself in the days following the death of her husband). Brief mention is also made of a second suicide note, which was in Harlow's possession, that the authorities never received.

On September 8, a story broke which further clouded the already complicated situation, and has fueled conspiracy theories about the Bern suicide in the almost 80 years following his death. A short article entitled, "Girl Here Entered Paul Bern's Life" first reports that Bern had been married once before he wed Jean Harlow. It is said that Harlow and her family had been unaware of the first marriage, but were "unconcerned." It was later learned upon the reading of Bern's will that Mrs. Dorothy Bern (Millette)  was named as the beneficiary of Bern's estate. ("First Wife Named in Bern Will Here" 9 September, 1932). Days passed, and the story continued to get juicier. On September 10, it was reported that Dorothy Millette had gone missing off a river boat in Sacramento California where she had been living in a sanitarium (due to illness) until the day after Bern's suicide. ("Mrs. Bern Missing; Believed a Suicide" L.A. Times 10 September, 1932). Her body was discovered five days later. Her hat and shoes were missing (later found on the boat deck), which corroborated the police’s theory that she had committed suicide.

Interestingly, days before Millette's existence was known, it was reported, "Mr. and Mrs. Slavka Verkapich, near neighbors of the mansion where Bern's body was found yesterday, (reported) that an automobile had raced down Easton Drive from the vicinity of Bern's home some time after midnight Sunday, at about the hour surgeons say that the film executive met his end..." This report, along with others stating that Bern and his ex-wife had been recently in contact ("Missing Woman Had Bern Letters" L.A. Times 12 September 1932) seem to fuel theories that Bern's suicide was more than simply that. Could his first wife have played a part in his death?

On the same day Millette's body was discovered, a copy of Bern's will (reportedly the last) was found by a secretary, naming Harlow the benefactor of his estate. Later articles briefly detail court battles as a California state official attempted to protect the Millette estate; however, Harlow was eventually named executor.

Was Paul Bern's death a simple suicide? Or was a murder scene tampered with (by studio executives) to protect one of their most bankable stars? In the 80 years since Bern’s death, people have been fascinated with the numerous complications and inconsistencies surrounding the case. It is a morbid story with plenty of sex thrown in, surrounding one of Hollywood's sexiest stars of the 1930s, and as such, it continues to fascinate people around the world.

Wednesday, January 6, 2016

Musicians You Aren’t Listening To... But Should Be: Markus Feehily


As my Twitter feed suggests, I’m going through kind of a big boy band phase. I haven't had it this bad since high school. In a fit of late night Googling, I came across the late 1990s, Irish boy band Westlife (just like my Take That fixation, I’m not sure how I missed this the first time around). It took a while to release his debut album (Westlife called it quits in 2012), but Markus Feehily’s 2015 release ‘Fire’ really demonstrates his rapidly developing strength as a solo artist.

The album has been out for just under a year, and had been chugging along steadily. According to various sources, ‘Fire’ reached #2 on the Irish charts, and cracked the top 30 on the UK charts. It really is the little album that could. 'Love is a Drug' and ‘Butterfly’ are the two singles (and are the definite standouts) which have been released from the album, which can best be described as a fusion of R&B and pop. Feehily makes tremendous use of his incredibly strong vocal range, which he put on display during the Westlife years. The bands cover of 'Total Eclipse of the Heart’ is a personal favorite of this writer.

Looking at the track listing, Feehily is credited as the primary writer on each of the songs. Westlife is not primarily known for writing their own songs. Many of their early albums are filled with covers of popular songs like ‘My Girl’, ‘I Have a Dream’ and ‘Uptown Girl.” Listening to ‘Fire,’ lyrics seem to come come from a deeper, more emotional place than the poppy ballads of his past:

Wish I would have known when enough was enough/ Need something for the pain but the killer is us/And it keeps on pulling me when I wanna get up/You keep kicking me while you’re holding me down

The strength, and the power evident in the tracks of Markus Feehily’s debut album ‘Fire’ shows just how the former boy-bander has grown as an artist in the years since Westlife broke up. The power of the album definitely pulled me in as a fan, and I’m very excited to see what’s next for the growing musician.




Tuesday, January 5, 2016

If You’re Not Watching, You Should Be: Miss. Fisher’s Murder Mysteries (2012)

I've had a little show called Miss. Fisher's Murder Mysteries in my Netflix queue for an embarrassingly long time. It was one of those series which always seemed really interesting, but never quite tipped the proverbial scales to push it above the other shows I'm currently bingeing. However, in the last week I stumbled on it yet again, when my sister added it to her queue (and actually watched it!).  The show is now my latest obsession (...Just what I needed, another adorable couple to ship!)

Phryne Fisher is the “lady detective” (her words), I’ve always wanted to see. The Australian series (based off the Kerry Greenwood mystery novels) follows the Miss. Fisher of the titles through 1920’s Melbourne as she solves a number of fascinatingly crafted murders, while wearing in some of the most fabulous costumes on television. Seriously, the show’s costumes are so spectacular. They even have their own museum expedition currently running in Australia.
http://smartbitchestrashybooks.com\

We watch Miss. Fisher (portrayed with mind-numbing awesomeness by actress Essie Davis) live her life completely under her terms. Throughout the series, we watch her working (and thriving) in the very masculine world of law enforcement. She often serves as a resource (and even points out the mistakes) of Detective Inspector Jack Robinson (Nathan Page) and Hugh Collins (Hugo Johnson-Burt). Phryne carries her own gun, and is usually the first to enter into tense situations, flanked either by Robinson and Collins, or by Bert (Travis McMahon) and Cec (Anthony Sharpe) on more unofficial jobs.

The show also refuses to turn a blind eye to the topic of “women’s issues.”  As a period piece, taking place in the late 1920s, this gives the show an incredibly unique, interesting perspective. A humorous moment comes in the pilot episode when Phryne's companion Dorothy ‘Dot’ Williams (Ashleigh Cummings) finds a nondescript case under a bed. She brings it back to her employer, who describes it as a “family planning” device. The naive, very Catholic Dot, drops the container, a shocked look on her face. The show doesn’t shy away from highlighting Phyrne’s unabashed liberalism and her free-thinking views on sexuality, which stands in opposition to our perspective of the 1920s, which shades how the 1920s are usually depicted.

Finally... (what would this blog be if I didn’t take a moment to fangirl) Davis’ on-screen chemistry with her co-star Nathan Page is charged with a subtle flirtation, fueling dozens of related Tumblr blogs (their shipping name is ‘Phrack’). Robinson is quite a restrained character. Other blogs have called him: ‘a stick in the mud,’ as well as a ’stickler for process'. Neither Detective Inspector Robinson, nor Miss. Fisher have been quite ready to “go there” in terms of the more physical aspects of their relationship. In the narrative, Robinson is fresh off a divorce, and Miss. Fisher is hardly one to be tied down into a traditional relationship. However, the fleeting moments and stolen glances depicted in the show make it a shippers paradise.

The first three seasons are currently available on Netflix, with a fourth season to hopefully air on Australian screens soon.

Monday, January 4, 2016

Musicians You Aren’t Listening To... But You Should Be: Mark Owen

Mark Owen- screen capped from the “Back for Good” music video.
Mark Owen is probably best known as "The Cute One” from the long-standing British pop super-group Take That where he has sang lead vocals on songs like “Babe,” “Hold Up a Light” and “Shine.”

It was after Take That's 1996 break-up (which turned out to just be an extended break), that Mark Owen finally found himself able to emerge musically as a solo artist. For much of the band’s early work, Owen found himself unable to step out from under the creative shadow cast by Gary Barlow. During the 10 year hiatus that followed Take That’s break-up, Owen released four solo albums (to varying levels of success): "Green Man" (1996), "In Your Own Time" (2003), "How The Mighty Fall" (2005), and "The Art of Doing Nothing" (2013).

Owen’s voice has a definite unique quality (of which I’m still trying to find adjectives to describe). While you can hear this in his Take That vocals, it is put on full display in his solo work. His sound is a bit more raw than the unabashed romantic ballads of Gary Barlow, but there is a fascinating element of simplicity and innocence in the sound. His creativity as an artist practically leaps from the speakers. Stand out singles for me are “Carnival” (video above), “Stars” and “Animals.” These songs also demonstrate that he is also an incredibly talented songwriter as well, which before these albums he wasn’t as able to display. 

Mark Owen’s albums run the spectrum from pop to indie rock. Two of his albums (“In Your Own Time” and “The Art of Doing Nothing" are readily available through popular streaming services like Apple Music and Spotify. Pop on over to YouTube and take a listen. You won’t regret it.




Sunday, January 3, 2016

There's a Little Dark Side in Us All or A Little Sith Me, A Little Sith You

**Post may contain spoilers in you haven’t seen Star Wars: The Force Awakens Yet... You have been Warned**

So far, I've seen 'The Force Awakens' twice, now. As I sat wrapped up my second viewing of the widely anticipated film, I started contemplating Kylo Ren, and where he sits in the lengthy history of the notable villains which make up the Star Wars universe.

Let me clarify first off, I'm not well versed in the canon of books beyond a superficial knowledge. This is coming from a filmic perspective... Just putting that out there.... 

Moving on....

There’s been a lot written on Kylo Ren as a character in the little over a week since Star Wars: The Force Awakens, and the young villain has proven to be quite a divisive figure in the newly expanded Star Wars Universe. In the ever opinionated social media/blogosphere, Kylo Ren has been the object of awe and excitement, or vitriol only reserved for Jar Jar Binks, or Hayden Christensen’s Anakin Skywalker.

from Bleeding Cool
What struck this writer as interesting is how human actor Adam Driver’s portrayal of Kylo Ren was. Perhaps it is the old film student in me which wonders, is this at the root of some of the ambivalence surrounding the character. He’s surprisingly relatable, especially when looked at against the other Star Wars villains.

Let’s look at some of the other villains which populate the universe.  Darth Vader is pretty much the ultimate villain in the history of pop culture, ranking right up alongside the likes of the Joker and Lex Luthor in terms of recognizably. By episodes 4-7, by the series own admission, Darth Vader is “...more machine now than man.” The recognizable (and dehumanizing) black suit is the only thing keeping him alive.

It seems interesting that roughly halfway through the film, Ren takes off his own mask (seen above),  and through any of the film’s climactic moments that we see not the scarily intimidating force user Kylo Ren, but the openly confused and insecure twenty-something under the mask. He could almost be the fanboy next door. If the Dark Side is powerful enough to pull someone out from probably the biggest resistance family in the universe, who else could they sucker in?

There’s a long history of villains in the Star Wars universe: Darth Maul, Darth Sidious, General Grievous and Count Dooku are just some of the names which come to mind. Looking at all these characters, the similarities to Vader (and how Ren stands out in opposition) remains constant. In this group, we have aliens, robots and force using senior citizens.

There is much more yet to be written on this topic, but when looking at the scope of villains across the canon of Star Wars films, Kylo Ren stands out as one of the most relatable, and therefore frightening villains to come out of this franchise.



Friday, January 1, 2016

A Little Preview....

A litte teaser for my next post... 


Digging into the Film Vault: Hatari (1962)

The film career of John Wayne encompasses fifty years, and almost two hundred films. So it makes sense that some films would most certainly slip through the radar of popular culture.

I wanted to stop and take a look at a film which, despite being somewhat of a time capsule, remains today a fascinating viewing (And a personal favorite of mine for 2 of my almost 3 decades as a self-proclaimed film nerd).

Hatari was released in the United States in June of 1962 by Paramount Pictures. It was at the front end of, and definitely stands as one of those massive, epically scaled films of the early 1960s (Cleopatra, anyone?) which are very much representative of the decline of the studio system (which followed soon after). 

I love Hatari. It was one of the few movies, which wasn’t produced by Disney, to keep a pre-kindergarten me entertained and seated in one spot. This is quite a feat, considering the film's two and a half hour run time.

The film features John Wayne leading an international group of adventurers, tasked with catching animals for American and European zoos from the wilds of Africa. Hatari was directed by noted adventure film-maker, Howard Hawks. Hawks packs the movie with African location work and action photography that stands out opposite much of the work coming out of Hollywood at the same time. Even a trained eye is hard pressed to see that it isn’t John Wayne and Hardy Kruger running around with these (often quite dangerous!) animals. A sequence early in the film involving a rhinoceros is quite harrowing.


As mentioned, the film features a talented international cast. Italian actress Elsa Martinelli, French actor Gerard Blain, and German actor Hardy Kruger are particular stand-outs in the large group of performers.

Watching the film from a contemporary eye , is definitely problematic (to say the least). Entire essays could be written on the topic of race within the film, as well as animal capture sequences which would probably result in contemporary Hollywood productions being shut down. More potentially to come on that.

Hatari has long been a favorite film of mine, and I would definitely look to it if you’re searching for a good (if not old-fashioned) popcorn flick. Despite all of its problems, it’s a fun movie, worthy of checking out.