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Wednesday, January 23, 2019

Ann Blyth feeds fellow cast member on set of KISMET


Ann Blyth appears to be feeding a castmate some lunch while on the set of Kismet (1955).  You can next see this lavish musical on Turner Classic Movies tomorrow, Thursday the 24th at 6 p.m. ET.


Ann’s most famous number, “Baubles, Bangles, and Beads,” is a slow waltz-tune during which she changes from a ragged street urchin to desirable woman.  A bolt of yellow cloth is chucked across the screen and she catches it, like grabbing the brass ring... 


Could she have ever imagined while lip-syncing that lovely tune to the playback of her lovely voice on the faux Persian soundstage that she’d still be singing it in concert decades later? 

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Wednesday, January 16, 2019

Ann Blyth's early studio publicity photos


Ann Blyth was likely around 15 years old at the time this series of publicity photos were taken.  One of the first actions a Hollywood studio, in this case, Universal, took upon signing a new talent for their roster was to experiment with the actor's appearance.  Beginning a 7-year hitch with a studio could be a daunting experience for any young actor or actress.  It must have been confusing to discover upon reaching the makeup department that what the studio really wanted must be somebody else entirely.

From my book on Ann Blyth's career, Ann Blyth: Actress. Singer. Star.:

An early publicity photo from this time shows Ann standing on the steps of a train passenger car, posed rather stiffly, smiling dutifully, but perhaps a little nervously, for the camera.  The bright sunshine floods her features, and with glare that head Universal still photographer Ray Jones would surely not permit in his studio.  She is dressed in the proper little girl attire of the day: a long-sleeve dress and pinafore falling just above the knee, white ankle socks and Mary Janes, an enormous bow perched on the back of her head, clutching a small purse.  She looks like she might be coming to visit Grandma.  She is fourteen years old.

It’s hard to imagine in two years she’d be seducing Zachary Scott before shooting him, and slapping Joan Crawford—only on film, of course.

Universal press agent, Frank McFadden, recalled for Photoplay magazine in 1956 when he first met Ann Blyth and her mother at Los Angeles’ Union Station when she arrived to begin her seven-year contract with the studio.

“She was just a sweet little girl holding her mother’s hand, a little afraid—it seemed to me.  I took them out to the Hotel Knickerbocker, and since their room wasn’t ready, we drove around a little while and I showed them the sights.  I thought she was just another pretty child coming to Hollywood then.” 



They gussied up -- one might say for these photos, "hussy-ed up" their new acquisition for the test photos, but quickly changed tactics and put her in four innocent roles in four teen musicals before she got a chance at playing the wicked Veda Pierce.  And she didn't need a lot of makeup and provocative poses for that; she just had imagination and talent.


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Wednesday, January 9, 2019

Brute Force with Ann Blyth and Burt Lancaster


Brute Force (1946), a powerful prison drama starring Burt Lancaster as the inmate planning a daring escape to reach his love, Ann Blyth, in time airs today on Turner Classic Movies, 3 p.m. ET.  From my book, Ann Blyth: Actress. Singer. Star.:

Ann is at first asleep, then he wakes her, and in their tender scene shows us that Lancaster is tired of running, that this will be his last job, and then he will come back to her for good.  He tells her that when he met her, he was a guy who “found the first important thing in his life.”  She doesn’t know what racket he’s in, but she senses he is troubled.  She wants to help him, wishes she weren’t sick so that she could help him.

“There are all kinds of sick people, Ruth.  Maybe we could help each other.”  The scene is gentle, affectionate, somewhat sad.  Ann’s character is not a gun moll; she’s a sweet, decent girl who trusts him.  This is important because it bolsters the visual image we already have of Burt Lancaster in the film as more a wounded animal than a psychopath.