Nude Shadow, 1920S. /Nthe Shadow Of Actress Clara Bow In The Nude. Photographed In The 1920S. Poster Print by (18 x 24)
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In actuality, Bow was very sharp, it's just that her acting was more hands-on than cerebral. She needed specific direction and hated rehearsals, but after that she’d take off. One of her more understanding directors, Victor Fleming, compared her to a Stradivarius violin, saying “Touch her, and she responded with genius.” Take that. When it came to Lugosi, Bow took her bad girl image into overdrive. The pair were obsessed with each other, but as two Hollywood hotties, they also saw other people. Lugosi must have gotten confused about this arrangement, because during this time he married... not Clara Bow. In 1929, Lugosi tied the knot with wealthy socialite Beatrice Weeks. This did not end well. He had gotten married, and although it was a struggle, he managed to keep afloat. Then in 1917 he met showman and producer Florenz Ziegfeld, and secured a contract to do all the images for the ‘Ziegfeld Follies’ for the next fifteen years. But it was this affiliation that elevated him to being able to start photographing everything from aspiring actresses and society matrons to a wide range of upscale retail commercial products for magazine ads.
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The films she went on to make there included some silent classics: they, and she, were precociously flirtatious, youthful and saucy. “Flapper” movies such as The Plastic Age or Dancing Mothers were perfect for Bow, who had a stunning ability to move naturally in front of the camera, bobbing and smirking with humour and sexiness. Bow became a hugely popular actor, and, in tabloid-speak, a notorious wild child. On screen she epitomised the joie de vivre and permissiveness of the jazz age, and for many people she remains the ultimate flapper, the “It girl”, with charm and sex appeal to spare. Bow’s family life gave new meaning to the word “dysfunctional.” Her father, though intelligent, was aimless and usually absent. However, he had a reason to dread home. As Clara once admitted, "I do not think my mother ever loved my father.” Even worse, "He knew it.” However, this was far from the worst thing Clara’s mother would do.The Production Code basically kept nudity out of American movies for approximately the next thirty years. The Legion did not begin to lose its grip on Hollywood until the early sixties when an unfinished 1962 film, Something’s Got to Give, was to have taken on the Code by featuring a skinny dip from Marilyn Monroe. Marilyn’s death temporarily scotched the snake of mainstream nudity, but other films soon took up the baton. There was Jayne Mansfield in Promises, Promises in 1963. Cleopatra featured a modest look at Liz Taylor’s bum in 1963, and The Pawnbroker managed to sneak fairly substantial nudity into arthouse theaters in 1964 despite a “condemned” rating from the Legion. Despite these efforts and a rapidly liberalizing culture in the mid-sixties, it was not until 1968 that the Production Code was officially replaced with the first version of the current rating system.
Clara Bow Nude - Will We See It Again? | Mr. Skin Clara Bow Nude - Will We See It Again? | Mr. Skin
After reading The Parade’s Gone By, Bow’s fellow silent film star Louise Brooks personally wrote to Kevin Brownlow and admonished him for giving her a whole chapter while giving Bow zilch. As the sassy broad wrote, “You brush off Clara Bow for some old nothing like Brooks.” Brooks' letter actually had the intended effect. The most interesting stories in the book were on a British magician named Jasper Maskelyne. He mainly served in North Africa and helped thwart Field Marshal Rommel from taking the Suez Canal and finally helped the cause in the decimation of Rommel’s army. He and his team were able to create a camouflage and through the use of the magician principal of misdirection he convinced Rommel that the British offensive led by General Montgomery would come from one direction, when it, in fact, came from the other direction. And, he did all of this in the flat and open desert.There is a documentary on Maskelyne on Youtube if anybody is interested but somehow the BBC found a way to make even this fairly boring.