Heavenly Bodies

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Heavenly Bodies Heavenly Bodies Richard Dyer’s classic and highly influential study of film celebrity has been reissued in this second edition as a testament to the enduring appeal of cinema’s major stars. Focusing on the lives and careers of three of the biggest names in Hollywood history – Marilyn Monroe, Paul Robeson and Judy Garland – he details how their screen image was constructed. Through subtle readings of their films and a wealth of background material, he goes on to survey the development of each star’s image in relation to particular social groups. Monroe is discussed in the context of 1950s sexuality and her perceived status as a victim of patriarchy; Robeson in terms of black identity and how he used his status to further anti-racist and socialist causes; and Garland as a gay icon. Heavenly Bodies is an enthralling read for anyone who wants to know more about film stars and how they are created. Richard Dyer is Professor of Film Studies at the University of Warwick. He is the author of Now You See It, The Matter of Images, Only Entertainment, The Culture of Queers and White, all published by Routledge. Heavenly Bodies Film Stars and Society Second edition Richard Dyer First published 1986 by Macmillan Education Ltd Second edition first published 2004 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Simultaneously published in the USA and Canada by Routledge 270 Madison Ave, New York NY 10016 Routledge is an imprint of the Taylor & Francis Group Transferred to Digital Printing 2006 © 2004 Richard Dyer Typeset in Times by Refinecatch Limited, Bungay, Suffolk All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data A catalogue record has been applied for ISBN 0–415–31026–1 (hbk) ISBN 0–415–31027–X (pbk) Contents List of illustrations vii Preface ix Acknowledgements xi Introduction 1 1 Monroe and sexuality 17 2 Paul Robeson: crossing over 64 3 Judy Garland and gay men 137 Notes 192 References 194 Index 201 Illustrations Frontispiece: Joan Crawford by Eve Arnold xii 1.1 Monroe as chorus doll in Ladies of the Chorus 1948 19 1.2 Monroe and Laurence Olivier in The Prince and the Showgirl 1957 21 1.3 ‘Golden Dreams’ 26 1.4 ‘Golden Dreams’ as reference in a pin-up 27 1.5 Streamlined femininity: Monroe in one-piece bathing costume 28 1.6 1950s ‘Art Photography’. Left: André de Dienes Right: from Sprite 28 1.7 Marilyn Monroe in the tub 31 1.8 Jayne Mansfield in the tub 31 1.9 Twentieth Century Fox contract players in 1950 32 1.10 The Monroe laugh 35 1.11 Peroxide Monroe 41 1.12 Monroe in gold 41 1.13 Monroe on location in The Seven Year Itch 47 1.14 Monroe with Arthur Miller at the première of The Prince and the Showgirl 1957 47 1.15 Poster for How to Marry a Millionaire 1953 50 1.16 Monroe and mirrors in How to Marry a Millionaire 1953 50 1.17 Tom Ewell and Monroe in The Seven Year Itch 55 1.18 The Misfits 1961 59 2.1 Advertisement for Show Boat (film) 1936 70 2.2 Paul Robeson (left) in Shuffle Along 71 2.3 Wallace Ford, Robeson and Henry Wilcoxon during a break in filming Jericho 1937 87 2.4 Jomo Kenyatta and Robeson on location for Sanders of the River 1935 88 2.5 Taboo 1922: Robeson as plantation worker 90 2.6 Taboo. Robeson as savage 91 viii Illustrations 2.7 Robeson the football player, announced for Wisconsin College football game 97 2.8 Robeson at Columbia University Law School graduating class 1923 104 2.9 Robeson at home in Enfield, Connecticut, Look 1941 105 2.10 Lawrence Brown and Robeson at a recital in Moscow, 1936 105 2.11 Peggy Ashcroft and Robeson in Othello, London 1930 108 2.12 Uta Hagen and Robeson in Othello, New York 1942 108 2.13 Sanders of the River 1935 114 2.14 King Solomon’s Mines 1937 115 2.15 Pin-up of Johnny Weissmuller as Tarzan 116 2.16 Marlene Dietrich 117 2.17 Nude study of Paul Robeson (standing), New York 1926 118 2.18 Seated nude study of Paul Robeson, New York 1926 121 2.19 ‘Can’t Help Lovin’ Dat Man’, Show Boat, London 1928 124 2.20 Finale Act One, Show Boat, London 1928 125 2.21 The miscegenation scene, Show Boat, London 1928 125 2.22 Borderline 1930 128 3.1 Drew Griffiths as Drag Queen in As Time Goes By, London 1981 143 3.2 Mickey Rooney, Judy Garland and friends at the soda fountain, Babes in Arms 153 3.3 Garland as tennis player 154 3.4 Rooney and Garland at a Stars and Stripes piano 155 3.5 Garland in gingham in Strike up the Band 1940 156 3.6 Garland in gingham in Till the Clouds Roll By 1946 157 3.7 ‘Dear Mr Gable’ (‘You Made Me Love You’), Broadway Melody of 1938 1937 162 3.8 ‘Minnie From Trinidad’, Ziegfeld Girl 1941 163 3.9 The Gumm Sisters (Judy Garland left) in The Big Revue 1929 168 3.10 Rooney and Garland in Girl Crazy 1943 169 3.11 Garland and Fanny Brice in Everybody Sing 1938 170 3.12 ‘Get Happy’, Summer Stock 1950 171 3.13 Publicity shot for A Star is Born 1956 in ‘You Gotta Have Me Go With You’ outfit 172 3.14 ‘A Couple of Swells’, Fred Astaire and Garland in Easter Parade 1948 173 3.15 Judy Garland during shooting for A Star is Born 174 3.16 Finale, Judy at the Palace, 1951 175 3.17 ‘Toto, I don’t think we’re in Kansas anymore’ 180 3.18 ‘Be a Clown’, Garland and Gene Kelly in The Pirate 1948 183 3.19 Garland and Montgomery Clift on the set of Judgement at Nuremburg 1961 185 3.20 Garland and the boys in I Could Go On Singing 1963 189 Preface The main purpose of this volume is to suggest by example how general ideas about the stars can be thought through in particular cases. Three issues emerging from previous work on them have especially informed this book.1 First, the need to find a way of understanding the social significance of stars which fully respects the way they function as media texts, yet does not fall into a view of a given star as simply reflecting some aspect of social reality that the analyst cared to name. It is through the concept of dis- courses that I have sought to bring together the star seen as a set of media signs with the various ways of understanding the world which influenced how people felt about that star. Second, a major gap in work done on the stars, and indeed in media and cultural studies generally, is the role of the audience. I have sought to redress this by talking about how people could make sense of the star, the different ways in which he or she was read. The chapter on Garland is fully focused on this concern, since it is entirely concerned with how a particular subculture read a particular star, but the chapters on Monroe and Robeson also develop the idea that there were different audience readings of these two stars and that something of the range of these readings needs to be understood. I am working throughout with the idea of shared ways of reading, not with individual readings (or totted-up individual readings, the basic approach of audience surveys). Third, stars relate to very general ideas about society and the individual, ideas that I have sketched in the opening chapter. Much of the general impulse behind the interest in these ideas is political, stemming equally from two sources – on the one hand, a recognition of the failure of trad- itional left politics to think hard and feelingly enough about the human person, resulting in a tendency to lurch between a mushy humanism and the inhumanity of most communist regimes; and on the other hand, the growth of feminist and gay politics that have put directly on to the political agenda questions of emotions, sexuality, everyday life and more generally what being a person is and can be. Some of the ideas that stem from these political concerns are explored in Chapter 1. x Preface A further political concern underpinning the book is the issue of repre- sentation. It has become increasingly clear that at all levels how we think and feel we are, how we are treated, is bound up with how we are repre- sented as being. This becomes a directly political issue when groups decide that they do not accept or else wish to change the way they are represented. The choice of stars for extended study in this book relates to this concern. Monroe and Robeson are key figures in any debate about the representation of women and whiteness, blackness and masculinity. Garland, on the other hand, leads to a discussion of the culture produced by gay men, thus telling us not about how gay men have been represented by the dominant media but how gay men have used an image in the dominant media as a means of speaking to each other about themselves.
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