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chaplinlegend · 1 month

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Charlie Chaplin on the set of the 1928 film "The Circus".

Four years earlier, Charlie Chaplin had already confessed that he wanted to make a film about a clown. The realization of this dream was precisely "The Circus". For the new project, Charlie hired a new assistant, Harry Crocker, with whom he discussed the intended project in detail. For the main female role, he hired Merna Kennedy. Charlie began work on the film, as usual, without a clear plan of action or characters. The film was made for a long time, with numerous breaks; in December 1925, the film set was destroyed by a powerful storm, difficulties with technical equipment, as a result of which scenes had to be reshot and recorded; in the autumn of 1926, a large fire broke out on the film set, destroying the tent and most of the accessories. Charlie's private life was not going well. Lita Grey, Charlie's wife at the time, filed for divorce. Charlie, of course, was frustrated and depressed by the mounting problems. The public, plagued by the passion of voyeurism and hungry for sensation, threw itself at Charlie Chaplin, not giving him a moment's peace. Charlie suspended work on the film and left for New York. He returned to the film only after 18 months. It is a credit to the strength of his spirit and faithfulness to his vision that he not only wanted to finish the film, but also treated every detail of his work with the same attention as before. Each of these episodes, included in the film "The Circus", is a true triumph of the art of comedy, a masterpiece showing that the funniest comedies can grow from the most dramatic personal events. "The Circus" has an elegant film form, but Charlie Chaplin never hides behind it and easily carries the entire spectacle on his own. He never shifts responsibility for editing, special effects, props or complementary cast of actors. The purely physical skills (unbelievable tricks at heights, performed of course without the help of substitutes) arouse sincere admiration. Magic is born thanks to the accompanying elegance, precision, sense of moment and detail. The film contains a lot of humor, typical of Charlie Chaplin. You could even say that this work is funnier than its predecessors. In addition, it has a slightly didactic character. The ideally portrayed male pride and the attempt to win a woman's heart are some of the most sincere and true portraits of a man in love. A man who, even for the good of his beloved woman, is ready to give up his own happiness. He teaches to always enjoy life and help others. The tramp leaves, happy, full of hope, and sets off on a new journey. The world premiere of the film took place on January 6, 1928, and the film "The Circus" was a huge cinema success. "The Circus" is also the only film by Charles Chaplin for which he received a Special Award from the American Film Academy, while also being nominated for an Oscar for best role.

In 1969, the creator reintroduced the film to the screen, adding his own music and commentary.

#charlie chaplin #merna kennedy #the circus #1928 #silent film #classic film

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victusinveritas · 1 year

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Merna Kennedy appreciation post.

#merna kennedy #movies #1920s #busby berkeley #charlie chaplin #talkies

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sinfultray1408 · 1 year

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Scene Comparisons: -5-

My Life With Chaplin: An Intimate Memoir by Lita Grey Chaplin with Morton Cooper (pg. 49-54)

Wife of the Life of the Party: A Memoir by Lita Grey Chaplin and Jeffrey Vance (pg. 29-31)

With A Woman Of Paris completed, an announcement was made in the newspapers that Charlie Chaplin was preparing his most ambitious work to date, a full-length picture to be called The Gold Rush. It also said that he was casting about in search of a young actress to play his leading lady.

The newspaper announcement didn't imply that Charlie’s search was in the nature of a dedicated talent hunt, but it did mark a departure - at that point in his career - from his only nominal interest in discovering new talent and developing it to hopeful heights.

I wanted the part. And I decided to take the first major independent step of my life. I would go after it. My decision to try for the part was hardened by Merna's prediction that I wouldn't have the nerve. Mostly, though, I was just cocky and filled with enough intermittent self-assurance at fifteen to believe there was nothing I couldn't achieve if I put my mind to it. If I didn't get the part, I thought philosophically, who was to arrest me for trying?

On the Saturday morning when I set out for the studio of the Charles Chaplin Film Corporation, though, I was only a shadow of my former cocky self. I went largely because Merna's dare wouldn't let me backtrack. But I made her go with me, to bolster my faltering courage.

In the studio reception room I gave my name to the busy lady at the desk and bravely asked if Chuck Riesner were in. It had been a long while since I'd seen Chuck, and I had no right to expect him to roll out a red carpet, or even bother to come out to say hello. Besides, I might not be welcome on a Chaplin lot. The receptionist told us to wait and went to look for him.

Merna and I waited half an hour. Merna was fidgeting and I was just about ready to give up and run when Chuck Riesner flung open the reception room door and greeted me. He was genial, though not so spontaneously warm as he'd been in the past. He sat between Merna and me of the beige office sofa and asked, "Well, what can I do for you, Lillita?"

Okay, you big brave bluffer, I told myself. You've come this far on gall. Now how do you put what you want into words?

Somehow I got it out without sounding too childish. "I read that Mr. Chaplin's looking for a girl to play in The Gold Rush," I said with astonishing smoothness. "I've had a lot of dramatic training since I - ah - was here last, and I thought…”

Merna, so bold and confident outside, sat straight, not moving. I was entirely on my own.

Chuck regarded me and nibbled at his upper lip. Then, gently, he said, "You don't know much about the picture business, do you, honey? Nobody, not even an established professional, comes to a studio out of the blue to ask for a test. It's done through agents, and sometimes it's done through pull - a lot more pull than I have around here, by the way, for a feature part like this one - but it's never done this way."

"I'm…sorry." I was ashamed of myself, ashamed that Id shown myself to be so stupid and ashamed that he had the impression I'd come here to ask him to pull strings for me. His impression wasn't wrong, of course, but trying to take advantage of knowing him hadn't seemed this baldly aggressive to me earlier.

But Chuck wasn't sore. Rising, he smiled and said, "Look, I've got to hustle on back, but you young ladies are welcome to come along and watch us all go crazy in there if you like. What do you say?"

Of course we said yes. Chuck let us through the arcade onto the lot that was so familiar to me. Except for more flowers than usual, and some new greenery around the pool, and a new office that had been added, the studio looked no different than it had the last time I'd seen it.

The hustle and bustle were the same: the handpicked noisy crew not only knew their business, they knew how to get it done in minimum time and with maximum efficiency. Crossing the large, elevated shooting stage, we came upon the busy set, which consisted of the ramshackle cabin that was to be The Gold Rush's most important interior; it was tipped at a slant, suspended by pulleys.

Chuck moved us along through a maze of props, boxes, tangles of ropes and wires, cameras, chairs and bags of fake snow, and past a wired, machine the electricians were testing: I saw Mr. Chaplin in the distance, taking charge of everything and everyone, alternately shouting oaths and compliments. I thought he looked a little grayer, a little older - and, if possible, even more magnetic. He didn’t see Merna or me.

Chuck summoned camp chairs for us, placed them near a wall where we wouldn’t be in anyone’s way and excused himself. He hurried away. Everyone at the Chaplin studio hurried.

Merna was impressed, not only by the big league activity but by the fact that so many of the studio company recognized me at different points during the afternoon and stopped by for half a minute to say hello. I was impressed, too, and very flattered - but I wasn't about to confess that to Merna; maybe she knew what men were like in bed, but who knew her at any movie studio, let alone the Chaplin studio? I was recognized first that day by one of the prop boys, who must have told another prop boy, who spread the word that the Flirting Angel was on the lot. Mack Swain, the big funny walrus who played the bullies in some of the Chaplin pictures and whom Charlie sincerely admired, came by. So did the cameramen, Rollie Totheroh and Jack Wilson, who said they couldn't get over how I'd grown and how pretty I was.

And so did Henry Bergman, who greeted me with enthusiastic warmth. Henry was Charlie's studio sidekick, an upbeat, perennially jolly man who ran errands, worked in bit parts, sat in on the few story conferences held and served in general as a kind of court jester.

"Hey, does Charlie know you're here, beautiful?" he asked. I said that I doubted it. "Well, stick around," he suggested, "Charlie'll catch up with you. He's up to his neck today, but he doesn't miss a pretty face."

Henry was right. Minutes later I noticed him holding Mr. Chaplin's arm - Henry Bergman was one of the very few Chaplin employees who could get away with being this chummy with the boss - saying something I couldn't hear and pointing in my direction.

Mr. Chaplin looked our way and frowned. I went stiff; that frown could only mean that he recognized me immediately, remembered the embarrassment of the Mae Collins party years before and was going to have me summarily banished.

Instead, though still frowning, he waved. He turned his back to confer with a carpenter, but half a minute later he glanced at me again - this time, I sensed, in an effort to place me. Over the next hour he glanced at me again and again. Then I saw him in conversation with Chuck Riesner, and saw him looking at me for a moment longer than before. There seemed to be little question that Chuck was telling him why I'd come.

I tingled with embarrassment.

In a short while he came toward us. Merna froze. I was afraid I would be sick.

He took my hand, and his smile was affable. "Yes, yes, indeed," he said. "My 'Age of Innocence' girl! My word, what a young lady you've become…here, stand up, let me have a look at you." I stood, my hands still in his.

"Oh, splendid, splendid! Where've you been keeping yourself?"

"I've been going to school," I answered hesitantly, and then remembered to introduce Merna, who was in a state of shock.

Ignoring her, giving rapt attention to me, he was doing more than going through the motions of being polite to a visitor. He was clearly glad to see me, and as he turned me around again, cheerfully repeating how grown up I'd become, I could almost hear wheels clicking in his head.

It was near the end of the work day and most of the company was getting ready to leave for home, but Mr. Chaplin insisted on showing me the cabin set he and the crew had been struggling with. Merna tagged along. He ushered us “inside” the three-walled cabin and pointed through one of the windows to a complex series of pulleys. "We have some interesting technical problems here, and I think we're just on the verge of solving them," he said. He explained that in the picture, laid in Alaska, the cabin would look as if it were teetering precariously over the edge of a precipice, and he would attempt to squeeze every last ounce of suspense out of making the audience think the cabin, with him in it, would topple into the abyss. He took his time in explaining the technical problems, and it was obvious that he was thrilled to be so near mastering them.

It was obvious, too, that he was studying me as he talked and answered my questions. Walking us to the lot arcade, he said, "Chuck Riesner informs me you'd like to test for the part of the dance hall girl in the picture."

I blushed. "Well, it - uh - did seem like a good idea at the time," I acknowledged with a total absence of confidence. "I've had some dramatic training, and I thought - uh - but it was awful for me to come barging in and - ah -“

"Oh, come now, I'm delighted you did. Tomorrow morning - no, tomorrow's Sunday on Monday morning, call here and ask for Mr. Reeves. He'll work out the details and set up the test. We've tested a dozen others for the part, and we may have to test a dozen more. Who knows? Perhaps you'll be the right one for it." Patting my arm, he said briskly, “I must go now. You can find your way out, can't you?”

Not waiting for an answer, and still ignoring Merna, he strode back to the lot.

There was a reverent silence for a moment, like one that follows an awesome storm. “I’ll die,” gasped the sophisticated Merna. “I’ll just die…”

Merna Kennedy and I were still the very best of friends. We were talking one day about Charlie Chaplin and his work. Merna wanted to meet him. She said, "Why don't we go to his studio? I'll bet he's already forgotten about that misunderstand- ing with your mother. Just think about it."

During the next few days I did think about it and told Merna the next time I saw her, which was on a Friday when she was spending the weekend with me, that I would stop feeling embarrassed about what happened between Mama and Charlie. "What do you say we go to his studio tomorrow?"

“Good,” she said. "I'm glad I brought a nice dress."

I decided against telling Mama where we were going; instead I told her that Merle, Merna’s brother, would be driving us to the malt shop for a soda. Merle showed up about eleven in the morn-ing, and we girls were ready.

Merna and I arrived for a visit at Charlie’s studio on Saturday, 3 February 1924. We were lucky. Charlie was in the studio’s foyer talking to Alf Reeves. He was normally not found in that part of the studio.

He was astonished and full of enthusiasm when he saw me. “Why, it's my 'Age of Innocence' girl!" he said as he motioned to me to come near him. "You have grown to be quite the lady. Come here and stand next to me. I believe you're just my height." I was. We both stood five feet six-and-a-half inches tall. I noticed that his eyes were going up and down my body.

“You're just in time. I've been testing,” he said. "I'm looking for a brunette to play the leading lady in this picture I'm making. I can't seem to find the right girl. Would you like to test for it?" he asked me.

"Oh, that would be wonderful," I said.

Charlie had apparently forgot about the incident of almost three years ago, or he preferred not to remember it. "Well," he said, "you're a pretty girl and you're old enough. How old are you, Lillita? Sixteen? Seventeen?"

"Not really," I said. "I'm fifteen."

"Well, that doesn't matter. You look much older than your years. Remember?"

I knew then that Charlie remembered everything but preferred not to make a point of it.

I introduced Merna Kennedy, who asked Charlie what kind of film he was going to make.

“I'm making a film about the great gold rush of Alaska,” he said, "Do you remember your history?"

"Oh, sure," said Merna, blushing.

Charlie looked at me and smiled. "Well, what do you say, Lillita? Do you have time to make a test?"

Alf Reeves, who had been busy talking to a bookkeeper, joined us. "Alf," said Charlie, "tell Rollie I want to make a test of Lillita. It might just be that she's the one I've been looking for."

Charlie then excused himself. "I must go now, ladies. I have to look over some work being done on the cabin set."

Alf called Rollie Totheroh on the studio intercom, and I soon found myself being tested once again for a role in a Charlie Chaplin film.

On the way home, Merna Kennedy was full of excitement. "You see?" she said, "You never know what can happen if you're not afraid to take a chance. I told you that you had nothing to lose if you came by to see Mr. Chaplin, and now look what you have gained. You may be working for him again."

#charlie chaplin #lita grey #merna kennedy #memoir #the tramp #the little tramp #the gold rush #charles chaplin #scene comparisons 5

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chaplinfortheages · 9 months

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"The Circus" 1928

#charlie chaplin #merna kennedy #“the circus”#1928

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hotvintagepoll · 4 months

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THE TOURNAMENT IS OVER! Eartha Kitt lounges in her deck chair in the sun, dipping her toes in the pool with Toshiro Mifune and sipping a brightly colored fruity something with an umbrella in it.

Far below in the shadow realm, however, the fallen hotties dance in the dark—let's take a minute to look back at them under the cut.

PRELIM PRETTIES:

Claude Gensac, Silvia Pinal, Ewa Aulin, Rita Tushingham, Annette Funicello, Norma Bengell, Catherine Spaak, Brigitte Auber, Micheline Presle, Nanette Fabray, Libertad Lamarque, Vera Miles, Martha Raye, Catherine McLeod, Virginia Mayo, Elizabeth Allan, Belle Bennet, Virginia Cherill, Mary Brian, Ruth Chatterton, Agnes Ayres, Merna Kennedy, Marie Prevost, Corinne Griffith, May Allison, Virginia Brown Faire, Alice Brady, and Jetta Goudal

ROUND ONE WONDERS:

Angie Dickinson, Thelma Ritter, Geraldine Chaplin, Evelyn Preer, Vanessa Brown, Betty Blythe, Susan Hayward, Mae Clarke, Sally Ann Howes, Ossi Oswalda, Adrienne La Russa, Hermione Gingold, Barbara Bouchet, Melina Mercouri, Anna Karina, Edwige Fenech, Charmian Carr, Pina Pellicer, Marlène Jobert, Tsuru Aoki, Alice Roberts, Leila Hyams, Lady Tsen Mei, Geneviève Bujold, Dolores Hart, Anita Berber, Bonita Granville, Vonetta McGee, Claire Windsor, Zizi Jeanmaire, Tuesday Weld, Grace Darmond, Carol Channing, Deanna Durbin, Laraine Day, Mariette Hartey, Wendy Hiller, Candy Darling, Hermione Baddely, Valeria Creti, Ella Raines, Ann Miller, Dana Wynter, Dalida, Martine Beswick, Gale Storm, Simone Signoret, Cristina Gaioni, Mabel Normand, Stéphane Audran, Ruth Weyher, Anna Wiazemsky, Ann Sheridan, Sandhya Shantaram, Alice White, Anne Francis, Gena Rowlands, Lyda Borelli, May Whitty, Cathleen Nesbitt, Jessica Walter, Virna Lisi, Barbara Shelley, Iris Hall, Heather Angel, Anne Shirley, Joanna Pettet, Virginia O'Brien, Joan Collins, Greer Garson, Gracie Allen, Peggy Ryan, Frances Dee, Shirley Maclaine, Geraldine Farrar, Kathleen Byron, Margaret Hamilton, Eva Gabor, Francesca Bertini, Julie Adams, Olga Baclanova, Misa Uehara, Yvette Vickers, Milena Dravić, Jenny Jugo, Madeleine Carroll, Benita Hume, Olive Borden, Shirley Jones, Miyoshi Umeki, Dorothy Lamour, Gale Sondergaard, Mary Anderson, Charlotte Greenwood, Sybil Seely, Mona Barrie, Kathryn Grayson, Katharine Ross, Madge Bellamy, Rhonda Fleming, Sally Gray, Jana Brejchová, Debra Paget, Madame Sul-Te-Wan, Evelyn Brent, Zelma O'Neal, Marie Laforêt, Türkan Şoray, Beatriz Costa, Irene Zazians, Eleanor Powell, Susan Luckey, Patsy Kelly, Lil Dagover, Norma Talmadge, Dorothy Mackaill, Madge Evans, Virginia McKenna, Amália Rodrigues, Mamie Van Doren, Valerie Hobson, Isabel Jeans, Beata Tyszkiewicz, Claire Luce, Aleksandra Khokhlova, Nieves Navarro Garcia, Janet Leigh, Carmen Miranda, Jean Harlow, Aud Egedge-Nissen, Nina Foch, Jean Simmons, Piper Laurie, Katy Jurado, Jayne Mansfield, Anita Garvin, Frances Farmer, Lizabeth Scott, Joan Greenwood, Una Merkel, Arlene Francis, Ethel Merman, Doris Day, Suzanne Pleshette, Ruta Lee, Carolyn Jones, June Richmond, Eva Nil, Diana Dors, Anna Chang, Colleen Moore, Alexis Smith, Yvette Mimieux, Ruby Keeler, Viola Dana, Dolores Grey, Marie Windsor, Danielle Darieux, Jean Parker, Julie Christie, Acquanetta, Leatrice Joy, Ghita Nørby, Julie Newmar, Joanne Woodward, Sandra Dee, Eva Marie Saint, Simone Simon, Katherine Dunham, Birgitte Price, Lee Grant, Anita Page, Flora Robson, Martha Sleeper, Elsie Ames, Isabel "Coca" Sarli, Glenda Farrell, Kathleen Burke, Linden Travers, Diane Baker, Joan Davis, Joan Leslie, Sylvia Sidney, Marie Dressler, June Lockhart, Emmanuelle Riva, Libertad Leblanc, Susannah Foster, Susan Fleming, Dolores Costello, Ann Smyrner, Luise Rainer, Anna Massey, Evelyn Ankers, Ruth Gordon, Eva Dahlbeck, Ansa Ikonen, Diana Wynyard, Patricia Neal, Etta Lee, Gloria Stuart, Arletty, Dorothy McGuire, Mitzi Gaynor, Gwen Verdon, Maria Schell, Lili Damita, Ethel Moses, Gloria Holden, Kay Thompson, Jeanne Crain, Edna May Oliver, Lili Liliana, Ruth Chatterton, Giulietta Masina, Claire Bloom, Dinah Sheridan, Carroll Baker, Brenda de Banzie, Milú, Hertha Thiele, Hanka Ordonówna, Lillian Roth, Jane Powell, Carol Ohmart, Betty Garrett, Kalina Jędrusik, Edana Romney, Geraldine Fitzgerald, Kay Kendall, Ruth Hussey, Véra Clouzot, Jadwiga Smosarska, Marge Champion, Mary Astor, Ann Harding, María Casares, Maureen O'Sullivan, Mildred Natwick, Michèle Morgan, Romy Schneider, Elisabeth Bergner, Celeste Holm, Betty Hutton, Susan Peters, Mehtab, Leslie Caron, Anna Sten, Janet Munro, Nataša Gollová, Eve Arden, Ida Lupino, Regina Linnanheimo, Sonja Henie, and Terry (what a good girl)

ROUND TWO BEAUTIES:

Evelyn Nesbit, Thelma Todd, Tura Satana, Helen Gibson, Maureen O'Hara, Rocío Dúrcal, Mary Nolan, Lois Maxwell, Maggie Smith, Zulma Faiad, Ursula Andress, Musidora, Delphine Seyrig, Marian Marsh, Leatrice Joy, Sharon Tate, Pina Menichelli, Teresa Wright, Shelley Winters, Lee Remick, Jane Wyman, Martita Hunt, Barbara Bates, Susan Strasberg, Marie Bryant, Diana Rigg, Jane Birkin, Rosalind Russell, Vanessa Redgrave, Brigitte Helm, Gloria Grahame, Rosemary Clooney, Bebe Daniels, Constance Bennett, Lilian Bond, Ann Dvorak, Jeanette Macdonald, Pouri Banayi, Raquel Welch, Vilma Bánky, Dorothy Malone, Olive Thomas, Celia Johnson, Moira Shearer, Priscilla Lane, Dolores del Río, Ann Sothern, Françoise Rosay, June Allyson, Carole Lombard, Jeni Le Gon, Takako Irie, Barbara Steele, Claudette Colbert, Lalita Pawar, Asta Nielsen, Sandra Milo, Maria Montez, Mae West, Alma Rose Aguirre, Bibi Andersson, Joan Blondell, Anne Bancroft, Elsa Lanchester, Nita Naldi, Suchitra Sen, Dorothy Van Engle, Elisabeth Welch, Esther Williams, Loretta Young, Margueritte De La Motte, Ita Rina, Constance Talmadge, Margaret Lockwood, Barbara Bedford, Josette Day, Stefania Sandrelli, Jane Russell, Doris Dowling, Zsa Zsa Gabor, Donna Reed, Ruby Dee, Diana Sands, Billie Burke, Kyōko Kagawa, Françoise Dorléac, Hend Rostom, Monica Vitti, Lilian Harvey, Marjorie Main, Jeanne Moreau, Lola Flores, Ann Blyth, Janet Gaynor, Jennifer Jones, Margaret Sullavan, Sadhana, Ruby Myers, Lotus Long, Honor Blackman, Marsha Hunt, Debbie Reynolds, Michèle Mercier, Irene Dunne, Jean Arthur, Judy Holliday, Tippi Hedren, Susse Wold, Vera-Ellen, Carmelita González, Nargis Dutt, Purnima, Harriet Andersson, Yvonne De Carlo, Miroslava Stern, Sheila Guyse, Helen, Margaret Dumont, Betty Grable, Joan Bennett, Jane Greer, Judith Anderson, Liv Ullman, Vera Zorina, Joan Fontaine, Silvana Mangano, and Lee Ya-Ching

ROUND THREE ELECTRIFIERS:

Jean Hagen, Sumiko Mizukubo, Mary Philbin, Ann-Margret, Margaret Rutherford, Claudia Cardinale, Eleanor Parker, Jessie Matthews, Theresa Harris, Brigitte Bardot, Alla Nazimova, Faye Dunaway, Marion Davies, Anna Magnani, Theda Bara, Myrna Loy, Kay Francis, Fay Wray, Barbra Streisand, Bette Davis, Hideko Takamine, France Nuyen, Claudine Auger, Miriam Hopkins, Maylia Fong, Samia Gamal, Maude Fealy, Machiko Kyō, Sharmila Tagore, Lucille Ball, Ginger Rogers, Juanita Moore, Anna Fougez, Waheeda Rehman, Ruan Lingyu, Nina Mae McKinney, Ethel Waters, Nadira, Olivia de Havilland, Abbey Lincoln, Louise Beavers, Agnes Moorehead, Lana Turner, Norma Shearer, Maria Falconetti, Reiko Sato, Marie Doro, Clara Bow, Margaret Lindsay, Catherine Denueve, Madhabi Mukherjee, Rosaura Revueltas, Hu Die, Mary Pickford, Fredi Washington, Louise Brooks, Leonor Maia, Merle Oberon, Paulette Goddard, Vivien Leigh, Francine Everett, Savitri, Tita Merello, and Meena Kumari

ROUND FOUR STUNNERS:

Judy Garland, Dorothy Dandridge, Yoshiko Yamaguchi, Marilyn Monroe, Irene Papas, Lupe Vélez, Pola Negri, Gene Tierney, Barbara Stanwyck, Gina Lollobrigida, Lena Horne, Nutan, Jean Seberg, Kim Novak, Gladys Cooper, Tallulah Bankhead, Linda Darnell, Julie Andrews, Carmen Sevilla, Gloria Swanson, Glynis Johns, Anne Baxter, Angela Lansbury, Anita Ekberg, Toshia Mori, Deborah Kerr, Hazel Scott, Chelo Alonso, Cyd Charisse, Nancy Kwan, Devika Rani, Shima Iwashita, and Anouk Aimée

ROUND FIVE SMOKESHOWS:

Setsuko Hara, Pearl Bailey, Joan Crawford, Madhubala, Marpessa Dawn, Keiko Awaji, Rita Hayworth, Veronica Lake, Ava Gardner, Greta Garbo, Grace Kelly, Xia Meng, Suraiya, Natalie Wood, María Félix, and Mbissine Thérèse Diop

ROUND SIX SEXY LADIES:

Marilyn Monroe, Sophia Loren, Vyjyanthimala, Jane Fonda, Katharine Hepburn, Josephine Baker, Elizabeth Taylor, and Ingrid Bergman

QUARTER FINALIST GLAMAZONS:

Audrey Hepburn, Marlene Dietrich, Anna May Wong, and Lauren Bacall

SEMIFINALIST ICONS:

Rita Moreno, Diahann Carroll

FINALIST FABULOSITY:

Hedy Lamarr

ULTIMATE CHAMPION OF THE HOT & VINTAGE MOVIE WOMAN TOURNAMENT:

Eartha Kitt

#fuck that old woman

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