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Gene Tierney

Hedy Lamarr – beauty, brains and bad judgment

Hedy Lamarr arrives in Hollywood
4 October 1937. Hedy Lamarr arrives in Hollywood. Read more.

Hedy Lamarr had it all: beauty, brains, fame and fortune. For a few years she had the world, or at least Tinseltown, at her feet. And she blew it. So what went wrong? Was Hedy the victim of forces beyond her control or of her own character flaws. Or was she just plain unlucky?

Hedy Lamarr arrives in Hollywood in October 1937. She has just fled Vienna, her husband Fritz Mandl, and the looming threat of a Nazi invasion. Taking the train to Paris and then crossing the Channel to England, she has discovered that Louis B Mayer, MGM’s head honcho, is in London and looking for talent. Somehow, she manages to arrange a meeting with him. He’s worried about the scandal surrounding her appearance in Ecstasy but not blind to her charms (how could he be?). So he offers Hedy a bulk-standard, six-month contract with MGM at $125 a week. Which she flatly rejects. She’s has her own idea of what she’s worth and she’s not going to be pushed around.

Still, Hedy is in a pretty desperate situation and, after a meeting with Robert Ritchie, one of Mayer’s talent scouts, she changes her mind. But then it turns out that the mogul is leaving the next day for France in order to catch the superliner Normandie back to the US. Getting a berth requires the sale of most of her jewels as well as some subterfuge (the voyage is already fully booked). On board, Hedy, in a gown by Alix, dazzles her fellow passengers, and the effect is not lost on Mayer, who ups his offer to a seven-year contract beginning at $550 a week.

So by the time Hedy Lamarr arrives in Hollywood (her name changed by MGM from Hedwig Kiesler to Hedy Lamarr), she has proved that she is daring, ambitious, determined and resourceful. Those are qualities she is going to need in spades. But that’s far from the whole story. Ever since she was a little girl, she’s wanted to be an actress in spite of being, by all accounts, a very private person. Is that because acting can be a form of escapism for her and, if so, what demons is she struggling with? Well, for one thing she believes that her mother wanted a boy and didn’t really like her. Then, married at age 19 and dominated by her husband Fritz Mandl, she likely feels she needs to take back control of her life.

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Hedy Lamarr, publicity shot for White Cargo

Hedy Lamarr, publicity shot for White Cargo

1942. It's possible that this photo is from the same sitting as the

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Hedy Lamarr, glamour shot

Hedy Lamarr, glamour shot

Around 1943. A classic glamour shot of Hedy Lamarr, the background thrown out of...

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Hedy Lamarr as Irene in The Conspirators

Hedy Lamarr, power dresser

1944. Hedy Lamarr wears this costume in The Conspirators. With its exaggerated shoulder pads...

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Hedy Lamarr, publicity shot for White Cargo

Hedy Lamarr, publicity shot for White Cargo

1942. This photo of Hedy Lamarr is one of a series of three on...

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Hedy Lamarr, publicity shot for White Cargo

Hedy Lamarr, publicity shot for White Cargo

1942. In White Cargo, for which this photo is advance publicity, Hedy Lamarr is...

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Hedy Lamarr, publicity shot for White Cargo

Hedy Lamarr, publicity shot for White Cargo

1942. The caption on the back of this photo refers to three Hedy Lamarr...

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Hedy Lamarr, publicity shot for The Heavenly Body

Hedy Lamarr, publicity shot for The Heavenly Body

1943. The Heavenly Body is little more than a bit of froth, with one...

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Hedy Lamarr, publicity shot for The Heavenly Body

Hedy Lamarr, publicity shot for The Heavenly Body

1943. Pencilled on the back of this photo are the words “BY CARPENTER.” That...

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Hedy Lamarr, publicity shot for The Heavenly Body

Hedy Lamarr, publicity shot for The Heavenly Body

1943. According to IMDb, Joan Crawford was offered the lead role...

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Now, put yourself in her shoes for a minute. She’s 23 years old. She’s in a strange city with a culture very different from that in which she’s grown up. She can speak only a few phrases of English so she struggles to communicate with those around her. And she knows no-one. Columnist Sheilah Graham, out on the town at the Beverly Hills Brown Derby one Saturday evening that winter, spots Hedy at a table all by herself. Her partner, F Scott Fitzgerald, wryly observes: “How typical of Hollywood, the most beautiful girl in the world alone on a Saturday night.”

Hedy Lamarr with a bust by Nina Saemundsson
1939. Hedy Lamarr poses beside a bust of her by Nina Saemundsson. Read more.

Hedy Lamarr – beauty

And beauty is a recurring theme, the dominant theme, when it comes to Hedy Lamarr. Jet-black tresses, cherry-red lips, porcelain complexion… Hedy’s looks are classic and exotic, innocent and alluring, making her the perfect model for two very different movie legends: Disney’s Snow White on the one hand and, on the other, Catwoman in the original Batman comics.

What immediately strikes you when you look at Hedy in her movies or her stills is just how staggeringly beautiful she is – drop-dead gorgeous. And a different kind of beauty from the blondes who have been fashionable through the thirties, a fact that’s not lost on her audiences or the other Hollywood actresses.

In Those Glorious Glamour Years: Classic Hollywood Costume Design of the 1930s, Margaret J. Bailey, a historian of film costume, observes:

After her first appearance on the screen in Algiers, drugstores experienced a run on hair dyes, and soon everybody, including starlets and established luminaries like Crawford and Joan Bennett, had changed their locks from blonde or brown to jet black. The Lamarr hairdo with the part in the middle and the tall Lamarr look became the new standard of glamour. Shock waves were felt not only in personal beauty, but also in the realm of fashion, in particularly, the hat. Somehow that three letter word seems inadequate when describing what Lamarr wore in her first films. Lamarr veils, snoods, turbans, and such swept the fashion world and millinery companies would overnight fill the hunger for the new cinema image. Not everyone could affect the Lamarr styles, but just about everyone tried. Turbans and snoods became the fashion for Forties headgear.

Suddenly, Hedy’s image is everywhere. Overnight she becomes a star. In December 1938 she is named Glamour Girl of 1938 by the popular press. Hollywood gossip columnist Hedda Hopper describes Hedy as “orchidaceous.”

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Hedy Lamarr modelling a Grecian gown

Hedy Lamarr modelling a Grecian gown

1939. After her success in Algiers, Louis B Mayer (head honcho at MGM) envisages...

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Hedy Lamarr's golden

Hedy Lamarr’s golden “bib”

1939. The ornamental "bib" that adorns Hedy Lamarr's black crepe evening gown is in...

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Hedy Lamarr kneeling on a couch

Hedy Lamarr kneeling on a couch

1939. The photographer is not one of Hedy's fans and it does look a...

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Hedy Lamarr, publicity shot for Lady of the Tropics

Hedy Lamarr, publicity shot for Lady of the Tropics

1939. The bamboo screen and prop give it away – this is a publicity...

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Hedy Lamarr, publicity shot for I Take This Woman

Hedy Lamarr, publicity shot for I Take This Woman

1940. Another photo that showcases Hedy Lamarr's luxurious tresses and porcelain complexion. A caption...

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Hedy Lamarr in a dress decorated with spangles

Hedy Lamarr’s spangles

1940. Is that a palm frond in the upper left corner? And if so,...

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Hedy Lamarr, publicity shot for The Heavenly Body

Hedy Lamarr, publicity shot for The Heavenly Body

1943. A dramatic vision of Hedy Lamarr, with strong overhead lighting and a faux...

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Hedy Lamarr wrapped in ostrich feathers

Hedy Lamarr wrapped in ostrich feathers

1943. Most of the other images of Hedy Lamarr on aenigma are studio issues....

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Hedy Lamarr with a pearl necklace and earrings

Hedy Lamarr wears pearls

1943. This photo of Hedy Lamarr may have been taken on the set of...

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There’s no doubt that she looks gorgeous in stills. In fact, David O Selznick, producer of Gone with the Wind, refers in a memo to Hedy as having “actually been established [as a Hollywood star] purely by photography.” And yet, the photographers themselves are less than enthusiastic. Hungarian lensman Laszlo Willinger, who has photographed Hedy in Vienna as well as in Hollywood, complains to John Kobal:

How do you make Hedy Lamarr sexy? She has nothing to give. It wasn’t as simple as showing legs or cleavage. She was not very adept at posing. She was just… She felt if she sat there, that was enough. You try to bring it to some life by changing the lighting, moving in closer to the head, whatever, because nothing changed her face. It never occurred to me that one could wake her up… and nobody ever did.

Then there’s Virgil Apger, another MGM snapper who remembers:

She thought she knew it all and was forever telling you what to do. She was beautiful – she had great skin texture – but I don’t recall anybody saying they enjoyed shooting her. She never came alive, except to keep making damned uncouth remarks to the people I had around me.

Legendary photographer George Hurrell feels much the same way, having first photographed Hedy soon after her arrival in Hollywood. He tells John Kobal:

I didn’t get too much out of Hedy because she was so static. Stunning. But it was the nature of her, she was so phlegmatic, she didn’t project anything. It was just a mood thing. And she had just one style. It didn’t vary particularly. She had a pretty good body. But she wouldn’t dress for it. She was always dressing in black. She liked suits. You can’t do anything – a woman in a suit is a dead duck.

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Hedy Lamarr, still a Hollywood wannabe

Hedy Lamarr, still a Hollywood wannabe

1938. Hedy Lamarr's first movie after arriving in Hollywood is Algiers, for which MGM...

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Hedy Lamarr wears a black sequin dress and pearls

Hedy Lamarr, sequin chic

1938. Clarence Sinclair Bull, head of MGM's stills studio, gets to work glamming up...

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Hedy Lamarr wears pearls

Hedy Lamarr, sequin chic

1938. This photo looks like it comes from the same sitting as another in...

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Hedy Lamarr ramps up the sensuality

The loveliness of Lamarr

1939. There's something cat-like about Hedy Lamarr's pose, and her bare shoulders intensify the...

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Hedy Lamarr relaxes in an armchair

Hedy Lamarr relaxes

1940. Hedy Lamarr relaxes in an armchair while a back light casts a soft...

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Hedy Lamarr in profile

Hedy Lamarr in profile

1941. An arresting shot of Hedy Lamarr that, unusually, showcases her profile. A caption...

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Hedy Lamarr, glamour goddess

Hedy Lamarr, glamour goddess

1941. With its dramatic use of highlights and shadows, this image pulls out all...

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Hedy Lamarr with her hair pulled back

Hedy Lamarr, her hair pulled back

1941. Hedy's long tresses, centrally parted and cascading over her shoulders, are such a...

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Hedy Lamarr, publicity portrait for The Heavenly Body

Hedy Lamarr, lady of the pearls

1943. Hedy looks dreamy in this publicity portrait for The Heavenly Body. Perhaps she's...

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Some clues there to what Hedy is like and why her career will crash and burn. But on a more positive note, when Clarence Sinclair Bull, head of MGM’s stills studio, visits Hedy to take some shots of her at home, she prepares lunch for him herself. “This is the first time a star’s ever done this for me,” he remarks. “Oh, I always fix my lunch by the kitchen sink when I’m alone. It’s easier,” says Hedy (Hedda Hopper’s Hollywood, Los Angeles Times, October 13, 1941). 

Hedy is a looker and knows how to turn it to her advantage. According to June Allyson, “No doubt about it, she was stunning and she knew how to look at a man with an intimate little smile that turned him on.” Men are drawn to her like bees to honey, and people are so blinded by her beauty that they struggle to see beyond it. The default response seems to be that she’s just decorative, should stick to being an ornament, should not get involved in “real” acting. Bosley Crowther, notorious critic of The New York Times, is typical in his review of Lady of the Tropics, admittedly a lousy movie:

Now that she has inadvisedly been given an opportunity to act, it is necessary to report that she is essentially one of those museum pieces, like the Mona Lisa, who were more beautiful in repose.

But Hedy Lamarr can act. She may not have the dramatic prowess of a Bette Davis or a Barbara Stanwyck, but watch her in The Strange Woman and you’ll see a subtle and nuanced performance that brings to life Jenny’s (her character’s) ambiguity. What’s more, it seems there is more to Hedy Lamarr than just a perfect face.

Hedy Lamarr with her stand-in, Sylvia Hollis, on the set of The Heavenly Body
1943. Hedy Lamarr with her stand-in, Sylvia Hollis, on the set of The Heavenly Body

Hedy Lamarr – brains

Perhaps the most astonishing thing about Hedy Lamarr, and it would certainly have baffled Bosley Crowther, is that her name is on the patent for a technology which would pave the way for both cellular networks and Bluetooth. Hedy, it turns out, is a smart cookie.

Perhaps the most astonishing thing about Hedy Lamarr, and it would certainly have baffled Bosley Crowther, is that her name (as Hedy Kiesler Markey) appears on the patent for a technology which will pave the way for both cellular networks and Bluetooth. So what’s going on here?

One day in 1940, dress designer, Adrian, one of Hedy’s closest friends, asks her along for dinner. Also there is the multi-talented George Antheil, not just the self-styled Bad Boy of American music (and partner in crime of Orson Welles for The Lady from Shanghai) but also something of an expert on endocrinology – he’s published three books about glands. Hedy’s interest is in finding out about the possibility of breast enlargement – something that Louis B Mayer has suggested to her. Antheil assures her that that would not be a problem. According to his autobiography, at the end of the evening, Hedy leaves before him and uses her lipstick to scrawl her phone number on his car window.

That’s not an invitation to be taken lightly. So he invites her round to his place for dinner and discussion. Fascinating as Hedy’s breasts undoubtedly are, the conversation does eventually move on to the prospect of the US entering the war in Europe. Hedy feels she should be doing something to help the Allies. She is also convinced she has something to offer in that regard because she used to eavesdrop on Fritz Mandl’s (her munitions manufacturer ex-husband) discussions about weapons technology.

She said she knew a good deal about new munitions and various secret weapons, some of which she had invented herself, and that she was thinking seriously of quitting M.G.M. and going to Washington, D.C., to offer her services to the newly established Inventors’ Council.

The challenge they set themselves is to find a way to stop the Germans from jamming the signals controlling the radio-guided torpedoes fired at their U-boats, which are playing havoc with the British shipping trying to cross the Atlantic. The solution the pair come up with is a radio-directed torpedo based on a transmitter and receiver, programmed to shift continually and at random through 88 different frequencies. The programming is done by paper tape inspired by the paper-rolls Antheil has used to synchronise player pianos. This is the invention they submit to the government for a US patent under the title of Secret Communication System.

The invention is covered in the October 1 1941 edition of The New York Times:

HEDY LAMARR – Actress Devises ‘Red-Hot’ Apparatus for Use in Defense

So vital is her discovery to national defense that government officials will not allow publication of its details. Colonel L. B. Lent, chief engineer of the National Inventors Council, classed Miss Lamarr’s invention as in the ‘red-hot’ category. The only inkling of what it might be was the announcement that it was related to remote control of apparatus employed in warfare.

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Hedy Lamarr in her garden

Hedy Lamarr in her garden

Around 1942. According to the person from whom this photo was acquired, it was...

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Hedy Lamarr with cinematographer Ray June on the set of Ziegfeld Girl

Hedy Lamarr with cinematographer Ray June

1941. Based on Internet searches, this shot appears to have been taken on the...

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Hedy Lamarr boosts war-bond sales

Hedy Lamarr boosts war-bond sales

1942. Asked on radio about her attitude to war-bond sales, Hedy Lamarr doesn't mince...

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Hedy Lamarr at home

Hedy Lamarr at home

24 January 1942. A glimpse of Hedy Lamarr in her kitchen before going to...

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Hedy Lamarr with cinematographer Bud Lawton on the set of I Take This Woman.

Hedy Lamarr with cinematographer Bud Lawton

1940. The other side of the lens. On the set of I Take This...

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Hedy Lamarr – Uncle Sam's saleslady

Hedy Lamarr – Uncle Sam’s saleslady

1942. Hedy Lamarr is delighted to accept the challenge when the Treasury Department asks...

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When their patent application is approved in August 1942, Hedy and Antheil offer it to the US government. But the powers-that-be just sit on it, regarding the device as too unwieldy. They are more interested in having Hedy do some tours to sell war bonds. She accepts the invitation and throws herself wholeheartedly behind the initiative.

All the ships dispatched to defend the US during the Cuban Missile Crisis will be equipped with frequency-hopping technology (the paper rolls replaced by electronic circuitry) to secure their communications. But the technology itself will remain a secret until it is declassified in 1981. By the time its commercial potential is realized, the patent will have expired and others will profit hugely from it. It will not be until 1997 that Hedy and Antheil (by this time deceased) will be officially recognized for their invention and receive the sixth annual Electronic Frontier Foundation’s Pioneer Award. Hedy will be inducted into the National Inventors Hall of Fame posthumously in 2014.

Is the idea behind spread spectrum a one-off for Hedy? It’s difficult to know. There’s a story about her at age five taking apart and reassembling a music box. Antheil is certainly impressed by her inquisitiveness and ingenuity. And in interviews towards the end of her life she talks about how, while she was dating Howard Hughes, she designed a new wing shape to make his planes more aerodynamic. That’s about the size of it. Whatever her credentials as an inventor, though, Hedy Lamarr is no airhead. When she leaves MGM in 1945, she partners with Jack Chertok, producer of The Conspirators (one of her 1942 movies) to set up Mars Productions, a production company. She goes on to produce The Strange Woman (1946 – arguably the showcase for her finest performance) and Dishonored Lady (1947) as well as attempting to make further movies in Italy. She amasses a considerable art collection that includes works by the likes of Modigliani, Chagall, Rodin, Dufy, Vlaminck, Rouault, Utrillo and Renoir. And late in life she proves herself to be quite an astute investor so that when she dies in 2000, she leaves behind an estate worth $3.3 million – mainly shares.

Hedy Lamarr – bad judgment

Unfortunately, intelligence doesn’t necessarily translate into good judgment, let alone wisdom. Hedy is not afraid to make decisions and in too many cases she opts for the wrong course of action. This is the case with regard to both her professional and her private life. With the benefit of hindsight, Hedy will admit that she had poor taste both in scripts and in husbands. It’s difficult to argue with that.

Let’s start with her career. The movies in which an actor or actress appears can make or break their career. When she arrives in Hollywood, Hedy realizes that the place is full of wannabees looking for roles, that her contract makes no guarantees and that if she’s to be successful she has to engineer an opening.

She’s fortunate to run into Charles Boyer at a party; it is thanks to him that she gets a starring role in Algiers, her first and breakthrough Hollywood movie. She’s unfortunate that even after she makes headlines, her employers, Louis B Mayer and MGM, have pretty much no idea how to use her. They do a great job of building her image through a stream of glamorous stills. But the films in which they cast her range from second-rate to downright bad.

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Hedy Lamarr in Algiers

Hedy Lamarr in Algiers

1938. In February, Hedy gets her first break. She meets Charles Boyer at a...

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Hedy Lamarr alongside Judy Garland and Lana Turner in Ziegfeld Girl

Hedy Lamarr in Ziegfeld Girl

1940. Here's Hedy Lamarr alongside her co-stars, Judy Garland and Lana Turner. Looking back...

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Hedy Lamarr in Tortilla Flat

Hedy Lamarr in Tortilla Flat

1942. Tortilla Flat, based on an early novel by John Steinbeck, gives Hedy Lamarr...

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Hedy Lamarr in The Heavenly Body

Hedy Lamarr in The Heavenly Body

1943. The title says it all – Hedy Lamarr is cast in an essentially...

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Hedy Lamarr as Tondelayo in White Cargo

Hedy Lamarr as Tondelayo in White Cargo

1942. Hedy Lamarr covered in brown make-up as Tondelayo in White Cargo. She appears...

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Hedy Lamarr in the Conspirators

Hedy Lamarr in the Conspirators

1944. The Conspirators is a tale of romance, intrigue and adventure set in Lisbon...

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Hedy Lamarr on the set of Experiment Perilous

Hedy Lamarr on the set of Experiment Perilous

1944. For Experiment Perilous, a psychological mystery set in the early years of the...

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Hedy Lamarr in The Strange Woman

Hedy Lamarr in The Strange Woman

1946. In late summer 1945, Hedy partners with Jack Chertok, producer of The Conspirators...

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Hedy Lamarr in Dishonored Lady

Hedy Lamarr in Dishonored Lady

1947. Dishonored Lady was always going to struggle to be a success given its...

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Worst of all, in 1942 Mayer turns down Warner Bros when they come calling, refusing to loan Hedy out to star opposite Humphrey Bogart in Casablanca. Instead, she ends up in the toe-curling White Cargo. Two years later, Hedy has opportunities to star in Laura and Gaslight. She rejects both of them (Gene Tierney and Ingrid Bergman say hi!). Had she appeared in just one of that trio of films, how different might her career trajectory have been and how differently might she be remembered?  As it is, how many Hedy Lamarr movies can you remember off the top of your head? None, right?

Relatively early in her career, a certain litigiousness starts to characterize Hedy’s affairs. In 1943, she sues Loew’s and MGM for failing to pay her the $2,000 a week stipulated in her contract. They claim that the reason for this is a wartime executive order, issued by President Roosevelt, limiting salaries to $25,000 a year. The case is settled out of court. But as time goes by, it does seem as if Hedy is rather too keen on litigation, and this tendency will dog her for pretty much the rest of her life because all too often courts will fail to find in her favour.

More often than not, Hedy’s litigation has to do with money. Hedy’s attitude to it is ambiguous. On the one hand, money matters to her and she worries about not having enough of it. On the other, she spends lavishly, which for a time she can afford to do. She gets into the habit of living in the best homes with the finest furnishings, amassing an amazing art collection, and travelling whenever and wherever she wants.

Hedy Lamarr with Charlie Chaplin at the LA Tennis Club
1942. Hedy Lamarr with Charlie Chaplin

After she leaves MGM in late summer 1945, she sets up her own production company, Mars Productions, in partnership with Jack Chertok, producer of her 1944 film, The Conspirators. They manage to find financial backing from producer, Howard Stromberg and their first film, The Strange Woman, is a bit of a triumph even though Hedy doesn’t get on with chosen director Edgar Ulmer. But their second movie, Dishonored Lady, is a turkey.

Hedy’s career is brought back from the brink by her appearance in Cecil B DeMille’s outrageous biblical epic Samson and Delilah (1949), the highest grossing movie of the decade. But she falls out with Paramount by refusing to help promote the film unless paid top dollar to do so.

Soon she is sinking her fortune into her own productions, taking advantage of the facilities offered by Rome. She’s well out of her depth, her projects end in failure and she runs out of road. She’s over-reached herself – spent too much money, fallen out with too many people (she’s acquired a reputation for being difficult to work with), burnt too many bridges.

In her autobiography she summarizes her attitude to money:

I figured out that I had made—and spent—some $30 million. … I advise everybody not to save; spend your money. Most people save all their lives and give it to somebody else. Money is to be enjoyed.

Hedy Lamarr’s private life is messy and sad. She is married and divorced six times: to munitions magnate Fritz Mandl: screenwriter Gene Markey; actor John Loder; nightclub owner Ernest Stauffer; oil millionaire W Howard Lee; and lawyer Lewis W Boies Jr. None of her marriages last more than six years and she doesn’t always maximize what she could get from her divorce settlements. Meanwhile, she has many affairs. Sadly, such turmoil is not unusual for attractive women trying to make careers in Hollywood.

By the mid-1960s, Hedy struggles to pay her utility bills and doesn’t always know where her next meal is coming from. Her ghost-written, sexed-up autobiography, Ecstasy and Me, published in 1966, is a pretty desperate attempt to raise some much-needed money. But she’s horrified when she reads it and (surprise, surprise!) contests its accuracy in court. Much of the content is indeed dubious and sensational.

She reaches her nadir when she is arrested for shoplifting in 1966 and again in 1991. She is fortunate to get away with it on both occasions.

Hedy Lamarr – what to make of her?

Let’s be clear from the outset. Hedy Lamarr is no angel. She has quite a temper and can be difficult to live with – John Loder, her third husband, should know. And as she establishes herself as a star, she gains a reputation (dubious at first but increasingly credible) as a real prima donna.

Hedy Lamarr looks sultry
Around 1940. Hedy Lamarr looks sultry

But it would be unfair to see her as just a spoiled diva who gets what’s coming to her. There are certainly some extenuating factors. Let’s start with her looks. Reflecting on her life, Hedy would suggest that:

My face has been my misfortune. It has attracted six unsuccessful marriage partners. It has attracted all the wrong people into my boudoir My face is a mask I can’t remove. I must live with it. I curse it.

She embodies the fate of so many beautiful women drawn to Hollywood, preyed upon and spat out. And it’s worth adding that, as Richard Avedon observed, beauty can be isolating. Hedy is undoubtedly lonely in the US and it’s easy to imagine that her looks and her shyness being a fatal combination for her. In 1952, actor Farley Granger attended a private party at which he recalled seeing Hedy:

She was very shy, very quiet, and very retiring. She just kind of receded almost into the woodwork. She kept very much to herself, you know.

Indeed, what comes through as you read Hedy Lamarr’s biographies and interviews with those who knew her is that she is a very private person. So, while acting may provide a channel for the more extrovert side of her personality, perhaps it turns out not to be the ideal career for her. In Hedy Lamarr Reveals She’ll Retire from Films in the January 24 1951 edition of the Los Angeles Examiner, gossip columnist Louella Parsons quotes a letter:

Dear Louella,

To straighten out all various statements about my retiring from the screen I want you to know it is true for the simple reason that I would like the privilege of a private life. As for marriage it is the normal desire of any woman, when I find the man I love enough to be my husband and father of my children.

Fond love to you,

Hedy Lamarr

By the late-1940s if not before, perhaps because of the mounting pressure and expectations, Hedy’s mind seems to be in a fragile state. Again, her public confidante is Louella Parsons, who reveals in The Strange Case of Hedy Lamarr (Photoplay, September, 1947) that, “with all the things in her past, and all she still holds of the material things of life, Hedy has been dangerously close to a nervous breakdown for the past year and she is still far from well.”

Her former co-star, John Fraser, paints a harrowing picture of Hedy’s mental decline in an email to Stephen Shearer:

In 1952 Hedy was neurotic and completely unable to communicate socially. In company, she was unaware of anyone but herself. Her need to be the centre of attention meant that whenever she appeared in public, she launched into a meaningless monologue. She was accompanied by her PA, Frankie Dawson and sometimes by her psychiatrist, who wasn’t doing her much good.

From around the mid-1950s to the early-1970s, Hedy is treated by New York physician Max Jacobson, nicknamed “Miracle Max” and “Dr Feelgood.” He has arrived in New York from Berlin in 1936 and his practice attracts the rich and famous including an impressive roster of Hollywood movie celebrities – Lauren Bacall, Ingrid Bergman, Humphrey Bogart, Yul Brynner, Montgomery Clift, Cecil B DeMille, Marlene Dietrich, Judy Garland, Liza Minnelli, Marilyn Monroe, David O Selznick, Elizabeth Taylor and Billy Wilder. According to Wikipedia, Jacobson is known for his “miracle tissue regenerator” shots, which consist of amphetamines, animal hormones, bone marrow, enzymes, human placenta, painkillers, steroids, and multivitamins.

Add to such a lethal cocktail of drugs the shock Hedy suffers when, in December 1958, her 11-year-old son, Anthony, out riding his bike, is hit by a car and seriously injured, and her erratic behaviour is hardly surprising. To compound matters, as her looks fade in the 1960s she undergoes some pretty disastrous cosmetic surgery that leaves her reluctant to show her face in public.

The last word on Hedy Lamarr goes to John Fraser:

She had been fawned upon, indulged and exploited ever since she had reached the age of puberty. Her extraordinary intelligence did not encompass wisdom. How could she have learnt about the values that matter, about kindness and acceptance and laughter, in the Dream Factory that is Hollywood? She had been thrust into the limelight at a pitilessly early age, been devoured by rapacious lovers and producers who saw her ravishing beauty as a ticket to success, and who looked elsewhere when she began to grow older. Beauty and money in moderation are undoubtedly a blessing. In excess, they are surely a curse.

Want to know more about Hedy Lamarr?

The two main sources for this piece are Hedy’s autobiography Ecstasy and Me (to be read with a large pinch of salt) and Stephen Michael Shearer’s Beautiful: The Life of Hedy Lamarr. Other titles are available at Amazon and elsewehere. Alexandra Dean’s documentary film, Bombshell: The Hedy Lamarr Story, provides an overview of her life, shining a spotlight on her prowess as an inventor.

Other topics you may be interested in…

Ava Gardner – the journey to Hollywood
Gene Tierney – a sick rose
Hedy Lamarr in Vienna
Hedy Lamarr before she came to Hollywood

Filed Under: Films, Photographers, Stars Tagged With: Algiers, Charles Boyer, Clarence Sinclair Bull, Dishonored Lady, Ecstasy, Experiment Perilous, Fritz Mandl, Gene Tierney, George Antheil, George Hurrell, Hedy Lamarr, Lady of the Tropics, Laszlo Willinger, Louis B Mayer, The Conspirators, The Heavenly Body, The Strange Woman, Tortilla Flat, Virgil Apger, Ziegfeld Girl

Gene Tierney – a sick rose

In the mid-1940s, Gene Tierney seemed to have it all: beauty, talent, success. By age 25, she was a major star and had been nominated for an Academy Award for Best Actress. Ten years later, she was on the verge of being admitted to a series of mental institutions.

How did such a tragic fall from grace come about? And what can we learn from it about Gene Tierney and the treatment of mental health in mid-20th century America?

Gene Tierney – beauty, talent, success and more

Gene Tierney comes from a loving, well-to-do family and goes to school in Switzerland as well as in the US. Her father is an insurance broker with clients in Hollywood. In 1938, he packs his wife and children off to California. During a studio sightseeing tour at Warner Bros, 17-year-old Gene is spotted by director Anatole Litvak, who invites her to make a screen test. She’s offered a contract but her parents forbid her to sign.

Gene Tierney in her bedroom at her parents' house.
Around 1940. A rare, early shot of Gene Tierney on her bed at her parents’ house. The photos on the wall are of her. Photo by Hart Preston.

She returns home determined to become an actress and help the family out financially, now that her father’s business has fallen on hard times. And determination is what it takes:

In my circle you finished school, married a Yale boy, and lived in Connecticut. … I wanted to be an actress. Nothing else mattered. I suppose that thousands of girls of my generation talked that way, and some of them meant it, but most wound up as carhops or returned home to marry their boyfriends.

With her father’s help, she embarks on a career as a stage actress and in double-quick time makes it to Broadway, which quickly takes her back to Hollywood, as revealed in a 1941 interview with Screenland:

Columbia originally brought me out, after two minor roles in Broadway attempts. I was a scared-to-death seventeen then. I wandered and wondered about the Columbia lot, a mystery to everyone including mother and me. There was no rush to take portrait sittings, to pose in the latest fashions. Eventually I was cast in a picture, opposite Randolph Scott. … On my second day, way back three years ago, I was unceremoniously taken out and Frances Dee took over the role.

I was A Failure … I did what I could to grin and bear it. I was fat, so I dieted. I studied dancing. And when option time came I got the axe, anyhow. I’d come to Hollywood, fizzled ignominiously, and was fated to be forgotten. Only I’m stubborn. Ask mother and dad! I declined to Fade Out. At almost eighteen I knew I could make the grade with a studio.

Back on Broadway, she gets a break in the critically acclaimed The Male Animal, as a result of which she features in LIFE, Vogue and Harper’s Bazaar. More offers from Hollywood drop through her letterbox and she ends up signing for Twentieth Century-Fox, whose founder, Darryl F Zanuck, a notorious womanizer, hails her as “unquestionably the most beautiful woman in movie history.”

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Gene Tierney in the stills studio

Gene Tierney in the stills studio

Around 1943. Frank Powolny arranges the lighting for a portrait session with Gene Tierney. As chief portrait and still photographer at Twentieth Century-Fox from 1923...

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Gene Tierney and Spyros Skouras

Gene Tierney and Spyros Skouras

Around 1943. Aspiring stars had to schmooze the moguls, directors, producers and others who could influence their careers. Here it looks like Gene Tierney has...

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Gene Tierney relaxes on set

Gene Tierney relaxes on set

1947. Stars often had a lot of time to kill between takes. Here Gene Tierney, in the costume she wears as the widowed Mrs. Edwin...

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Learning from her previous abortive stay in Hollywood, this time her contract stipulates that Twentieth Century-Fox must immediately find roles for her and put her to work. In her first 12 months she complete three movies, the most important of which is Tobacco Road. At which point the studio’s publicity machine swings into action.

I was turned over to the studio’s top publicity woman, Peggy McNaught, and a photographer named Frank Powolny. Soon Peggy had me posing for Frank’s camera at the beach, at poolside, in nightclubs, on the set, and in the studio gallery. She lined up interviews and pushed me for fashion layouts in magazines and newspapers.


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Gene Tierney in The Shanghai Gesture

Gene Tierney in The Shanghai Gesture

1941. The story is set in a Shanghai gambling den, as shady as it is glitzy, whose owner, “Mother” Gin Sling, revenges herself on a...

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Gene Tierney and Victor Mature in The Shanghai Gesture

Gene Tierney and Victor Mature in The Shanghai Gesture

1941. Poppy, a beautiful, privileged young woman, fresh from a European finishing school, falls for “Doctor” Omar (Victor Mature), Gin Sling’s right-hand man. Dead-eyed, cynical...

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Gene Tierney and Ona Munson in The Shanghai Gesture

Gene Tierney and Ona Munson in The Shanghai Gesture

1941. In the movie’s dénouement, Gin Sling (Ona Munson) turns out to be Poppy’s mother. Gene Tierney’s stunningly exotic costumes were designed by her husband-to-be,...

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Over the next few years Gene Tierney appears in a succession of films including Sundown and The Shanghai Gesture (1941) Rings on her Fingers (1942), Heaven Can Wait (1943) and Laura (1944) – the role for which she’s best remembered to this day. Co-star Vincent Price would later remark:

No one but Gene Tierney could have played ‘Laura.’ There was no other actress around with her particular combination of beauty, breeding, and mystery.

Gene Tierney glances over her shoulder.
Mid-1940s. Gene Tierney glances over her shoulder.

As an aside, in the first instance Laura was to be directed by Rouben Mamoulian and he commissions his wife Acadia, a popular Hollywood artist, to paint the portrait of Laura, which plays such an iconic part in the movie. When Mamoulian is fired, his successor Otto Preminger decides that the portrait lacks mystery. So he sends Gene to pose for Frank Powolny, chooses one of the shots from the session and has a blow-up made and lightly brushed over with paint to create the desired effect.

The following year, Gene Tierney is nominated for an Oscar for her performance in Leave Her to Heaven (1945). In spite of this, her Hollywood career is dogged by poor reviews, with critics seemingly resentful of her privileged background and striking looks – as if those advantages preclude or negate talent, determination and persistence. Suffice it to say that her performance in Leave Her to Heaven will lead Martin Scorsese to observe that, “Gene Tierney is one of the most underrated actresses of the Golden Era.”

Her experience working with Ernst Lubitsch on Heaven Can Wait is revealing of her attitude to her work and her colleagues:

Lubitsch was a tyrant on the set, the most demanding of directors. After one scene, which took from noon until five to get, I was almost in tears from listening to Lubitsch shout at me. The next day I sought him out, looked him in the eye, and said, “Mr. Lubitsch, I’m willing to do my best but I just can’t go on working on this picture if you’re going to keep shouting at me.” “I’m paid to shout at you,” he bellowed. “Yes,” I said, “and I’m paid to take it – but not enough.” After a tense pause, Lubitsch broke out laughing. From then on we got along famously.

By the time her mind crumbles, and her career with it, Gene Tierney has appeared in more than 30 movies.

Gene Tierney – a series of unfortunate events

For all her success in front of the camera, behind the scenes and under the surface Gene Tierney is going to pieces. Her plight is horribly reminiscent of William Blake’s poem, The Sick Rose:

O Rose thou art sick.
The invisible worm,
That flies in the night
In the howling storm:

Has found out thy bed
Of crimson joy:
And his dark secret love
Does thy life destroy.

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Gene Tierney publicity portrait for Sundown

Gene Tierney publicity portrait for Sundown

1941. Gene Tierney as the enchantress, Zia, in Sundown, an adventure movie set in North Africa.

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Gene Tierney in a black satin gown

Gene Tierney in a black satin gown

Around 1944. Gene Tierney posed for this photo around the time she was making Laura.

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Gene Tierney on the beach

Gene Tierney on the beach

Around 1941. Gene Tierney models a striped summer dress with matching wedges and a straw hat. What appears to be a beach is likely a studio mock-up.

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Gene Tierney in the photographer’s studio

Gene Tierney in the photographer’s studio

1947. Gene Tierney models a slinky Grecian gown. This image appears on the cover of the September 1947 issue of Modern Screen.

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Gene Tierney outdoors

Gene Tierney outdoors

Around 1945. Gene Tierney relaxes in the California sunshine. This shot would have been posed just like those taken in the studio.

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Gene Tierney in an Empire-line gown

Gene Tierney in an Empire-line gown

Around 1940. Gene Tierney models a lamé Empire-line gown.

A series of setbacks undermine Gene’s self-confidence and leave her increasingly fragile and vulnerable.

Gene Tierney and Oleg Cassini at a fancy-dress party
January 1941. Gene Tierney and Oleg Cassini at a fancy-dress party. Photo by Jack Albin.

In 1940, she meets fashion designer Oleg Cassini at a party given by their mutual friend, Constance Moore.  The two of them hit it off immediately. On 1 June 1941, they elope to Las Vegas where they get married in a private ceremony. Gene’s parents are horrified when they hear what she’s done and all but disown her.

Twentieth Century-Fox and the Hollywood establishment generally are similarly disenchanted. Even a favourable interview in Screenland three months after the event refers to “tempestuous Tierney”, “the climbing Count” and their “madcap marriage”.

Oleg has been working as a costume designer – notably on on Veronica Lake’s wardrobe for I Wanted Wings (1941), Gene’s for The Shanghai Gesture (1941) and Rita Hayworth’s for Tales of Manhattan (1942). But for the next five years the studios treat him as a pariah. The couple are pretty much totally reliant on Gene’s earnings, which puts the marriage under strain from the off.

Then Gene finds out that her father, “who taught me that honour was everything” and who has been acting as her agent via a company called Belle-Tier Corporation, has been siphoning off all her earnings to prop up his failing insurance business. Everything has been lost. It also turns out that her father has been having an affair with one of her mother’s friends. The close relationship between father and daughter is at an end.

In March 1943 Gene discovers that she’s expecting a baby. She decides to use her break to do some volunteer work at the Hollywood Canteen – a patriotic gesture and a good source of publicity for a rising actress.

In June, she falls ill with rubella (German Measles), with fatal consequences for her unborn child. In October, when she gives birth, prematurely, her daughter requires a complete blood transfusion. Daria is also deaf and partially blind. Oleg and Gene decide to take the little girl home with them and raise her as best they can.

Gene Tierney poses in front of a mirror.
Mid-1940s. Gene Tierney, in a shot-silk costume, poses in front of a mirror.

A year after Daria’s birth, Gene is approached at a tennis party by a fan who smiles and asks if she recognizes her. She tells Gene she was in the women’s branch of the marines and met her at the Hollywood Canteen:

Did you happen to catch the German measles after that night? You know, I probably shouldn’t tell you this. But almost the whole camp was down with German measles. I broke quarantine to come to the Canteen to meet the stars. Everyone told me I shouldn’t, but I just had to go. And you were my favourite.

Around this time, it is becoming apparent that Daria is also fatally brain-damaged. In the end, her parents admit defeat and send her to an institution, where she will spend the rest of her life. With all the stresses and strains, their marriage is on the rocks. Oleg has an affair. The couple split up.

Gene meets and falls for future US President John F Kennedy. But when he hears that she has asked Oleg for a divorce, he tells her over lunch in New York that he can never marry her. Her response: “Bye, bye, Jack.”

Oleg and Gene are divorced in 1952, and she takes up with Prince Aly Khan, Rita Hayworth’s ex, whom she met in Argentina the previous year while making Way of a Goucho. It’s the same story as with JFK – there’s no way his family will countenance their marriage so the relationship goes nowhere.

Gene’s bouts of anxiety and depression finally come to a head in 1955 when she is working on Left Hand of God (1955) with Humphrey Bogart:

I was so ill, so far gone, that it became an effort every day not to give up. … I knew that if I got through the picture I had to get myself to a hospital. I learned later that a sister of Bogart’s had been mentally ill. He recognised the signs, went to the studio bosses and warned them I was sick and needed help. They assured him that I was a trouper, was aware how much had been invested in the film and would not let them down. They suggested that Bogart be kind and gentle. He was nothing less. His patience and understanding carried me through the film. We did not know then that he was himself terminally ill with cancer.

The studio’s response is telling and likely pretty typical. Their primary concerns are with ensuring the commercial success of their movies, hushing up inconvenient truths and providing sanitized versions of their stars’ lives for public consumption. Don’t imagine that Gene Tierney is alone in struggling with mental health issues. She’s in good company – Vivien Leigh, Rita Hayworth and Judy Garland are three other cases in point. Mental health continues to be an issue for film stars and other celebrities to this day, as revealed by an article in Marie Claire to mark World Mental Health Day 2017.

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Gene Tierney, dressed to kill

Gene Tierney, dressed to kill

Mid-1940s. Gene Tierney, wrapped in shot-silk, poses in front of a carved-wood panel in this baroque portrait.

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Gene Tierney, screen siren

Gene Tierney, screen siren

Early–mid-1940s. Gene Tierney, despite an uncharacteristically severe hairstyle, still manages to look sultry in this studio publicity portrait.

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Gene Tierney, sweater girl

Gene Tierney, sweater girl

1942. Gene Tierney displays her sweater-girl credentials in this promotional shot for Thunderbirds.

Mental health issues seem to have run in Gene’s family. In Self-Portrait, she mentions her maternal aunt in this context, so she’s likely to have been predisposed to anxiety and depression. Her autobiography begins with her nadir in the spring of 1957:

It is a terrible thing to feel no fear, no alarm, when you are standing on a window ledge fourteen stories above the street. I felt tired, lost, and numb – but unafraid. I wasn’t at all certain I wanted to take my own life. I cat-walked a few steps away from the open window and steadied myself, to think about it. The fact that I could no longer make decisions was why I had gone to the ledge in the first place. What to wear, when to get out of bed, which can of soup to buy, how to go on living, the most automatic task confused and depressed me.

Gene Tierney – a mid-20th century mental patient

Portrait of Gene Tierney by Talbot.
Around 1940. Portrait of Gene Tierney by Talbot.

Gene Tierney is courageous in speaking out about her struggles with severe bouts of depression, a taboo subject for most of the 20th century. Over a period of six years, she is admitted to three different mental hospitals and has a total of 32 electric shock treatments:

I knew nothing about electric shock therapy, and I don’t think the doctors at the time knew much more. It was then considered a scientific breakthrough, although opinion was divided about the potential for long-term harm. The treatment was developed in Italy in 1938. Doctors soon began to use it to treat schizophrenia and cases of severe depression.

An electrode was attached to each temple and an alternating current of eighty or ninety volts passed between the electrodes for a split fraction of a second. In the early days of this therapy, the moment of violent seizure often produced fractures and dislocated bones. The use of muscle relaxants solved that problem.

When it shocked its victims into some measure of sanity, it seemed to do so by inducing a temporary amnesia. It triggered a physical feeling that was comfortable and benign. You can hardly be depressed over something you no longer remember. The results often were so dramatic that helpless people could soon manage everyday things that once seemed intimidating.

But even more than electric shock treatment, Gene fears the cold pack:

To me, the cold pack was the worst indignity of my confinement. It was not meant to be cruel or inhuman or to punish you. The cold pack was simply one of the ways of rearranging your mind, of shocking you back into sanity, or so the doctors hoped. When my time came, I felt only that I had been dehumanized.

I was wrapped from the neck down in icy wet bedsheets, my arms strapped to my sides. It was like being buried in a snow bank. Tears poured down my cheeks as the minutes ticked away. I couldn’t move. I lost the feeling in my hands and feet. My mind was in a panic.

Gene Tierney poses in front of a mirror
1940. Gene Tierney poses in front of a mirror.

Eventually, she starts to get a grip on herself:

When I accepted my handicap, my doctors told me, “Now you are going to get well, because you know you have a weakness.” But it took me four years to face the truth. Up to then, I committed myself to treatment because I thought my family felt I should, and I told myself I was pleasing them.

Her exit interview is like something out of Kafka:

I was beginning to respond, to open up, to examine the disappointments in my life: my father, my marriage, the helplessness I felt when I had to give up Daria.

Early in August of 1958, I was told to appear before members of the medical staff for an interview. If I passed, I would be released to my family. I was dressed neatly and quietly, without jewelry, in my own clothes. I felt pale and edgy, like a young girl applying for her first job. I was applying for my freedom.

I sat behind a two-way glass. The doctors could see me, but I could not see them. I found it disconcerting, hearing these disembodied voices. My nerves were so keyed up that I remember nothing of their questions or my answers.

Gene is lucky insofar as she can afford to stay at some of the best institutions around at the time. In 1963, Richard Avedon will visit a state-run establishment – East Louisiana State Mental Institution, Jackson, Louisiana. His photos are a harrowing reminder of what it was like for less well-off individuals with mental-health problems.

In the UK, most of the old asylums have been closed down but some of the buildings survive as ruins, eloquently and evocatively documented at Abandoned Britain. All well and good, but now there’s almost nowhere to go for those who need help and many of them sleep rough on the streets.

Gene Tierney publicity portrait for On The Riviera.
1951. Gene Tierney publicity portrait for On The Riviera.

Gene Tierney – a kind of redemption

Gene Tierney will struggle with her demons for the rest of her life. That won’t prevent her from appearing in minor roles in a handful of films during the 1960s and one movie historian will remark that:

Gene Tierney returns to the screen after 7 years absence undergoing psychiatric treatment, which probably included recovering from endless caustic comments from Bosley Crowther throughout her career. He never had a nice word for her, ever… I wonder if she just rolled her eyes at every NY Times review. Crowther just relentlessly had it in for her no matter what she did. She must have snubbed him at a party as a starlet.

In autumn 1958, she had met W Howard Lee, a Texas oilman, then about to divorce none other than Hedy Lamarr. On 11 July 1960, Gene Tierney will marry Lee in a small ceremony in Aspen. He will stick with her through her ups and her downs until his death in 1981.

Want to know more about Gene Tierney?

The two books on which this piece is based are Self-Portrait by Gene Tierney with Mickey Herskowitz and American Legends: The Life of Gene Tierney. There’s an article by Ben Maddox about Gene Tierney’s recent marriage to Oleg Cassini in the September 1941 issue of Screenland, available at the Media History Digital Library. Another article in the 29 September 1958 issue of LIFE magazine is about Gene Tierney’s return to Hollywood.

Other topics you may be interested in…

Carole Landis publicity photo for Secret Command
Carole Landis – die young, stay pretty
Hazel Brooks – the human heat wave
Jane Greer during her early-Hollywood days
Jane Greer – the queen of film noir

Filed Under: Stars Tagged With: Bill Josephy, Darryl Zanuck, Frank Powolny, Gene Tierney, Oleg Cassini, Raphael Hakim, Richard Avedon, Ruth Hussey, The Shanghai Gesture, Virginia Field

Short stories – for a quick break

Aenigma is all about images from the the worlds of fashion and the movies and the stories behind them.

Short stories is a good place to come if you don’t have time for one of the longer pieces. Below you’ll find a selection of shots that illustrate the range of subjects covered by aenigma. It’s a deliberately eclectic mix with, hopefully, something for everybody.

Use the filter buttons to home in on topics that might interest you, and then the Read more button to go to the whole story.

AllBehind the scenesEventsFashionFilmsPhotographersPressStars
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Bull shoots Gardner

Bull shoots Gardner

1945. Clarence Sinclair Bull, head of MGM's stills department, with his thumb on the shutter-release button, looks intently at Ava Gardner. The year is 1945, Ava is 23 years old...

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Marilyn Monroe nude

Naked and glistening

May 1962. Marilyn Monroe sits on the edge of a swimming pool on the set of Something’s Got To Give. In the film she swims naked, and to generate advance...

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Age after beauty

Age after beauty

1956. Odile Rodin is well aware of her greatest assets and dresses to set them off to perfection. Born Odile Bérard, she has adopted the artistic name of Rodin to...

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Photography as a sex act

Photography as a sex act

1966. David Hemmings, as Thomas, straddles the writhing Veruschka in a scene from Michelangelo Antonioni's cult film, Blow-Up. It's about a hip fashion photographer who believes he has unwittingly caught...

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Ava Gardner, Virginia Hill and friends celebrate Hallowe'en

Hallowe’en in Hollywood

1941. Ava Gardner and friends at a Hallowe'en party. This is Ava's (front left) first year in Hollywood and it will be another six until she makes her breakthrough as...

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Picasso chats up Bardot

Picasso chats up Bardot

April 1956. Brigitte Bardot takes time out from the Cannes Film Festival to visit Pablo Picasso in Vallauris. In the sunny garden outside his studio, Picasso, one of the 20th...

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Marriage on the rocks

Marriage on the rocks

November 1945. Orson Welles and Rita Hayworth, at the zenith of their careers, are out on the town. But things aren't going well. He is giving her the most furious...

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Romantically linked

Romantically linked

1963. One of the 20th century's greatest, most glamorous and tempestuous romances, played out in the glare of the media spotlight. Lust, booze, ­diamonds, yachts, jealousy – it had them...

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Dressed to thrill

Dressed to thrill

1999. Sophie Marceau steals the show as Elektra King in The World Is Not Enough, the 19th James Bond film. Beautiful, elegant, sophisticated, complex – really just your average Bond...

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Sylvia (Anita Ekberg) cools off in the Trevi Fountain in Federico Fellini’s La Dolce Vita

Midnight fantasy

1959. Dawn has yet to break as Anita Ekberg (as Sylvia in Federico Fellini's iconic movie, La Dolce Vita) wanders into the Trevi fountain in Rome. This iconic scene in...

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Gene Tierney and Oleg Cassini at a fancy-dress party

Gene Tierney and Oleg Cassini at a fancy-dress party

26 January 1941. Gene Tierney, dancing with Oleg Cassini, exchanges smiles with actress Ruth Hussey (dressed as a rag doll) and producer Raphael Hakim (a sheik), reputed to be...

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Ludmilla Tchérina with Salvador Dali

Truly, madly…

11 December, 1969. Salvador Dali and Ludmilla Tchérina attend The Paris Lido's new show, The Grand Prix. Dali, the mad surrealist artist, attributed his "love of everything that is...

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Not what the studio ordered

Not what the studio ordered

8 April 1937. Two Tinseltown stars are caught off guard – no artful lighting, considered poses, careful composition. A true candid and not what the studio ordered. Here's the story,...

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Fashion and film

Fashion and film

May 1956. Richard Avedon looks over photographs with Arlene Dahl. Avedon, one of the 20th century's greatest photographers, is in Hollywood as technical advisor for Funny Face, starring Fred Astaire...

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Other topics you may be interested in…

Donyale Luna – the fashion world’s wayward moon-child
Movie stars of the 1940s – talent, savvy, looks and luck
Barbara Stanwyck in The Two Mrs Carrolls
Unsafe sex – the starlet’s dilemma

Filed Under: Behind the scenes, Events, Fashion, Films, Photographers, Press, Stars Tagged With: Anita Ekberg, Ann Rutherford, Ava Gardner, Barbara Stanwyck, Bill Josephy, Blow-Up, Brigitte Bardot, Clarence Sinclair Bull, David Hemmings, Elizabeth Taylor, Gene Tierney, La Dolce Vita, Ludmilla Tcherina, Marilyn Monroe, Mickey Rooney, Odile Rodin, Oleg Cassini, Orson Welles, Pablo Picasso, Raphael Hakim, Richard Avedon, Richard Burton, Rita Hayworth, Robert Taylor, Ruth Hussey, Salvador Dali, Sophie Marceau, The World Is Not Enough, Veruschka, Virginia Field, Virginia Hill

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