Bromance

Above: Perry Lopez visits the set of Rebel Without A Cause (Warner Bros., 1955)

Jimmy sure knew how to pick 'em.

A Fellow Needs A Girl

Montgomery Clift and Marilyn Monroe

Roddy McDowall and Elizabeth Taylor

Cesar Romero and Joan Crawford

Rock Hudson and Judy Garland

Mart Crowley and Natalie Wood

Birthday Roundup

Dead Ringer (Warner Bros., 1964)

Starring Bette Davis and Bette Davis

Score ("Figueroa") by Andre Previn 

"You're Gonna Hear from Me" from Inside Daisy Clover (Warner Bros., 1965)

Performer: Natalie Wood (dubbed by Jackie Ward)

Composers: Andre and Dory Previn

"It's Impossible" from Valley of the Dolls (20th Century Fox, 1967)

Performer: Patty Duke

Composers: Andre and Dory Previn

ANDRE PREVIN

April 6, 1929

"Trapped in the Web of Love" (Scopitone S-1057, 1965)

"Gowns, Beautiful Gowns" from Hillbillys in a Haunted House (Woolner Bros., 1967)

JOI LANSING

April 6, 1929 - August 7, 1972

Billy Dee Williams and Diana Ross in Mahogany (Paramount, 1975)

BILLY DEE WILLIAMS

April 6, 1937

Remember, darlings -- success is nothing without dolls, gowns, and a Colt 45 to share it with.

Leo's Lionesses

Natalie Wood in All the Fine Young Cannibals (1960, MGM)

Gina Lollobrigida in Go Naked in the World (1961, MGM)

Elizabeth Taylor in Cat on a Hot Tin Roof (1958, MGM)

Lightweight, middleweight and heavyweight divisions.

Wood Wiggery

The mystery wig, and Natalie Wood wearing it in a publicity still for All the Fine Young Cannibals (1960)

In spite of such novel guesses as Errol Flynn, John Travolta and Tony Curtis, our latest Mystery Guest was, indeed, decidedly female: Miss Natalie Wood! The wig in question was worn by Natalie in the all-star potboiler, All the Fine Young Cannibals (1960). Besides Nat, the jaw-dropping cast also included her then-hubby, Robert Wagner; Susan Kohner, fresh off of her brilliant performance as the tragic mulatto passing for "white, white, WHITE!!!!" in Imitation of Life (1959); rising young smoothie George Hamilton; and Pearl Bailey (!).

This foray into the "love hungry world of the sophisticated young moderns" was another tentative step towards full-fledged adult stardom for Natalie, who had grown up in front of the camera. As a child star, she appeared in such classics as The Ghost and Mrs. Muir and Miracle on 34th Street (both 1947); as a budding teen starlet, she scored with Rebel without a Cause (1955) and The Searchers (1956). But as a bona fide leading lady, Wood had yet to make an impression; her first attempt, Marjorie Morningstar (1958), was considered something of a misfire, and a lesser credit for her established co-star, Gene Kelly.


In spite of its glamorous cast, plush trappings, and melodramatic plot, Cannibals fared even worse with the critics, and it seemed that adult stardom was going to elude Natalie's grasp. However, within a year, she surprised everyone with the hat trick of West Side Story and Splendor in the Grass (both 1961) and Gypsy (1962). Suddenly, Natalie was not only a star, but a superstar -- a box office draw and an Oscar-nominated actress. Love with the Proper Stranger (1963) continued her critical and commercial streak, culminating in another Oscar nod; but then it became all too easy to knock on Wood again as Natalie found herself alternating between glossy, inconsquential sex comedies like Sex and the Single Girl (1964) and Penelope (1966); and glossy, improbable melodramas like Inside Daisy Clover (1965) and This Property is Condemned (1966).


Apart from the all-star Blake Edwards comedy, The Great Race (1965), all of Natalie's 1964-66 output was met with lukewarm critical response, and some outright reviling. She was off the screen for nearly three years, battling emotional issues (and turning down Bonnie and Clyde in the process) before making a comeback in the now-dated, but then-sensational Bob & Carol & Ted & Alice (1969). Although the film was one of the Top 10 box office hits of the year, Natalie decided to concentrate on raising her family rather than take advantage of her newly-restored popularity. She did periodically make celebrated television appearances, most notably in the telefilms Cat on a Hot Tin Roof (1976) and The Cracker Factory (1979), and the mini-series From Here to Eternity (1978). Her movie ventures were less carefully considered; Meteor (1979) was a disaster film in every sense of the word, and The Last Married Couple in America (1980) was middling entertainment, at best. Still, the lingering stardust of Natalie's storied history as one of the last links to the Golden Age of Hollywood was enough to give her legendary status -- at least according to Blackglama, who tapped her for their campaign in 1981.


The "What Becomes a Legend Most" ad featuring Natalie was running worldwide when the shocking news of her death at age 43 made headlines. Having harbored a lifelong fear of water, Natalie died in a drowning accident when she fell overboard from the yacht she shared with Robert Wagner, whom she had remarried in 1972. Strangely, Natalie's mysterious, early death has somehow failed to make her as mythic as, say, James Dean, her former co-star and friend. We hope that occasional tributes like these contribute in some small way to keeping her flame alive; she may not have been the greatest of actresses, but Natalie Wood was, indeed, a genuine movie star -- one of the last created by the greatest myth of all, Classic Hollywood.

So That's the Routine

He's Not a Rebel, No, No, No

Marlon Brando's screen test for Rebel Without a Cause (1955) recently surfaced. Had he won the role that forever immortalized Jimmy Dean (whom we find to be the most monumentally overhyped dead celebrity, ever), we probably would hold that overrated piece of teen angst in higher regard. We can only speculate that Brando lost the role because he was A) too old for the role (he and Dean were both 23 at the time, but Brando had already won acclaim as the very manly Stanley in A Streetcar Named Desire [1951]), and B) far too gorgeous to be believable as a tormented teenager.

Ironically, in the finished film, Corey Allen plays Dean's drag-race nemesis, and bears more than a passing resemblance to Brando. And, frankly, we find him infinitely more appealing than Jimmy. Because, let's face it, darlings - we want our rebels to have a cause: beauty.

Spot the 'mo!

Why, it's birthday boy Roddy McDowall, of course! A favorite escort for many Hollywood divas, when Roddy wasn't squiring them around town, he was appearing with them in practically every other film made in the 1960's and 1970's. For instance: with Elizabeth Taylor in Cleopatra (1963); Lauren Bacall in Shock Treatment (1964); Natalie Wood in Inside Daisy Clover (1965); Jennifer Jones in Angel, Angel, Down We Go (1969); Angela Lansbury in Bedknobs and Broomsticks (1971); and Barbra Streisand in Funny Lady (1975).





Besides being an in-demand ladies' man, McDowall was a "well known bachelor" who liked to hang with the boys.



We miss Roddy McDowall, and the elegance he always brought to even the most indistinguished project (Rabbit Test, anyone?). Like so many others, it seemed that not only was Roddy everywhere - if not on film, then on nearly every television series ever produced - but that he would be here forever. And, in many ways, he will.

RODDY MCDOWALL
September 17, 1928 - October 3, 1998

Please visit A TRIBUTE TO RODDY MCDOWALL

It's a Dirty Job...

While We're Away

Alas, Robert Redford wasn't interested in Daisy's clover.

Mod Matrimony

The winter bride is typified by icy frost and fairies...

...the fairies having designed their dresses, of course.

SSUWAT Endorses...

If, like us, you are a humble plebe who can't escape to the Hamptons or Fire Island or the country during the summer weekends, and are stuck for ideas on what to do in town, here are some of our favorite haunts.

Favorite Restaurant: Il Corso, 54 W. 55th St., (212) 957-1500.


Hands down, our absolute favorite Italian in the city, and possibly our favorite restaurant outside of Italy itself. Chef Andrea Giacomoni is absolutely brilliant at producing meals which are casually elegant yet homey, soul-satisfying, and above all, savory. Yes, you could have a fine meal if you stick within the safety zone of, say, a richly creamy burrata with prosciutto; a toothsome tangle of homemade fettucine a la bolognese; or a perfectly crisp-on-the-outside, moist-on-the-inside veal Milanese. But the specials are uniformly spectacular, and if Chef Andrea is offering braised, stewed, or pan-roasted lamb, veal or pork, it is not to be missed. We are not overstating our case when we say that some of our best, most richly rewarding meals have been at the hands of Chef Andrea. Our current favorite: an antipasti of delicately fried mushrooms (light and crackling good - the mark of a good chef, in our opinion, is their ability to fry properly; the result should be sprightly and crisp, not heavy and sodden) followed by Andrea's heroic pan seared double pork chop. This remarkable cut of meat is, without question, the juiciest, best-prepared pork we have ever had. Period. The quality/cost ratio is excellent; the staff will do backflips to please you; the ambiance is cozy and completely outside of trends; and regulars (like us) are there every single night. Oh, and Il Corso's coffee is the best and strongest in town.

Favorite Bar: The Modern at MOMA, 9 W. 53rd St., 212.333.1220.


When you want to avoid the model wannabe/hedge fund a**hole crowd, but still crave a chic, sleek scene, The Modern is the perfect destination. It's a truly adult experience, with a sophisticated, well-heeled, well-polished crowd who have better things to do than dance on banquettes and throw up in their town cars. As befits a bar/restaurant located in the Museum of Modern Art, the space is cutting-edge, but the service is friendly and unpretentious. Dinner in the Bar Room is casual, lively and cool; the Dining Room is a serene oasis from the glamorous chaos up front. And the bar itself serves up one hell of a martini: ice cold, generously proportioned (but not ridiculously so), crystal clear, expertly mixed. In addition, considering the quality and the scene factor, the price tag is low indeed: a top-shelf martini runs around $14, compared to the $20 and up that the King Cole Bar or Four Seasons will stick you for. Another plus: the "speciality cocktail" list isn't full of nauseatingly sweet concoctions aimed at Paris Hiltonettes.

Favorite Shop: Seigo Neckwear, 747 Third Ave., (212) 308-3008.


Without a doubt, Seigo is a bow tie lover's wet dream come true. The sheer amount of heart-stoppingly gorgeous, handmade, limited edition ties to choose from is staggering, and almost overwhelming. We've learned that one must enter Seigo with a purpose and a plan: a certain color scheme, say, or a specific pattern; simple browsing simply won't cut it, with all the choices available. Seigo also sells regular neckties, as well as simply beautiful pocket squares, handkerchiefs, and ascots. Seigo Katsuragawa handcrafts each piece from kimono silk, giving his ties a unique sheen and texture. The colors are mouth-watering, the charming Japanese salesgirls are unwaveringly polite and friendly, and the cost? Around $50 for a bow tie, $45 for a pocket square. Much less than what you'd spend at Paul Stuart, and about the same as what you'd pay for a factory-made, mass-produced product at Brooks Brothers. If only we'd discovered Seigo sooner...

Favorite Entertainment Venue: The Metropolitan Room, 34 W. 22nd St., (212) 206-0440.


With Bobby Short and Eartha Kitt returned to Fabulon, there is very little reason to sell a kidney in order to afford a night at the Cafe Carlyle. With few exceptions, Feinstein's is no better, and often (in terms of service) worse. Which makes The Metropolitan such a breath of fresh air. Showcasing top talent like Marilyn Maye, Julie Wilson, Tammy Grimes and Annie Ross, as well as the cream of the rising cabaret upstarts, The Metropolitan also boasts a truly music-savvy audience. Unlike the Carlyle and Feinstein's, where high rollers attend shows simply to flaunt their bankroll, The Metropolitan attracts a crowd who knows their stuff, and appreciates the performers. Seating can get cramped at the communal tables, but hey, you'll always make new friends with your neighbors. Service can sometimes be on the slow side, but invariably sweet and well-intentioned. Even better, the cover charge hovers around $25-45, depending on the star perfomer, with a two drink minimum. It's very possible to have a fabulous night of entertainment here for two, and spend only around $75 total.

Favorite Theatre: The Walter Reade Theatre, 165 W. 65th St. (upper level), (212) 875-5601.


The Film Society at Lincoln Center presents its movies in a spacious, comfortable, clean space, and on an absolutely gorgeous big screen. Many of their revivals are studio prints, all the better to revel in their Technicolor/CinemaScope glory. This summer alone, we've seen glorious screenings of Gentlemen Prefer Blondes, The King and I, and Inside Daisy Clover; and we're seeing Gypsy and West Side Story this weekend. Frankly, that's our idea of a grand, gay time on the weekend, rather than X-ing it up with les boys out on the Pines.