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January 31, 2009

Susanna Foster’s real horror story was not Nelson Eddy’s Phantom of the Opera…but real life

maceddy Jeanette & Nelson phantom of the opera, Susanna Foster 0 Comments

Above, baritone Wilbur Evans with son Michael and wife Susanna Foster. Evans starred in the West End production of South Pacific.

Forget Phantom of the Opera, Nelson Eddy, Claude Rains, etc. For Susanna Foster, the real horror movie was played out in real life.

It seems that Michael Evans (Susanna Foster‘s son) has finally now begun telling in detail on his blog the painful details of his mother’s childhood and life…incidents that he talked to us about at the New York club meeting that left us somewhat stunned but very sympathetic.

Susanna’s mother Adie, his grandmother, was a monster – made Joan Crawford look like Good Housekeeping’s Mother of the Year!

The story is one of such horror, that one is amazed that Susanna Foster could have a career at all and become a movie star while still a teenager. Here’s an excerpt:

The Larson’s lived a comfortable upper-middle class life until the crash of 1929, and then all hell would break loose for millions of Americans.

After about 1931 when the dollars mysteriously ran out, things swiftly declined; Les could not find work, if he did it was menial, sold type writers, fixing small appliances etc. They often moved every month, being evicted for lack of rent $$.

There were many ‘episodes’ of witness, here’s just a few mentioned through the prism of my mother’s denial;

  • Victoria’s [sister] Scarlet Fever-Quarantined sign on the door.
  • Gas company turned off the gas- no heat-no cooking.
  • Les [father] appealed to the gas company-they would not turn it back on.
  • Les was humiliated when he had to steal gas from the downstairs neighbor.
  • Adie [mother] was paradoxically a “wonderful mother”/ nurse- Svengali- like.
  • Waking them up at 4am to clean house (very drunk)- “come on, come on everybody up, we got to clean this place.”
  • Dragging the girls across the floor by their hair when rage would frequent Adie.
  • Suzanne coming home from school to find the apartment wrecked, human feces on the kitchen walls with Adie slumped over the kitchen table, drunk and puking.
  • Terrific fights; where furniture was broken and bones nearly.
  • Kathleen [sister] would hold her breath and turn blue “…when she couldn’t get her way..”. Maybe just to survive.
  • Suzanne’s almost fatal bout with pneumonia.
  • Exceedingly lonely times for Suzanne, at 8 years would become the sole caretaker of her baby sisters “Baby” and “Sister.”

Michael Evans was a friend, he spoke at a MacDonald/Eddy New York luncheon, detailing some of the harsh realities of his family’s life and his mother’s mental illness. He expressed that his greatest fear was that he would eventually have mental issues as several other family members had suffered through in his mother’s and grandmother’s generations. Sadly, this proved out. He died in 2017.

January 28, 2009

Jeanette MacDonald & Nelson Eddy Cruise Collection available now!

maceddy Jeanette & Nelson cruise

Jeanette MacDonald & Nelson Eddy Cruise Collection

It’s here! Our Jeanette MacDonald and Nelson Eddy “goodie bag” that all the cruisers will get on our Valentine’s Week Western Caribbean cruise!

For 24 hours, you can get the same goodie bag on our website at a special package price.

Or better yet, come on the cruise and get it free!

January 28, 2009

Today in history…birthdate of Ernst Lubitsch, director of Jeanette MacDonald’s early Paramount films

maceddy Jeanette & Nelson 0 Comments

On January 28…

1892: Birthdate of German –born American director Ernst Lubitsch. His movies are witty and sophisticated, with a fine and malicious sexuality: in all of them there is the famous “Lubitsch touch”, that is an unconventional way to make a picture, based on his sarcastic sense of humour and his scornful view of life. Lubitsch had turned his back on his father’s tailoring business to enter the theater, and by 1911 he was a member of Max Reinhardt’s Deutsches Theater. His first film work came in 1912 as an actor. Gradually, he abandoned acting to concentrate on directing and in 1918 he made his mark as a serious director with Die Augen der Mumie Ma (The Eyes of the Mummy), a tragic drama starring Pola Negri. Lubitsch subsequently alternated between escapist comedies and grand-scale historical dramas; he enjoyed great international success with both. His reputation as a grand master of world cinema reached a new peak after the release of his spectacles Madame Du Barry (Passion, 1919) and Anna Boleyn (Deception, 1920). Lubitsch left Germany for Hollywood in 1922, invited by Mary Pickford. She allowed Lubitsch to sign with Warner Bros., where he established his reputation for sophisticated comedy with such stylish and delightful films as The Marriage Circle (1924), Lady Windermere’s Fan (1925), and So This Is Paris (1926). In 1928, when sound arrived in Hollywood, Lubitsch joined Paramount Pictures. With his first talkie, The Love Parade (1929), starring Maurice Chevalier and Jeanette MacDonald, Lubitsch hit his stride as a maker of worldly musical comedies (and got himself another Oscar nomination). With the beginning of the sound era, he created witty and sarcastic dialogue, and malicious and bizarre comedic situations. The Love Parade (1929), Monte Carlo (1930), and The Smiling Lieutenant (1931) were hailed by critics as masterpieces of the newly emerging musical genre. But whether with music, as in MGM’s opulent The Merry Widow (1934), or without, as in Paramount’s delicious Trouble in Paradise (1932, certainly his best film), One Hour with You (1932) and Design for Living (1933), Lubitsch continued to specialize in sophisticated comedy. He made only one other dramatic film, an antiwar picture, titled Broken Lullaby (aka The Man I Killed, 1932). In 1935 he was appointed that studio’s production manager and subsequently produced his own films and supervised the production of films of other directors. In 1939, Lubitsch moved to MGM, and directed the divine Greta Garbo in Ninotchka, a satirical and scintillating comedy in which the great actress laughed for the first time on the screen. Then he directed the delightful The Shop Around the Corner (1940), with James Stewart and Margaret Sullavan as a pair of secret admirers. He went independent to direct That Uncertain Feeling (1941, a remake of his 1925 film Kiss Me Again, and the cynical anti-Nazi comedy To Be or Not to Be (1942), Carole Lombard’s last picture. Lubitsch spent the balance of his career at 20th Century Fox, but a heart condition curtailed his activity. The last great picture made by the director is certainly Heaven Can Wait (1943), an elegant and ironic comedy. The plot is about Henry Van Cleve (played by Don Ameche) who presents himself at the gates of Hell only to find he is closely vetted on his qualifications for entry; surprised there is any question on his suitability, he recounts his lively life and the women he has known from his mother onwards, but mainly concentrating on his happy but sometimes difficult twenty-five years of marriage to Martha (played by the beautiful Gene Tierney).In March of 1947 he was awarded a special Academy Award for his “25-year contribution to motion pictures”. He died later that year of a heart attack, his sixth. His last film, That Lady in Ermine, with Betty Grable, was completed by Otto Preminger and released posthumously in 1948. At the director’s funeral, the great Billy Wilder said, “No more Lubitsch,” and William Wyler responded, “Worse than that. No more Lubitsch pictures”.

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Today in J/N History

1936 A day after the announcement of Jeanette's engagement to Gene Raymond, the press is advised that she will be filming a solo film, "The Firefly," as her follow-up film to "Maytime" with Nelson.

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