Notes On A Napkin

Here's a shot from 40 Carats (1973), starring Gene and Liv Ullmann, seated at the left of the photo. For me, the people behind the camera are as important as those in front. The man in glasses with the dark necktie seated next to the camera is outstanding cinematographer Charles Lang. Born in Bluff, Utah in 1902, Lang was nominated for an Oscar 18 times and won for A Farewell to Arms in 1934. In 1991, he received the Lifetime Achievement Award from the American Society of Cinematographers. He died in Santa Monica at the age of 96. The director, Milton Katselas, is seated cross-legged on the right. Born in Pittsburgh in 1933, Katselas is perhaps best known as an acting teacher, with students including George Clooney, Alec Baldwin, Michelle Pfeiffer, among many others. I sat in on one of his classes several years ago. We had lunch together and talked about his and Gene's Pittsburgh roots. He died in Los Angeles in 2008. Camera operator Arnie Rich is behind the camera. Steve Yaconelli was first camera assistant. Maybe some of you can confirm that he is next to the camera in the wire-rimmed glasses. Jean Louis designed the costumes and Michel Legrand did the music. Quite an array of talent, I'd say.

This photo of Van Doude, Barbara Laage and Gene for Gene's movie The Happy Road (1957) prompts me to acknowledge the 80th anniversary of the French luxury fashion design house founded by Pierre Balmain in 1945. Always finely tuned to fashion—for men and women—Gene chose Balmain to design the costumes for his movie set in France. The classic suit Laage is wearing here is a beautiful example. I loved that Gene paid close attention to every detail of things I wore, formal and informal, from spectator loafers to Carolyne Roehm ball gowns. He had an exquisite eye and did not miss a trick. I often hear people say that their partners don't notice or comment about their attire. I was fortunate, wasn't I?

Gene is not in this shot, but several notable figures are. Harry Beaton, played by the dancer Hugh Laing, is being detained by his "father" Archie Beaton, played by Tudor Owen. Laing, born in Barbados in 1911, danced with both Ballet Theater (the precursor of American Ballet Theatre) and New York City Ballet before being cast in Brigadoon (1954). He was briefly married to ballerina Diana Adams (who appeared with Gene in Invitation to the Dance). After they divorced, he continued his longtime relationship with choreographer Antony Tudor. He did in New York City in 1988. Tudor Owen was born in Penarth, Glamorgan, Wales in 1898. Prolific on radio, he was also the voice of Towser in One Hundred and One Dalmations. He died in Los Angeles in 1979. Standing to the left in this frame, is someone else you might recognize—lovely George Chakiris. George told me that when he and the other dancers were rehearsing the sword dance Gene checked to make sure they were okay. Gene was worried the dancers would get shin splints dancing on the hard surfaces, so he encouraged them to take breaks. He also brought them oranges. George and Gene performed together in Jacques Demy's The Young Girls of Rocheford (1967). Born in Norwood, Ohio in 1932, George is still with us and going strong. He turned his creative energy to making jewelry. You can find the beautiful pieces here: https://georgechakiris.com/jewelry/concert-hall-collection

Gene called his friend Gower Champion to see if Gower wanted to join him—"for kicks"—in his upcoming CBS TV Special "Gene Kelly in New York, NY." At first Gower said no. He had given up dancing and was focusing on directing on Broadway. At the time, he was in rehearsals for "Bascom Burrow," a comedy starring Paul Ford. But his wife Marge encouraged him to do it, so he called Gene and said, "Make sure it's an easy number." Gene thought Marge and Gower Champion were one of the best dance teams in town. But the public didn't cotton to them as they did to Astaire and Rogers. The same happened with Veloz and Yolanda and the DeMarcos. Superb dancers, all, but, as Gene said, "the public didn't buy them." I had the pleasure of meeting Marge Champion but Gower Champion died in 1980, before I met Gene.

This could be a flock or cluster, but I prefer the alliterative in this case, so let's go with Gene and a bevy of beauties from The Pirate (1948). I tried to identify each woman from the cast list on IMDb, but I'm not certain of their identities. I believe they are Lola Albright, Ellen Ross, Jean Dean, Mary Jo Ellis, Marion Murray, with Albright being at the bottom of the frame. All except Ellis were born in the Midwest. Ellis in Henrietta, TX. Dean and Murray died before Gene and the others after. I'd say that all look pleased to be with dear Serafin, who looks dashing in the center. If you haven't seen The Pirate, please add it to your list. I love it. I think the chemistry between Gene and Judy Garland is palpable. p.s. I bought the black shirt at auction, so it is here in the collection.

I love this photo of Gene rehearsing with his three co-stars in Les Girls: Taina Elg, Mitzi Gaynor and Kay Kendall. He adored them and, from what I heard directly from Taina and Mitzi, the feeling was mutual. These were all pros—they came in, learned their lines, hit their marks and did the numbers even when they had to dance hurt. I wish I'd been able to meet Kay Kendall. According to Gene, she had a terrific sense of humor. He loved that in a woman (men, too, but this post is about the ladies!).

I just purchased this oversized original photo from the "Gotta Dance" segment of Singin' in the Rain. Gene told me that he thought the first bars of this when he dances alone represent the best dancing that he ever did on screen. I'm afraid that means you will have to run this number again if you want to catch this bit. As Gene would say, "What a shame."

Just as I was working to stomp out the myth of a rift between Gene and his dear friend Frank Sinatra, another malevolent piece popped up describing Gene's "bitter falling out with Judy Garland" on the set of For Me and My Gal. Described as a "scandal" it purportedly confirms the "whispers about his volatile nature off-screen." I would ordinarily let this stuff slide, figuring that addressing it only draws attention to the lies. But, sadly, given the status of "journalism" these days, things in print are taken as fact and they get repeated across platforms and, sadly, in books that pretend to tell the truth. People counter the falsehoods by saying things like, "there are two sides" or "there must be some truth to it," etc. No, folks. THERE IS NO TRUTH TO IT AND THERE AREN'T TWO SIDES. It is completely false and distorts the truth about one of the greatest Hollywood friendships and professional relationships. It tarnishes the images of both parties—Gene, certainly, but Judy as well as it distracts from her kindness and the brilliance of her mind and the evergreen love and respect they had for each other. I don't know what is causing this surge in false stories about true friends. AI? If I knew that people would ignore them, that they would not be copied, forwarded, repeated as fact in books, I could leave it alone. But, given the current climate, I am not assured of that. These two giants deserve better. And now I'll step off my soapbox for a moment to day: Aren't they beautiful together?

I was transcribing an interview Gene did back in 1976 for the publication Australian Women's Weekly so I can submit it for copyright protection with the Library of Congress, and I was touched by the way he described working with Judy Garland on his first film For Me and My Gal (1942). "I was a complete beginner and Judy showed me the ropes," he said. "She was a person of extraordinary talent and had no problems at all then. I’d follow her around on the set and she’d always put me right when I made a mistake." He spoke with me often about Judy and, yes, I will share much of that in the book. But, for now, I love the image of him padding around behind her on the set, waiting for her to correct him when he made a mistake. He loved her, was indebted to her, and always credited her with his career. Not light stuff, I'd say.

Okay, time for a little myth busting. Things have been quiet for a bit, but, in the past few days, there has been an explosion of falsehoods about the relationship between Gene and @sinatra stating that their offscreen relationship was "unpleasant." Sorry to use vulgar British slang, but that's pure bollocks. The accounts cite faulty "biographies" of Gene, along with comments from Stanley Donen, a demonstrably unreliable source when it comes to Gene. I spoke with Gene at length about Frank. He loved him and always insisted that they were "closer than brothers." I got to experience that love firsthand and can affirm that the affection was mutual. Frank also told me that he loved Gene. He not only spoke of his affection and respect for Gene, he demonstrated it clearly in many ways at the end of Gene's life. Ordinarily, I would not bother to respond to this drivel, but I don't want the falsehoods to be legitimized simply because they are in print and are being picked up by numerous publications. Because the inaccuracies are in black and white does not make them fact. I treasure the time I got to spend with these two magnificent men and they treasured the time they got to spend together. No way that is being tarnished as long as I'm around and, with hope, you will keep the flame when I kick the bucket.