Publicity photo (c. 1944)
Hedwig Eva Maria Kiesler
November 9, 1914
|Died||January 19, 2000 85) (aged|
Casselberry, Florida, U.S.
Hedy Lamarr ( // ), born Hedwig Eva Maria Kiesler (November 9, 1914 – January 19, 2000), was an Austrian-born American film actress and inventor who was posthumously inducted into the National Inventors Hall of Fame.
After a brief early film career in Czechoslovakia, including the controversial Ecstasy (1933), she fled from her husband, a wealthy Austrian ammunition manufacturer, and secretly moved to Paris. Traveling to London, she met Louis B. Mayer, head of Metro-Goldwyn-Mayer (MGM) studio, who offered her a movie contract in Hollywood.
She became a star with her performance in Algiers (1938), her first film made in the United States.Her MGM films include Lady of the Tropics (1939), Boom Town (1940), H.M. Pulham, Esq. (1941), and White Cargo (1942). Her greatest success was as Delilah in Cecil B. DeMille's Samson and Delilah (1949). She also acted on television before the release of her final film, The Female Animal (1958). She was honored with a star on the Hollywood Walk of Fame in 1960.
At the beginning of World War II, Lamarr and composer George Antheil developed a radio guidance system for Allied torpedoes, intended to use frequency-hopping spread spectrum technology to defeat the threat of jamming by the Axis powers.Although the US Navy did not adopt the technology until the 1960s, various spread-spectrum techniques are incorporated into Bluetooth technology and are similar to methods used in legacy versions of Wi-Fi. Recognition of the value of this work resulted in the pair being inducted into the National Inventors Hall of Fame in 2014.
Lamarr was born Hedwig Eva Maria Kiesler in 1914 in Vienna, Austria-Hungary, the only child of Gertrud "Trude" Kiesler (née Lichtwitz; 1894–1977) and Emil Kiesler (1880–1935). Her father was born to a Galician-Jewish family in Lemberg, Austrian empire (now known as Lviv in Ukraine) and was a successful bank manager. 8Her mother, Trude, a pianist and Budapest native, had come from an upper-class Hungarian-Jewish family. She converted to Catholicism as an adult and raised her daughter Hedy as a Catholic as well but she was not formally baptized at the time. :
As a child, Lamarr showed an interest in acting and was fascinated by theatre and film. At the age of 12, she won a beauty contest in Vienna.
Lamarr helped get her mother out of Austria after the Anschluss and to the United States, where Gertrud Kiesler later became an American citizen. She put "Hebrew" as her race on her petition for naturalization, a term that had been frequently used in Europe.
Still using her maiden name of Hedy Kiesler, she took acting classes in Vienna. One day, she forged a permission note from her mother and went to Sascha-Film, where she was hired at the age of 16 as a script girl. She gained a role as an extra in Money on the Street (1930), and then a small speaking part in Storm in a Water Glass (1931). Producer Max Reinhardt cast her in a play entitled The Weaker Sex, which was performed at the Theater in der Josefstadt. Reinhardt was so impressed with her that he arranged for her to return with him to Berlin, where he was based.
Kiesler never trained with Reinhardt nor appeared in any of his Berlin productions. After meeting Russian theatre producer Alexis Granowsky, she was cast in his film directorial debut, The Trunks of Mr. O.F. (1931), starring Walter Abel and Peter Lorre.Granowsky soon moved to Paris, but Kiesler stayed in Berlin to work. She was given the lead role in No Money Needed (1932), a comedy directed by Carl Boese. Her next film brought her international fame.
In early 1933, at age 18, Hedy Kiesler, still working under her maiden name, was given the lead in Gustav Machatý's film Ecstasy (Ekstase in German, Extase in Czech). She played the neglected young wife of an indifferent older man.
The film became both celebrated and notorious for showing the actress's face in the throes of an orgasm. According to Marie Benedict's book The Only Woman In The Room, Kiesler's expression resulted from someone sticking her with a pin. She was also shown in closeups and brief nude scenes, the latter reportedly a result of the actress being "duped" by the director and producer, who used high-power telephoto lenses.
Although Kiesler was dismayed and now disillusioned about taking other roles, the film gained world recognition after winning an award in Rome. Throughout Europe, it was regarded as an artistic work. In the United States, it was considered overly sexual and received negative publicity, especially among women's groups.It was banned there and in Germany, which was becoming increasingly conservative.
Kiesler also played a number of stage roles, including a starring one in Sissy, a play about Empress Elisabeth of Austria produced in Vienna in early 1933, just as Ecstasy premiered. It won accolades from critics.
Admirers sent roses to her dressing room and tried to get backstage to meet Kiesler. She sent most of them away, including an insistent Friedrich Mandl.He became obsessed with getting to know her. Mandl was a Viennese arms merchant and munitions manufacturer who was reputedly the third-richest man in Austria. She fell for his charming and fascinating personality, partly due to his immense wealth. Her parents, both of Jewish descent, did not approve, as Mandl had ties to Italian fascist leader Benito Mussolini, and later, German Führer Adolf Hitler, but they could not stop their headstrong daughter.
On August 10, 1933, at the age of 18, Kiesler married Mandl, then 33. The son of a Jewish father and a Catholic mother, Mandl insisted that she convert to Catholicism before their wedding in Vienna Karlskirche. In her autobiography Ecstasy and Me , she described Mandl as an extremely controlling husband. He strongly objected to her having been filmed in the simulated orgasm scene in Ecstasy and prevented her from pursuing her acting career. She claimed she was kept a virtual prisoner in their castle home,Castle Schwarzenau in the remote Waldviertel near the Czech border.
Mandl had close social and business ties to the Italian government, selling munitions to the country,and, despite his own part-Jewish descent, had ties to the Nazi regime of Germany. Kiesler accompanied Mandl to business meetings, where he conferred with scientists and other professionals involved in military technology. These conferences were her introduction to the field of applied science and she became interested in nurturing her latent talent in science.
Finding her marriage to Mandl eventually unbearable, Kiesler decided to flee her husband as well as her country. In her autobiography, she wrote that she disguised herself as her maid and fled to Paris. Friedrich Otto's account says that she persuaded Mandl to let her wear all of her jewelry for a dinner party, then disappeared afterward.She writes about her marriage:
I knew very soon that I could never be an actress while I was his wife. ... He was the absolute monarch in his marriage. ... I was like a doll. I was like a thing, some object of art which had to be guarded—and imprisoned—having no mind, no life of its own. 28–29:
After arriving in London in 1937,she met Louis B. Mayer, head of MGM, who was scouting for talent in Europe. She initially turned down the offer he made her (of $125 a week), but booked herself onto the same New York-bound liner as he. During the trip, she impressed him enough to secure a $500 a week contract. Mayer persuaded her to change her name from Hedwig Kiesler (to distance herself from "the Ecstasy lady" reputation associated with it) ; she chose the surname "Lamarr" in homage to the beautiful silent film star, Barbara La Marr, on the suggestion of Mayer's wife, Margaret Shenberg.
When Mayer brought Lamarr to Hollywood in 1938, he began promoting her as the "world's most beautiful woman".He introduced her to producer Walter Wanger, who was making Algiers (1938), an American version of the noted French film, Pépé le Moko (1937).
Lamarr was cast in the lead opposite Charles Boyer. The film created a "national sensation", says Shearer. 77 Lamarr was billed as an unknown but well-publicized Austrian actress, which created anticipation in audiences. Mayer hoped she would become another Greta Garbo or Marlene Dietrich. :77 According to one viewer, when her face first appeared on the screen, "everyone gasped ... Lamarr's beauty literally took one's breath away." :2:
In future Hollywood films, Lamarr was invariably typecast as the archetypal glamorous seductress of exotic origin. Her second American film was I Take This Woman (1940), co-starring with Spencer Tracy under the direction of regular Dietrich collaborator, Josef von Sternberg. Von Sternberg was fired during the shoot, and replaced by Frank Borzage. The film was put on hold, and Lamarr was put into Lady of the Tropics (1939), where she played a mixed-race seductress in Saigon opposite Robert Taylor. She returned to I Take This Woman, re-shot by W. S. Van Dyke. The resulting film was a flop.
Far more popular was Boom Town (1940) with Clark Gable, Claudette Colbert and Spencer Tracy; it made $5 million.MGM promptly reteamed Lamarr and Gable in Comrade X (1940), a comedy film in the vein of Ninotchka (1939), which was another hit.
Lamarr was teamed with James Stewart in Come Live with Me (1941), playing a Viennese refugee. Stewart was also featured in Ziegfeld Girl (1941), in which Lamarr, Judy Garland, and Lana Turner played aspiring showgirls; it was a big success.
Lamarr was top-billed in H. M. Pulham, Esq. (1941), although the film's protagonist was the title role played by Robert Young. She made a third film with Tracy, Tortilla Flat (1942). It was successful at the box office, as was Crossroads (1942) with William Powell.
Lamarr played the seductive native girl Tondelayo in White Cargo (1942), top-billed over Walter Pidgeon. It was a huge hit. White Cargo contains arguably her most memorable film quote, delivered with provocative invitation: "I am Tondelayo. I make tiffin for you?" This line typifies many of Lamarr's roles, which emphasized her beauty and sensuality while giving her relatively few lines. The lack of acting challenges bored Lamarr. She reportedly took up inventing to relieve her boredom.
She was reunited with Powell in a comedy The Heavenly Body (1944), then was borrowed by Warner Bros for The Conspirators (1944). This was an attempt to repeat the success of Casablanca (1943), and RKO borrowed her for a melodrama Experiment Perilous (1944), directed by Jacques tourneur.
Back at MGM Lamarr was teamed with Robert Walker in the romantic comedy Her Highness and the Bellboy (1945), playing a princess who falls in love with a New Yorker. It was very popular, but would be the last film she made under her MGM contract.
Her off-screen life and personality during those years was quite different from her screen image. She spent much of her time feeling lonely and homesick. She might swim at her agent's pool, but shunned the beaches and staring crowds. When asked for an autograph, she wondered why anyone would want it. Writer Howard Sharpe interviewed her and gave his impression:
Hedy has the most incredible personal sophistication. She knows the peculiarly European art of being womanly; she knows what men want in a beautiful woman, what attracts them, and she forces herself to be these things. She has magnetism with warmth, something that neither Dietrich nor Garbo has managed to achieve.
Author Richard Rhodes describes her assimilation into American culture:
Of all the European émigrés who escaped Nazi Germany and Nazi Austria, she was one of the very few who succeeded in moving to another culture and becoming a full-fledged star herself. There were so very few who could make the transition linguistically or culturally. She really was a resourceful human being–I think because of her father's strong influence on her as a child.
Lamarr wanted to join the National Inventors Council, but was reportedly told by NIC member Charles F. Kettering and others that she could better help the war effort by using her celebrity status to sell war bonds.
She participated in a war bond-selling campaign with a sailor named Eddie Rhodes. Rhodes was in the crowd at each Lamarr appearance, and she would call him up on stage. She would briefly flirt with him before asking the audience if she should give him a kiss. The crowd would say yes, to which Hedy would reply that she would if enough people bought war bonds. After enough bonds were purchased, she would kiss Rhodes and he would head back into the audience. Then they would head off to the next war bond rally.
After leaving MGM in 1945, Lamarr formed a production company with Jack Chertok and made the thriller The Strange Woman (1946). It went over budget and only made minor profits.
She and Chertok then made Dishonored Lady (1947), another thriller starring Lamarr, which also went over budget – but was not a commercial success. She tried a comedy with Robert Cummings, Let's Live a Little (1948).
Lamarr enjoyed her greatest success playing Delilah opposite Victor Mature as the biblical strongman in Cecil B. DeMille's Samson and Delilah , the highest-grossing film of 1950. The film also won two Academy Awards, for Best Art Direction and Best Costume Design. She won critical acclaim for her portrayal of Delilah. Showmen's Trade Review previewed the film before its release and commended Lamarr's performance: "Miss Lamarr is just about everyone's conception of the fair-skinned, dark-haired, beauteous Delilah, a role tailor-made for her, and her best acting chore to date."Photoplay wrote, "As Delilah, Hedy Lamarr is treacherous and tantalizing, her charms enhanced by Technicolor."
Lamarr returned to MGM for a film noir with John Hodiak, A Lady Without Passport (1950), which flopped. More popular were two pictures she made at Paramount, a Western with Ray Milland, Copper Canyon (1950), and a Bob Hope spy spoof, My Favorite Spy (1951).
Her career went into decline. She went to Italy to play multiple roles in Loves of Three Queens (1954), which she also produced. However she lacked the experience necessary to make a success of such an epic production, and lost millions of dollars when she was unable to secure distribution of the picture.
She was Joan of Arc in Irwin Allen's critically panned epic, The Story of Mankind (1957) and did episodes of Zane Grey Theatre ("Proud Woman") and Shower of Stars ("Cloak and Dagger"). Her last film was a thriller The Female Animal (1958).
Lamarr was signed to act in the 1966 film Picture Mommy Dead ,but was let go when she collapsed during filming from nervous exhaustion. She was replaced in the role of Jessica Flagmore Shelley by Zsa Zsa Gabor.
Although Lamarr had no formal training and was primarily self-taught, she worked in her spare time on various hobbies and inventions, which included an improved traffic stoplight and a tablet that would dissolve in water to create a carbonated drink. The beverage was unsuccessful; Lamarr herself said it tasted like Alka-Seltzer.
Among the few who knew of Lamarr's inventiveness was aviation tycoon Howard Hughes. She suggested he change the rather square design of his aeroplanes (which she thought looked too slow) to a more streamlined shape, based on pictures of the fastest birds and fish she could find. Lamarr discussed her relationship with Hughes during an interview, saying that while they dated, he actively supported her inventive "tinkering" hobbies. He put his team of scientists and engineers at her disposal, saying they would do or make anything she asked for.
During World War II, Lamarr learned that radio-controlled torpedoes, an emerging technology in naval war, could easily be jammed and set off course.She thought of creating a frequency-hopping signal that could not be tracked or jammed. She contacted her friend, composer and pianist George Antheil, to help her develop a device for doing that, and he succeeded by synchronizing a miniaturized player-piano mechanism with radio signals. They drafted designs for the frequency-hopping system, which they patented. Antheil recalled:
We began talking about the war, which, in the late summer of 1940, was looking most extremely black. Hedy said that she did not feel very comfortable, sitting there in Hollywood and making lots of money when things were in such a state. She said that she knew a good deal about munitions and various secret weapons ... and that she was thinking seriously of quitting MGM and going to Washington, DC, to offer her services to the newly established National Inventors Council.
Their invention was granted a patent under US Patent 2,292,387 on August 11, 1942 (filed using her married name Hedy Kiesler Markey).However, it was technologically difficult to implement, and at that time the U.S. Navy was not receptive to considering inventions coming from outside the military. In 1962 (at the time of the Cuban missile crisis), an updated version of their design was installed on Navy ships. Their contributions were formally recognized in the late twentieth and early twenty-first centuries.
Lamarr was married and divorced six times and had three children:
Following her sixth and final divorce in 1965, Lamarr remained unmarried for the last 35 years of her life.
Lamarr claimed in her life that James Lamarr Markey/Loder was biologically unrelated and she had adopted him during her marriage to Gene Markey.But in 2001 it was reported that James had found documentation that he was the out-of-wedlock son of Lamarr and actor John Loder, whom she later married as her third husband. Lamarr had two more children with Loder after their marriage: Denise (born 1945) and Anthony (born 1947).
Lamarr became a naturalized citizen of the United States at age 38 on April 10, 1953. Her autobiography, Ecstasy and Me , was published in 1966. In a 1969 interview on The Merv Griffin Show, she said that she did not write it and claimed that much was fictional.Lamarr sued the publisher in 1966 to halt publication, saying that many details were fabricated by its ghost writer, Leo Guild. She lost the suit. In 1967 Lamarr was sued by Gene Ringgold, who asserted that the book plagiarized material from an article he had written in 1965 for Screen Facts magazine.
In the late 1950s Lamarr designed and, with husband W. Howard Lee, developed the Villa LaMarr ski resort in Aspen, Colorado.After their divorce, her husband gained this resort.
In 1966, Lamarr was arrested in Los Angeles for shoplifting. The charges were eventually dropped. In 1991, she was arrested on the same charge in Florida, this time for stealing $21.48 worth of laxatives and eye drops.She pleaded no contest to avoid a court appearance, and the charges were dropped in return for her promise to refrain from breaking any laws for a year. The shoplifting charges coincided with her failed attempt to return to the screen.
During the 1970s, Lamarr lived in increasing seclusion. She was offered several scripts, television commercials, and stage projects, but none piqued her interest. In 1974, she filed a $10 million lawsuit against Warner Bros., claiming that the running parody of her name ("Hedley Lamarr") featured in the Mel Brooks comedy Blazing Saddles infringed her right to privacy. Brooks said he was flattered; the studio settled out of court for an undisclosed nominal sum and an apology to Lamarr for "almost using her name". Brooks said that Lamarr "never got the joke".With her eyesight failing, Lamarr retreated from public life and settled in Miami Beach, Florida, in 1981.
In 1996 a large Corel-drawn image of Lamarr won the annual cover design contest for the CorelDRAW's yearly software suite. For several years, beginning in 1997, it was featured on boxes of the software suite. Lamarr sued the company for using her image without her permission. Corel countered that she did not own rights to the image. The parties reached an undisclosed settlement in 1998.
Lamarr became estranged from her adopted son, James Lamarr Loder, when he was 12 years old. Their relationship ended abruptly, and he moved in with another family. They did not speak again for almost 50 years. Lamarr left James Loder out of her will, and he sued for control of the US$3.3 million estate left by Lamarr in 2000.He eventually settled for US$50,000.
In the last decades of her life, Lamarr communicated only by telephone with the outside world, even with her children and close friends. She often talked up to six or seven hours a day on the phone, but she spent hardly any time with anyone in person in her final years. A documentary, Calling Hedy Lamarr, was released in 2004 and featured her children, Anthony Loder and Denise Loder-DeLuca.
Lamarr died in Casselberry, Florida,on January 19, 2000, of heart disease, aged 85. According to her wishes, she was cremated and her son Anthony Loder spread her ashes in Austria's Vienna Woods.
In 1939, Lamarr was selected the "most promising new actress" of 1938 in a poll of area voters conducted by a Philadelphia Record film critic.
In 1951, British moviegoers voted Lamarr the tenth best actress of 1950,for her performance in Samson and Delilah .
In 1997, Lamarr and George Antheil were jointly honored with the Electronic Frontier Foundation's Pioneer Awardand Lamarr also was the first woman to receive the Invention Convention's BULBIE Gnass Spirit of Achievement Award, known as the "Oscars of inventing".
In 2014, Lamarr was posthumously inducted into the National Inventors Hall of Fame for frequency-hopping spread spectrum technology.
Source: 107525|68054 Hedy Lamarr at the TCM Movie Database
|1930||Money on the Street||Young Girl||Georg Alexander||Original title: Geld auf der Straße|
|1931||Storm in a Water Glass||Secretary||Paul Otto||Original title: Sturm im Wasserglas|
|1931||The Trunks of Mr. O.F.||Helene||Alfred Abel||Original title: Die Koffer des Herrn O.F.|
|1932||No Money Needed||Käthe Brandt||Heinz Rühmann||Original title: Man braucht kein Geld|
|1933||Ecstasy||Eva Hermann||Aribert Mog||Original title: Ekstase|
|1939||Lady of the Tropics||Manon deVargnes Carey||Robert Taylor|
|1940||I Take This Woman||Georgi Gragore Decker||Spencer Tracy|
|1940||Boom Town||Karen Vanmeer||Clark Gable|
|1940||Comrade X||Golubka/ Theodore Yahupitz/ Lizvanetchka "Lizzie"||Clark Gable|
|1941||Come Live With Me||Johnny Jones||James Stewart|
|1941||Ziegfeld Girl||Sandra Kolter||James Stewart|
|1941||H.M. Pulham, Esq.||Marvin Myles Ransome||Robert Young|
|1942||Tortilla Flat||Dolores Ramirez||Spencer Tracy|
|1942||Crossroads||Lucienne Talbot||William Powell|
|1942||White Cargo||Tondelayo||Walter Pidgeon|
|1944||The Heavenly Body||Vicky Whitley||William Powell|
|1944||The Conspirators||Irene Von Mohr||Paul Henreid|
|1944||Experiment Perilous||Allida Bederaux||George Brent|
|1945||Her Highness and the Bellboy||Princess Veronica||Robert Walker|
|1946||The Strange Woman||Jenny Hager||George Sanders||and Producer|
|1947||Dishonored Lady||Madeleine Damien||Dennis O'Keefe||and Producer|
|1948||Let's Live a Little||Dr. J.O. Loring||Robert Cummings||and Producer|
|1949||Samson and Delilah||Delilah||Victor Mature||Her first film in Technicolor|
|1950||A Lady Without Passport||Marianne Lorress||John Hodiak|
|1950||Copper Canyon||Lisa Roselle||Ray Milland|
|1951||My Favorite Spy||Lily Dalbray||Bob Hope|
|1954||Loves of Three Queens|| Helen of Troy,|
Joséphine de Beauharnais,
Genevieve of Brabant
| Massimo Serato,|
|Original title: L'amante di Paride|
|1957||The Story of Mankind||Joan of Arc||Ronald Colman|
|1958||The Female Animal||Vanessa Windsor||George Nader|
|1957||Dick Powell's Zane Grey Theatre||"Proud Woman"|
Hedy Lamarr starred in the following radio dramas:
|1941||Lux Radio Theatre||"Algiers"|
|1941||Lux Radio Theatre||"The Bride Came C.O.D."|
|1942||The Screen Guild Theater||"Too Many Husbands"|
|1942||Lux Radio Theatre||"H. M. Pulham, Esq."|
|1942||Lux Radio Theatre||"Love Crazy"|
|1943||The Screen Guild Theater||"Come Live with Me"|
|1944||Lux Radio Theatre||"Casablanca"|
|1944||Silver Theater||"She Looked Like an Angel"|
|1945||Radio Hall of Fame||"Experiment Perilous"|
|1951||Lux Radio Theatre||"Samson and Delilah"|
The Mel Brooks 1974 western parody Blazing Saddles features a male villain named "Hedley Lamarr". As a running gag, various characters mistakenly refer to him as "Hedy Lamarr" prompting him to testily reply "That's Hedley."
In the 1982 off-Broadway musical Little Shop of Horrors and subsequent film adaptation (1986), Audrey II says to Seymour in the song "Feed Me" that he can get Seymour anything he wants, including "A date with Hedy Lamarr."
In 2008, an off-Broadway play, Frequency Hopping, features the lives of Lamarr and Antheil. The play was written and staged by Elyse Singer, and the script won a prize for best new play about science and technology from STAGE.
In 2010, Lamarr was selected out of 150 IT people to be featured in a short film launched by the British Computer Society on May 20.
Also during 2010, the New York Public Library exhibit Thirty Years of Photography at the New York Public Library included a photo of a topless Lamarr (c. 1930) by Austrian-born American photographer Trude Fleischmann.
In 2011, the story of Lamarr's frequency-hopping spread spectrum invention was explored in an episode of the Science Channel show Dark Matters: Twisted But True , a series that explores the darker side of scientific discovery and experimentation, which premiered on September 7.Her work in improving wireless security was part of the premiere episode of the Discovery Channel show How We Invented the World.
Also during 2011, Anne Hathaway revealed that she had learned that the original Catwoman was based on Lamarr, so she studied all of Lamarr's films and incorporated some of her breathing techniques into her portrayal of Catwoman in the 2012 film The Dark Knight Rises .
In 2015, on November 9, the 101st anniversary of Lamarr's birth, Google paid tribute to Lamarr's work in film and her contributions to scientific advancement with an animated Google Doodle.
In 2016, Lamarr was depicted in an off-Broadway play, HEDY! The Life and Inventions of Hedy Lamarr, a one-woman show written and performed by Heather Massie.
In 2016, the off-Broadway, one-actor show Stand Still and Look Stupid: The Life Story of Hedy Lamarr starring Emily Ebertz and written by Mike Broemmel went into production.
Also during 2016, Whitney Frost, a character in the TV show Agent Carter, was inspired by Lamarr and Lauren Bacall.
In 2017, actress Celia Massingham portrayed Lamarr on The CW television series Legends of Tomorrow in the sixth episode of the third season, titled "Helen Hunt". The episode is set in 1937 "Hollywoodland" and references Lamarr's reputation as an inventor. The episode aired on November 14, 2017.
Also during 2017, Bombshell: The Hedy Lamarr Story , written and directed by Alexandra Dean and produced by Susan Sarandon, a documentaryabout Lamarr's career as an actress and later as an inventor, premiered at the 2017 Tribeca Film Festival. It was released in theaters on November 24, 2017, and aired on PBS American Masters in May 2018.
In 2018, actress Alyssa Sutherland portrayed Lamarr on the NBC television series Timeless in the third episode of the second season, titled "Hollywoodland". The episode aired March 25, 2018.
Gal Gadot will portray Lamarr in a limited Showtime series on her.
Asteroid 32730 Lamarr, discovered by Karl Reinmuth at Heidelberg Observatory in 1951, was named in her memory. M.P.C. 115894).The official naming citation was published by the Minor Planet Center on August 27, 2019 (
Batman co-creator Bob Kane was a great movie fan and his love for film provided the impetus for several Batman characters, among them, Catwoman. Among Kane's inspiration for Catwoman were Lamarr and actress Jean Harlow.
Samson and Delilah is a 1949 American romantic biblical drama film produced and directed by Cecil B. DeMille and released by Paramount Pictures. It depicts the biblical story of Samson, a strongman whose secret lies in his uncut hair, and his love for Delilah, the woman who seduces him, discovers his secret, and then betrays him to the Philistines. It stars Hedy Lamarr and Victor Mature in the title roles, George Sanders as the Saran, Angela Lansbury as Semadar, and Henry Wilcoxon as Ahtur.
Manoah is a figure from the Book of Judges 13:1-23 and 14:2-4 of the Hebrew Bible. His name means "rest" or "peace".
Famke Beumer Janssen is a Dutch actress, director, screenwriter, and former fashion model. She played Xenia Onatopp in GoldenEye (1995), Jean Grey / Phoenix in the X-Men film series (2000–2014), Ava Moore on Nip/Tuck, and Lenore Mills in the Taken film trilogy (2008–2014). In 2008, she was appointed a Goodwill Ambassador for Integrity by the United Nations. She made her directorial debut with Bringing Up Bobby in 2011. She is also known for her role in the Netflix original series Hemlock Grove and for her role in ABC's How to Get Away with Murder. Janssen starred in the 2017 NBC crime thriller The Blacklist: Redemption.
Delilah is a woman mentioned in the sixteenth chapter of the Book of Judges in the Hebrew Bible. She is loved by Samson, a Nazirite who possesses great strength and serves as the final Judge of Israel. Delilah is bribed by the lords of the Philistines to discover the source of his strength. After three failed attempts at doing so, she finally goads Samson into telling her that his vigor is derived from his hair. As he sleeps, Delilah orders a servant to cut Samson's hair, thereby enabling her to turn him over to the Philistines.
Ecstasy is a 1933 Czech erotic romantic drama film directed by Gustav Machatý and starring Hedy Lamarr, Aribert Mog, and Zvonimir Rogoz.
Algiers is a 1938 American drama film directed by John Cromwell and starring Charles Boyer, Sigrid Gurie, and Hedy Lamarr. Written by John Howard Lawson, the film is about a notorious French jewel thief hiding in the labyrinthine native quarter of Algiers known as the Casbah. Feeling imprisoned by his self-imposed exile, he is drawn out of hiding by a beautiful French tourist who reminds him of happier times in Paris. The Walter Wanger production was a remake of the successful 1937 French film Pépé le Moko, which derived its plot from the Henri La Barthe novel of the same name.
Nancy Ann Olson is an American actress. She received an Academy Award nomination for Best Supporting Actress for her portrayal of Betty Schaefer in Sunset Boulevard (1950). She co-starred with William Holden in four films, and also later appeared in Disney's The Absent-Minded Professor (1961) and its sequel, Son of Flubber (1963), as well as the disaster film Airport 1975 (1974).
Friedrich ('Fritz') Mandl was chairman of Hirtenberger Patronen-Fabrik, a leading Austrian armaments firm founded by his father, Alexander Mandl.
Inventors' Day is a day of the year set aside by a country to recognise the contributions of inventors. Not all countries recognise Inventors' Day. Those countries which do recognise an Inventors' Day do so with varying degrees of emphasis and on different days of the year.
John Loder was established as a British film actor in Germany and Britain before immigrating to the United States in 1928 for work in the new talkies. He worked in Hollywood for two periods, becoming an American citizen in 1947. After living also in Argentina, he became a naturalized British citizen in 1959.
Jiřina Steimarová was a Czech film and television actress.
I Take This Woman is a 1931 American pre-Code romance film directed by Marion Gering and starring Gary Cooper and Carole Lombard.
Dishonored Lady is a 1947 American film noir crime film directed by Robert Stevenson and starring Hedy Lamarr, Dennis O'Keefe, and John Loder. It is based on the 1930 play Dishonored Lady by Edward Sheldon and Margaret Ayer Barnes. The film is also known as Sins of Madeleine. Hedy Lamarr and John Loder were married when they made this film; they divorced before the year was out.
Lana Turner (1921–1995) was an American actress who appeared in over fifty films during her career, which spanned four decades. Discovered in 1937 at age 16, she signed a contract with Warner Bros. but soon transferred to Metro-Goldwyn-Mayer. The studio's co-founder, Louis B. Mayer, helped further her career by casting her in several youth-oriented comedies and musicals, including Dancing Co-Ed (1939) and Ziegfeld Girl (1941), the latter of which was a commercial success and helped establish her as one of the studio's leading performers. Turner subsequently co-starred with Clark Gable in the drama Somewhere I'll Find You (1943), the first of four films she would appear in with him.
Ecstasy and Me is the tell-all style autobiography of Austrian-born actress and inventor Hedy Lamarr, co-written with Leo Guild and Cy Rice and first published in 1966. According to biographer Stephen Michael Shearer, author of Beautiful: The Life of Hedy Lamarr, the actress approved the ghostwritten book before she read it and "most of it is fiction". Lamarr condemned the book's contents as "fictional, false, vulgar, scandalous, libelous and obscene". She made a public television appearance on the Merv Griffin Show where she said "that's not my book" and mentions writing a book called "Hedy".
Abroad with Two Yanks is a 1944 American comedy film directed by Allan Dwan and starring Helen Walker, William Bendix and Dennis O'Keefe as the title characters. It was Bendix's third and final role in a film as a US Marine and the first of Dwan's three films about the United States Marine Corps.
Let's Live a Little is a 1948 American romantic comedy film directed by Richard Wallace and starring Hedy Lamarr and Robert Cummings. Written by Howard Irving Young, Edmund L. Hartmann, Albert J. Cohen, and Jack Harvey, the film is about an overworked advertising executive who is being pursued romantically by his former fiancée, a successful perfume magnate, who is also the ad agency's largest client. While visiting a new client—a psychiatrist and author—to discuss a proposed ad campaign, his life becomes further complicated when the new client turns out to be a beautiful woman, who decides to treat his nervous condition.
Lady of the Tropics is a 1939 American drama film directed by Jack Conway, starring Robert Taylor, Hedy Lamarr, and Joseph Schildkraut. The film was nominated for the Oscar for Best Cinematography.
Loves of Three Queens, also known as The Face That Launched a Thousand Ships, is a 1954 Italian anthology film. It was directed by Marc Allégret and Edgar G. Ulmer and stars Hedy Lamarr.
Bombshell: The Hedy Lamarr Story is a 2017 American biographical documentary film directed, written and co-edited by Alexandra Dean, about the life of actress and inventor Hedy Lamarr. It had its world premiere at the 2017 Tribeca Film Festival and released theatrically on November 24, 2017. The film was broadcast in the United States on the PBS biography series American Masters in May 2018.
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