Burt Reynolds regretted having done the lay out for Helen Gurley Brown, believing that it marred his career. In retrospect, I believe it was a bold and unprecedented move for a beloved male sex symbo…

[Sherri Allen]

Burt Reynolds regretted having done the lay out for Helen Gurley Brown, believing that it marred his career. In retrospect, I believe it was a bold and unprecedented move for a beloved male sex symbol and top box office star.
Just a brief discussion about another Aldrich film that bares its frenzied teeth at the entertainment industry The Killing of Sister George (1968), which possesses the same problematic themes that emerge from show-biz which are transferred to June Buckridge (Beryl Reid) a middle-aged BBC soap opera star named Sister George who happily rides her bicycle throughout the town helping the quaint folk. She is quickly being phased out of the show, in other words she is going to be killed off!
Aldrich himself an outsider to Hollywood has made a name for himself as an irreverent auteur who creates high melodrama germinating in the realm of show business, stage & film. With cut-throat, and malignant sorts, parasites who feed on the desperately narcissistic, delusional and addictively determined to succeed.
Agent Bart Langner (Milton Selzer) who is dying of cancer wants to finally produce a film before he dies. He discovers Elsa Brinkmann (Kim Novak) a meek horned rimmed glasses wearing movie fan who is the spitting image of the dead screen goddess Lylah Clare, a legendary actress who died 30 years ago in 1948 by mysterious means on her wedding night to director Lewis Zarken. Her husband/director has vowed that he'd never direct another picture again.
Because Bart knows he is dying of cancer, and his days are numbered he figures that introducing Elsa to the world as the second coming of the legendary actress Lylah Clare a sort of Dietrichesque screen goddess who died 30 years earlier shrouded in mystery will allow him to leave his legacy as a filmmaker and not just a crummy agent.
As Elsa is paraded in front of Zarken he depersonalizes her. Zarken is offensive and rude and downright abusive. Eventually Elsa is imbued with the essence of the dead actress and the possession, or the spell Elsa falls under begins to manifest the abrasive more bravura persona that apparently was Lylah, losing Elsa all together. She falls in love with Zarken of course, but is he in love with Elsa?, or the image of Lylah that has been molded as if by Madame Tussauds, or intoxicated by the idea of being able to control Elsa/Lylah all over again, creating her image on screen for the sake of art and his supposed genius. Lewis tells Elsa in his preachy condescending way. Lylah has died under very curious circumstances on their wedding night, that only begins to unfold as the film's flashbacks start to put the pieces of the puzzle together.
Once an agreement is set with the studio to allow Zarken to make his picture and Lewis Zarken agrees that he can mold Elsa in the image of Lylah and cast her in an epic biography about the lost screen goddess and her tragic mysterious death, we meet the mouthy studio head ' Barney Sheean played by Ernest Borgnine. Who is wonderfully belligerent and not all too enthusiastic to revisit another Lylah Clare with auteur Zarken helming the project.
Barney Sheean (Ernest Borgnine) is invited to come to the unveiling, where Elsa is coached even how to walk down the long staircase at Zarken's mansion to greet her public and more importantly the press, in particular that harpy-like gossip columnist Molly Luther played by brilliantly by Coral Browne, as the archetypal scandalmonger in the vein of the great Louella Parsons.
As she descends the oddity that is Zarken's high and open ended staircase symbolically a decent with no safety bars attached, Elsa seems bent out of joint by Molly's questioning so rather than succumb she assaults her using that thick throaty German Lylah voice in order to make the intimidation more grandiose!
What's like a rollercoaster ride is how Elsa suddenly bursts into one of Lyle's vulgar tirades perfect pitch German accent, once when Lewis tries to grab her she spews venom at him shoving him away, "keep your filthy hands off me!"
There aren't any characters that have an attractive, compelling or empathic role, as they are all in this mission to resurrect the dead Lylah for an agenda each one has. Zarken desires to destroy the woman all over again, Bart just wants to produce one great film before the cancer kills him, and Rossella is still hopelessly in love/lust with Lylah, which she easily transfers to the now well groomed Elsa.
The film becomes an almost surreal fruit salad of moments that are a journey for several archetypal figures who are destined for self-destruction in the literally dog-eat-dog world of show-biz. Also a film within a film within a film.
What's hard to know or what is not meant to be discovered is whether Elsa becomes possessed, whether Lewis is using Elsa to resurrect a woman that he might have also driven crazy or in fact killed, and the strange romance between the two. It's hard to define it as a love relationship rather than one of opportunity obsession and need.
One plot line concerns the actress and her possession by the spirit of the late Lylah Clare, and the other subplot concerns the romance between the actress and the director, and the burgeoning promiscuity (hearkening back to Lylah) as Elsa begins to explore sex with Rossella the voice coach and the hunky gardener played by Tinti.
An interesting confluence, Kim Novak's character Lylah too suffers from vertigo as did James Stewart character in Hitchcock's film. In flashback we see three possibilities of what happened the night that Lylah Clare died, but it doesn't unfold until it has been strained through a few different psychedelic versions to get to the likely truth behind her death. Photographed by the great Josef Biroc he creates a mesmerizing color palate that reminds me of some of the best Giallo films from Italy.
Aldrich gathered his usual ensemble of outliers in a world gone mad and literally let the dogs loose. If people are looking for his edgy noir touch he used in Kiss Me Deadly, or the gang of men fighting against all odds in The Flight of the Phoenix (1965), or The Longest Yard (1974), the taut melodrama of the older woman loving back to sanity a younger psychotic male like his Autumn Leaves (1956) starring Joan Crawford and Cliff Robertson, they will not find this kind of linear style of story telling in Lylah Clare.
Unfortunately what was to be Novak's return to the big screen, wound up being her swan song, because the film was not the critical success she had hoped for nor a flattering dramatic exercise for the actress.
But the film also acts as a corollary for the glamorous days of Hollywood and the death of the industry that was a dynasty. The late 60s didn't deal with dreams anymore, but brutal realism and social awakening to a different kind of story on screen and backstage". In that way, the film itself is a queer swan song to those golden days, much in the way Billy Wilder's Sunset Boulevard was in 1950.
Aldrich's film will immediately grab you as something campy with a bit of that offbeat vulgarity that he's known for. Peter Finch who plays the Svengali like director Lewis Zarken who tries to transform Elsa both physically and psychologically into the very being that was his actress/star/wife Lylah Clare.
Amidst the transformation in the film we are shown three different versions of how Lylah met her death. The flashbacks are psychedelic with a hazy focused lens using bold color washes and weaves of slow motion and blood splatter on screen to obscure what we see.
When Elsa is seemingly channeling Lylah it sort of works as a reincarnation piece draped in the mod quality of the late 60s and the make-up job by veteran William Tuttle and Robert J. Schiffer create the look of Nancy Sinatra, Karen Dors or Mamie Van Doren which are all good things but it's not quite the look of the Golden Age glamour of Jean Harlow and Marlene Dietrich.
The Lavender haired actress is wearing a more mod 60s icy white coif and velvety pale pink lips and Twiggy style eyeliner that just doesn't say screen goddess of a bygone era. More-so cheesecake, groovy, and eerily out of place, perhaps this is what Aldrich intended as he is apt to vulgarize what he touches.
Lylah Clare might also be said to contain fragments or composites of great actresses of long ago, Joan Crawford, Tallulah Bankhead, Garbo, Dietrich and Harlow. all icons of the 1930s.
The ending is irreverent, trashy, campy and is the lead up to the cynical climax. Absolutely the weirdest of all Aldrich's dark show-biz operas, as Lylah Clare and Kim Novak both remain a legend.
Some people assert that while they never became close friends, the two stars only wound up being not so friendly to each other in the end. But, for the sake of my theme of the feuding divas, I felt like putting the more sordid version of the saga out there.
The notable feud, fueled by rumor, gossip, falsehoods, and dished-up dirt, drew so much juicy attention to these fierce Divas whose careers and lives often traversed each other in ironic and titillating ways giving us a peek into the tumultuous allure of Hollywood.
But she proved she could command the screen with an invincible vigor and facility to emote and Davis who had a determined streak of flair manifested itself into an unyielding spirit and incomparable depth. Both are ironically similar indomitable, independent, and possessing great fortitude. Both married four times, and both were at the receiving end of hostile and vengeful children ultimately ending up as reclusive alcoholics.
Bette Davis was filming Dangerous 1935 a role that would win her first Best Actress Oscar. Warner Bros. cast her to play opposite the handsome Franchot Tone. In this fabulous melodrama, Davis portrays Joyce Heath an egomaniacal actress considered to be box office poison living in obscurity in the throws of alcohol addiction. Tone plays Don Bellows a playwright who tries to rehabilitate her. The story is loosely based on Broadway star Jeanne Eagels who died of a drug overdose at the age of 35 cc7c31b456

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The viola was popular in the heyday of five-part harmony, up until the eighteenth century, taking three lines of the harmony and occasionally playing the melody line. Music notation for the viola differs from most other instruments in that it primarily uses the alto clef. When viola music has substantial sections in a higher register, it switches to the treble clef to make it easier to read.
The viola often plays the "inner voices" in string quartets and symphonic writing, and it is more likely than the first violin to play accompaniment parts. The viola occasionally plays a major, soloistic role in orchestral or chamber music. Examples include the symphonic poem Don Quixote, by Richard Strauss, the 13th Quartet by Dmitri Shostakovich, and a symphony with a main viola line: Harold en Italie, by Hector Berlioz. In the earlier part of the 20th century, more composers began to write for the viola, encouraged by the emergence of specialized soloists such as Lionel Tertis and William Primrose. English composers Arthur Bliss, Edwin York Bowen, Benjamin Dale, Frank Bridge, Benjamin Britten, Rebecca Clarke and Ralph Vaughan Williams all wrote substantial chamber and concert works. Many of these pieces were commissioned by, or written for, Tertis. William Walton, Bohuslav Martinů, Tōru Takemitsu, Tibor Serly, Alfred Schnittke, and Bla Bartk have written well-known viola concertos. The concerti by Bartk, Paul Hindemith, Carl Stamitz, Georg Philipp Telemann, and Walton are considered major works of the viola repertoire. Hindemith, who was a violist, wrote a substantial amount of music for viola, including the concerto Der Schwanendreher.
Several experiments have intended to increase the size of the viola to improve its sound and harmony. Hermann Ritter's viola alta, which measured about 48 cm (19 in), was intended for use in Wagner's operas.[5] The Tertis model viola, which has wider bouts and deeper ribs to promote a better tone, is another slightly "nonstandard" shape that allows the player to use a larger instrument. Many experiments with the acoustics of a viola, particularly increasing the size of the body, have resulted in a much deeper tone, making it resemble the tone of a cello. Since many composers wrote for a traditional-sized viola, particularly in orchestral music, changes in the tone of a viola can have unintended consequences upon the balance in ensembles.
One of the most notable makers of violas of the twentieth century was Englishman A. E. Smith, whose violas are sought after and highly valued. Many of his violas remain in Australia, his country of residence, where during some decades the violists of the Sydney Symphony Orchestra had a dozen of them in their section.
Other experiments that deal with the "ergonomics vs. sound" problem have appeared. The American composer Harry Partch fitted a viola with a cello neck to allow the use of his 43-tone scale, called the "adapted viola". Luthiers have also created five-stringed violas,[9] which allow a greater playing range.
A person who plays the viola is called a violist or a viola player. The technique required for playing a viola has certain differences compared with that of a violin, partly because of its larger size: the notes are spread out further along the fingerboard and often require different fingerings. The viola's less responsive strings and the heavier bow warrant a somewhat different bowing technique, and a violist has to lean more intensely on the strings.[10]
The viola is held in the same manner as the violin; however, due to its larger size, some adjustments must be made to accommodate. The viola, just like the violin, is placed on top of the left shoulder between the shoulder and the left side of the face (chin). Because of the viola's size, violists with short arms tend to use smaller-sized instruments for easier playing. The most immediately noticeable adjustments that a player accustomed to playing the violin has to make are to use wider-spaced fingerings. It is common for some players to use a wider and more intense vibrato in the left hand, facilitated by employing the fleshier pad of the finger rather than the tip, and to hold the bow and right arm further away from the player's body. A violist must bring the left elbow further forward or around, so as to reach the lowest string, which allows the fingers to press firmly and so create a clearer tone. Different positions are often used, including half position.
The viola is strung with thicker gauge strings than the violin.[11] This, combined with its larger size and lower pitch range, results in a deeper and mellower tone. However, the thicker strings also mean that the viola responds to changes in bowing more slowly. Practically speaking, if a violist and violinist are playing together, the violist must begin moving the bow a fraction of a second sooner than the violinist. The thicker strings also mean that more weight must be applied with the bow to make them vibrate.
Small, temporary tuning adjustments can also be made by stretching a string with the hand. A string may be tuned down by pulling it above the fingerboard, or tuned up by pressing the part of the string in the pegbox. These techniques may be useful in performances such as live concerts, reducing the ill effects of an out-of-tune string or viola until a proper opportunity to tune.
A renewal of interest in the viola by performers and composers in the twentieth century led to increased research devoted to the instrument. Paul Hindemith and Vadim Borisovsky made an early attempt at an organization, in 1927, with the Violists' World Union. But it was not until 1968, with the creation of the Viola-Forschungsgesellschaft, now the International Viola Society (IVS), that a lasting organization took hold. The IVS now consists of twelve chapters around the world, the largest being the American Viola Society (AVS), which publishes the Journal of the American Viola Society. In addition to the journal, the AVS sponsors the David Dalton Research Competition and the Primrose International Viola Competition.
The 1960s also saw the beginning of several research publications devoted to the viola, beginning with Franz Zeyringer's Literatur fr Viola, which has appeared in several versions, the most recent being in 1985. In 1980, Maurice Riley produced the first attempt at a comprehensive history of the viola, in his History of the Viola, which was followed with a second volume in 1991. The IVS published the multi-language Viola Yearbook from 1979 to 1994, during which several other national chapters of the IVS published respective newsletters. The Primrose International Viola Archive at Brigham Young University houses the greatest amount of material related to the viola, including scores, recordings, instruments, and archival materials from some of the world's greatest violists.[14]
Music that is written for the viola primarily uses the alto clef, which is otherwise rarely used. Viola music employs the treble clef when there are substantial sections of music written in a higher register. The alto clef indicates the placement of C4 on the middle line of the staff.[15]
As the viola is tuned exactly one octave above the cello, music that is notated for the cello can be easily transcribed for alto clef without any changes in key. For example, there are numerous editions of Bach's Cello Suites transcribed for viola.[16] The viola also has the advantage of smaller scale-length when compared to the cello. This means that the stretches needed by cellists to play certain notes are easier to achieve on the viola. However, occasional changes must be made due to differences in the ways that the two instruments are played, as well as their differences in range.
In early orchestral music, the viola part was usually limited to filling in harmonies, with very little melodic material assigned to it. When the viola was given a melodic part, it was often duplicated (or was in unison with) the melody played by other strings.[17]
The Brandenburg Concertos, a set of concerti grossi composed by J. S. Bach, are unusual for their time in their use of viola. The third concerto grosso, scored for three violins, three violas, three cellos, and basso continuo, requires virtuosity from the violists. Indeed, Viola I has a solo in the last movement which is commonly required in orchestral auditions.[18] In the sixth concerto grosso, Brandenburg Concerto No. 6, scored for 2 violas "concertino", cello, 2 violas da gamba, and continuo, the two violas play the primary melodic roles.[19] Bach also used this unusual ensemble in his cantatas Gleichwie der Regen und Schnee vom Himmel fllt, BWV 18 and Mein Herze schwimmt im Blut, BWV 199, in which the chorale is accompanied by an obbligato viola.
There are a few Baroque and Classical concerti, such as those by Georg Philipp Telemann (one for solo viola, being one of the earliest viola concertos known, and one for two violas), Alessandro Rolla, Franz Anton Hoffmeister and Carl Stamitz.
The viola plays an important role in chamber music. Mozart used the viola in more creative ways when he wrote his six string quintets. The viola quintets use two violas, which frees them (especially the first viola) for solo passages and increases the variety of writing that is possible for the ensemble. Mozart also wrote for the viola in his Sinfonia Concertante, a set of two duets for violin and viola, and the Kegelstatt Trio for viola, clarinet, and piano. The young Felix Mendelssohn wrote a little-known Viola Sonata in C minor (without opus number, but dating from 1824). Robert Schumann wrote his Mrchenbilder for viola and piano. He also wrote a set of four pieces for clarinet, viola, and piano, Mrchenerzhlungen.
Max Bruch wrote a romance for viola and orchestra, his Op. 85, which explores the emotive capabilities of the viola's timbre. In addition, his Eight pieces for clarinet, viola, and piano, Op. 83, features the viola in a very prominent, solo aspect throughout. His Concerto for Clarinet, Viola, and Orchestra, Op. 88 has been quite prominent in the repertoire and has been recorded by prominent violists throughout the 20th century.