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Betty Grable: Films
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This reference work provides a comprehensive record of the life and career of Betty Grable. The book begins with a biography that presents and discusses the most significant events in Grable's life. The chronology that follows summarizes her career in capsule form. The succeeding chapters provide a detailed account of Grable's performances in various media, including films, television, radio, stage, nightclubs, videos, and records. The entries in these sections succinctly present the facts concerning each of Grable's performances and offer insightful commentary. The volume concludes with a list of Grable memorabilia, a section of miscellaneous information, and an annotated bibliography of books and articles containing extensive or unique material about Grable and her career.
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Grable's first professional work came as a chorus girl at Fox studios. Though only thirteen at the time she lied about her age. When the studio discovered the truth she was fired. Undaunted, she continued auditioning, finding bit player work in other films, including a stint as a Goldwyn Girl, in the company of Lucille Ball and Paulette Goddard.
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Synopsis: Despite the film's title, Pin-Up Girl offers surprisingly few glimpses of the famed Betty Grable "gams." This lively Technicolor musical casts Gable as Lorrie Jones, secretary at a USO canteen frequented by handsome servicemen. Falling in love with war hero Tommy Dooley (John Harvey), LorrieRead More
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In the late 1940s, 20th Century-Fox insured Grable's legs with Lloyds of London for $1 million. She remained popular until the mid-'50s, when musicals declined. The veteran actress appeared in her last film, ironically titled How to be Very, Very Popular, in 1955.
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The Colonel's Masochian dream carnivalizes Grable, Fairbanks, and Hollywood. Grable is the one here who puts the lid on her hero's all-out belting of a song. The Fairbanks action figure who usually jumps on tables to fight, here jumps on tables to dance; and the dream reflexively inverts the big scene in Gone With the Wind (Victor Fleming, 1939) when Gable establishes his macho image for all time by carrying Leigh up a big staircase. The film ... ludically inverts Grable as a war icon, since Grable's pin-up was supposed to send the soldiers happily onto the battlefield, and the painting of "The Lady in Ermine" removes the Colonel from the sphere of combat to seek gratification in willing the cruelty of that furry little Venus.
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