Book Review: “Sophia Loren: Movie Star Italian Style”

Like Ava: A Life in Movies by Kendra Bean and Anthony Uzarowski, Sophia Loren: Movie Star Italian Style by Cindy De La Hoz is a pictorial biography. While we learn a lot about the famous international star, it’s the pictures that really take center stage; the biography is filled with gorgeous images on almost every page.

Sophia Loren was born out of wedlock to Romilda Villani, a concert pianist and Riccardo Scicolone, a man with “a distant nobel lineage.” Villani hoped Scicolone would marry her (she had another daughter by him, Maria), but that wasn’t to be. As a teenager, Villani won a Greta Garbo look-alike contest sponsored by Metro-Goldwyn-Mayer. Unfortunately, Villani’s parents wouldn’t allow their daughter to travel to the United States. Villani’s Hollywood dreams may have been dashed, but she invested all her energy into her eldest daughter “Sofia.”

“The two big advantages I had at birth were to have been born wise and to have been born in poverty.” –Sophia Loren

Sophia started her career as an extra in Italian films after World War II. She and her mother were among the thousands of extras used for the 1951 epic Quo Vadis starring Robert Taylor and Deborah Kerr. Before too long, she was appearing in minor roles in Italian films, slowly developing a reputation in Italy. Sophia appeared in all kinds of movies in Italy, but in 1954 she had the good fortune to work with Vittorio De Sica on the The Gold of Naples. De Sica was a respected actor and director and their collaborations on screen would further both their careers. The Gold of Naples made Sophia a star in Italy and Europe; she was the toast of the 1955 Cannes Film Festival.

Sophia and Cary Grant in
The Pride and the Passion

Sophia’s career really took off when she went to Hollywood in 1957. Americans first got to see Sophia in Boy on a Dolphin, although the first American movie she worked on was The Pride and the Passion co-starring Cary Grant and Frank Sinatra. Boy on a Dolphin, filmed on location in Greece, was released first. Sophia starred alongside Alan Ladd and Clifton Webb in the colorful adventure tale directed by Hollywood veteran Jean Negulesco. Negulesco went on say “[Sophia] has, without a doubt, the most extraordinary talent I have ever met.”

As a film fan, I really like the way the book features all of Sophia’s movies chronologically with movie stills, film posters, as well as on-the-set images. It’s a great way to revisit the film icon’s career and relive some of the great movies she was a part of. My favorite Sophia Loren movie is Houseboat (1958). It made a big impression on me as a child and it has stayed with me every since. Sophia’s charm and personality really come through. Plus it doesn’t hurt that her costar is Cary Grant. As an Italian socialite trying to escape the tight grip of her father, Sophia’s character (Cinzia) gets a job as a nanny to widower Grant’s three young children. Sophia is a natural with the kids and everyone looks like they’re having a ball. As biographer Ms. De La Hoz says, it “is a delight from start to finish.”


If you’re a movie or Sophia Loren fan, you’re sure to enjoy Sophia: Movie Star Italian Style. If you put this book on your coffee table alongside Ava: A Life in Movies, your guests will never leave!

Sophia: Movie Star Italian Style
Hardcover 264 pages
Publisher: Running Press (September 26, 2017)
Language: English
ISBN-10: 0762461314
ISBN-13: 978-0762461318
Product Dimensions: 8” x 10”
Price: $35.00

Tab Hunter Confidential now on DVD and Blu-ray

Tab Hunter (born Arthur Andrew Kelm) was a teen idol during the mid-1950s. Hunter starred in dozens of movies—most of which are forgettable—but his popularity with teenage girls was phenomenal, making him a top box office attraction. He even scored a number 1 hit record—“Young Love”—that knocked Elvis out of the top spot. So popular was Hunter as a singer that Jack Warner at Warner Bros. founded Warner Records specifically to promote their hot property. The documentary Tab Hunter Confidential, based on his autobiography, tells his story.

Hunter was born in New York City to Gertrude Gelien and Charles Kelm. Hunter’s dad was abusive to his mother. His parents eventually divorced with his mother taking her two sons (Hunter had an older brother named Walter) and moving to California.  Even as a teenager, Hunter’s good looks got noticed. He got so much attention from the opposite sex in school that he joined the Coast Guard at 15, lying about his age, to escape. He was eventually discharged when his real age was revealed. Now a California boy, Hunter was signed by agent Henry Wilson in the early 1950s and eventually landed a long-term contract with Warner Bros. Wilson was also the agent of Hollywood heartthrobs Guy Madison, Rock Hudson, and Rory Calhoun. Hunter appeared in several forgettable films but caught the public’s attention as a Marine having an affair with a married woman in the World War II drama Battle Cry (1955), one of the biggest films of that year. He was quickly given male lead status in films like The Burning Hills and The Girl He Left Behind (both 1956 and both co-starring Natalie Wood). During this time, Hunter was appearing on television, performing in the Hallmark Hall of Fame production of Hans Brinker and the Silver Skates (1958) and Meet Me in St. Louis (1959). It’s hard for us to imagine today how popular Hunter was. Not only was he a movie star, but he was a recording artist who sold millions of records. The publicity machine said Hunter was “6" of rugged manhood who stirred the heart of every woman” and he was called “The Sigh Guy” which was based on the reaction of his female fans upon seeing him.

Like many Hollywood idols, Hunter had a secret. He was a homosexual (he recounts that the term gay was never used in his day). Hunter says his homosexuality was the worst kept secret in Hollywood, but the studio publicity machine at Warners kept the rumors at bay by pairing him on dates with young female stars like Debbie Reynolds and Wood. Hunter details his relationships with actor Tony Perkins and champion figure skater Ronnie Roberston (Hunter himself was a competitive figure skater in his teens), as well as with Etchika Choureau, his French costar in Lafayette Escadrille (1958).

The documentary presents Hunter, a naturally shy and modest man, front and center. He details his struggles with his hidden private life. It also features input and commentary on the times by Reynolds, Robert Wagner, Connie Stevens, George Takei, and Clint Eastwood. Also in the mix are film critic Rex Reed, gossip columnist Rona Barrett and many others. These friends and costars help put 1950s Hollywood and the old studio system and the power they waged over their contract players into context. In spite of all these conflicts, Hunter was dedicated to his work and honoring his contract. Unfortunately, he felt that some of his best work was on loan from his home studio. Hunter points to Gunman’s Walk (1958) where he was cast against type as a murderer and That Kind of Woman (1959) opposite Sophia Loren. Hunter disillusioned with the roles Warners was offering him decided to buy out his contract and work as a freelance artist. This was the beginning of the end. Hunter said, “leaving Warner Bros. was career suicide.” Without the backing of a major studio, Hunter found it difficult to obtain lead roles in major Hollywood productions. This and the fact that Hunter’s All-American image was losing its luster with the public. His fall was quick. He went from co-starring with Gary Cooper and Rita Hayworth in They Came to Condura (1959) to flying on a magic carpet in The Golden Arrow (1962), an Italian production that dubbed someone else’s voice for his in English?! He received third billing (under Fabian and Shelley Fabares) in the surfer movie Ride the Wild Surf (1964), and perhaps the worst of this period, The Birds Do It (1966) playing second banana to Soup Sales.

In the late 1960s, Hunter worked steadily in dinner theater. In the 1970s, Hunter guest-starred on television appearing in shows like The Love Boat, Police Woman, Hawaii Five-O, and Charlie’s Angels. His career took a wild turn when John Waters cast him as Todd Tomorrow in Polyester (1981) opposite transvestite drag queen Divine. The attention was short-lived; no major movie roles followed.

Hunter’s last film role was in  Dark Horse (1992), based on his original story about Allison Mills, a girl crippled in an accident with her favorite horse, Jet, also crippled. Allison learns to rise above her disability with the help of Jet who eventually runs again.

The above could be Hunter’s story. Introduced to horses and horseback riding by his older brother, Hunter was most at home caring for and riding horses in competition. He’s now retired and living with his long-time partner, film producer Allan Glaser, in Santa Barbara, California. According to Glaser, Hunter’s main joy in life is taking care of his horse Harlow, grooming her and cleaning her stall every day.

Tab Hunter Confidential is available from Amazon.com in DVD and Blu-ray formats.
Run Time 90 minutes
DVD Released August 23, 2016
Not rated

2015 Turner Classic Movies Film Festival Recap: Day 4

Day four of the TCM Film Festival was bittersweet. Sweet because there were some great movies on the schedule and bitter because I knew the festival was soon coming to an end. As usual, several movies were running on or around the same time, so tough decisions had to be made. Once again I tried to see movies I hadn’t seen before or in a long time. I pretty much fulfilled that goal. My first movie was screening at 10 a.m. so I got to take my time, enjoy my breakfast, and leisurely make my way to the Chinese Multiplex. The first movie I saw turned out to be my most enjoyable experience of the festival.

Calamity Jane (1953) was a movie I saw once on my Kindle Fire over a year ago. Seeing it on the big screen with an enthusiastic audience was a treat I hadn’t expected. Cari Beauchamp, the award-winning writer and documentary filmmaker, introduced the film. Of course the history is all wrong; there isn’t that much we know for certain about Calamity Jane (Doris Day) and her relationship with Wild Bill Hickok (Howard Keel). We’re not even sure if they knew each other at all, but so what; it’s a movie. Beauchamp encouraged those in the audience to go to the Academy Award Web site and petition for a special Oscar for Day. She certainly deserves it, as the morning crowd at the Chinese Multi-Plex would attest. The fun started as soon as the credits began to roll. When Day’s name came on the screen, the audience broke out in applause. Keel’s name was also welcomed with a good round of clapping as was the rest of the cast and director David Butler. Each musical number was a joy to watch, with each followed by more clapping and hooting. The world premiere restoration was beautiful. The film was an amazing showcase for Day’s singing (what a voice!), dancing, and comedic acting and timing. The songs by Sammy Fain and Paul Francis Webster were catchy and the Oscar-winning “Secret Love” became one of Day’s signature tunes. After the movie concluded, I was humming the “Deadwood Stage” for the next two days all the way back to Chi-caw-gee!

After Calamity Jane, it was on line for Reign of Terror (1949), a movie I don’t think I ever heard of before. It was an unusual combination of historical drama with a film noir feel. The movie was introduced by Eddie Muller, founder and president of the Film Noir Foundation. Reign of Terror is an interesting tale set during the political struggle after the French Revolution. The machinations of Maximilien Robespierre (Richard Basehart) and his attempt to recover his “black book,” an enemies list that is the “McGuffin” and sets this film in motion. Charles D’Aubigny (Robert Cummings) who is impersonating Duval, a man he killed, who Robespierre and his right-hand man Fouche have never met before, has stolen the black book. Along the way, D’Aubigny meets Madelon (a ravishing Arlene Dahl) a friend of the Revolution who assists D’Aubigny expose Robespierre for the scoundrel he truly is. The low-budget production looks first-class thanks to the talent involved, including director Anthony Mann, writers Aeneas MacKenzie and Philip Yordan, and producer William Cameron Menzies. Others in the cast include the great Norman Lloyd, Richard Hart and Beulah Bondi. I found the film to be fast-paced and exciting. It was almost like an expanded version of the M-G-M serial series, The Passing Parade. And that’s a compliment!

Steward, Hussey, John Howard, Hepburn, and Grant

Next on the agenda was The Philadelphia Story (1940). While not a big fan of this classic (blasphemy, I know), seeing it on the big screen at the Chinese Theater (my first time in that movie palace) was a treat. Ileana Douglas and Madeline Stowe introduced the film. Stowe a big fan of classic romantic comedies, rattled off a string of favorites, including George Stevens’s The More The Merrier, and I thought, this woman has great taste (who knew?). Cary Grant (Dexter), Katherine Hepburn (Tracy), and James Stewart (Macauly “Mike”) all looked great on the big screen. It was also nice to see Ruth Hussey in her Academy Award-nominated performance as Elizabeth Imbrie, Mike’s coworker and sometime girlfriend. The plot is well known so I won’t go into that. The production was wonderful, even though not a single frame was shot anywhere near Philadelphia. Virginia Wiedler as Hepburn’s younger sister Dinah practically steals the movie; she’s even better than I remembered (it must be that big screen). During the end of the film, Kristina had to leave to catch her flight back to Canada. On the way out she ran into Ben Mankiewicz and actually talked with him for a few minutes. A nice consolation and a great memory for my friend.

Sophia Loren, Marriage Italian Style

Next I was back on line at the Chinese Theater to see Sophia Loren in Marriage Italian Style (1964). I had never seen this film before, but the real attraction for me was to see Loren in the flesh. She was interviewed about the film by Ben Mankiewicz before the screening. She looked amazing (she’s 80!?) and seemed very happy to be at the festival and was very appreciative of the audience. She talked about making the movie with frequent costar Marcello Mastroianni and director Vittorio De Sica. For me the movie was somewhat anticlimactic. There were parts that were enjoyable and Loren and Mastroianni were wonderful, but overall it’s not a film I need to see again. It was enough to see Loren in person, a once-in-a-lifetime opportunity.

After the film it was back to the Roosevelt Hotel to say goodbye

to everyone. What a great thing it was to meet all the TCMParty folk: Joel, Laura, Kristina, Pam, Kellee, Aurora, Karen, Will, Annmarie and so many others.

Well it was time for bed and getting up early for the flight back to Chicago or is that Chi-caw-gee!

This was my first time at the TCM film festival. I had never been to a film festival before so the experience was completely new to me. It was both exciting and overwhelming, but great fun. If I have the good fortune to attend again next year, I’ll be better prepared. Look for my next blog post: Tips for First-Timers coming soon.

2015 Turner Classic Movies Film Festival Recap

2015 Turner Classic Movies Film Festival Recap: Day 1

2015 Turner Classic Movies Film Festival Recap: Day 2

2015 Turner Classic Movies Film Festival Recap: Day 3

"Houseboat" sets sail this Thursday night!

The Prairie District Neighborhood Alliance (PDNA) invites you to "Meet Me at the Movies," Thursday June 24, 2009 at 6:30 p.m. at Sherwood Community Music School, Columbia College recital hall, 1312 S. Michigan Ave.

This month’s movie is Houseboat starring Cary Grant and Sophia Loren. The Technicolor classic also stars Martha Hyer and Harry Guardino. This will be the only MMATM event held on a Thursday evening.

Admission to the movie is $5 and dinner at Opera afterward (optional) is $15.

Related "Meet Me at the Movies" News: Audrey Rules!

Breakfast at Tiffany's, starring Audrey Hepburn was voted favorite "Meet Me at the Movies" movie. Breakfast at Tiffany's walked away with 50% of the vote. Casablanca and Miracle on 34th Street tied for second with 33%. To Catch a Thief and Some Like it Hot tied for third with 16% of the vote.

Becoming Grace Kelly

Everyone knows the name Grace Kelly (1929-1982). But do they know the person behind that name? Is she the glamorous movie star who took the mid-1950s by storm and then gave it all up to marry a prince? Or is she the shy girl, who did not quite fit in with the athletic and outgoing Kelly clan?

Quiet Grace

Grace Patricia Kelly is all of the above. The third of four children, Grace was quiet and solitary in contrast to her older sister, Peggy, older brother John, and younger sister Lizanne. How she became a movie icon is a Hollywood story if ever there was one, but it’s also about timing. If there weren’t a Grace Kelly in the mid-1950s, we would have had to invent her.

New girl in town

Kelly was part of a new crop of female movie stars, a crop that also included Audrey Hepburn and Sophia Loren, groomed during the waning days of the old studio system. She signed a seven-year contract with MGM, but they didn’t seem to know what to do with her. Her best movie roles came by way of other studios on loan outs.

Mogambo (1953), was her biggest role at this point in her career. She played opposite two undisputed superstars: Clark Gable and Ava Gardner. But she almost didn’t get that role. Gene Tierney (who starred with Gable in Never Let Me Go that same year) was director John Ford’s (and MGM’s) first choice. Due to her developing mental illness, Tierney had to drop out. It was then that Kelly was given the role of the unfaithful wife who falls for Gable’s character, but loses him in the end. For this role, Kelly received an Academy Award nomination as Best Supporting Actress. But even with the nomination, Kelly’s stardom wasn’t a sure thing.

The New York Times’s movie critic, Bosley Crowther gave a rather lukewarm review of Mogambo, waiting until the very last paragraph (first sentence of a two-sentence paragraph at that) to even mention Kelly. That was all about to change; the public and Crowther would soon take notice.

Kelly gets noticed

In 1953, Alfred Hitchcock was searching for a female lead for a film he was directing at Warner Bros., Dial M for Murder. While looking for an actress to cast, he reviewed an old screen test Kelly had done at Twentieth Century Fox and watched Mogambo. While Hitchcock thought Kelly was stiff, if not a bit wooden, he saw that she had potential. Almost immediately, the master of suspense started to mold Kelly into the prototypical cool Hitchcock blond. When Dial M for Murder was released, the reviews were good, some even thinking it better than the stage play upon which it was based. This time, Crowther mentioned Kelly in the sixth paragraph (out of seven) of his review saying, “Grace Kelly does a nice job of acting the wife's bewilderment, terror and grief.” From the likes of Crowther, that was absolutely glowing praise.

Edie Doyle or Lisa Fremont?

Almost on the back of filming Dial M for Murder, Hitchcock requested Kelly’s services again for Rear Window. At the time the role of Lisa Carol Fremont was offered to her, Kelly was considering the role of Edie Doyle for On the Waterfront,the role that eventually went to Eva Marie Saint. Kelly loved the Rear Window script and decided she'd rather portray a model from Manhattan than a middle-class girl from New Jersey. She could not have imagined how fortuitous a choice that would be.

Careful collaborations
Once again, Hitchcock took complete control of Kelly’s image and introduced her to screenwriter, John Michael Hayes. As Hayes would state in an interview before his death in 2008, Hitchcock asked him to get to know Kelly and study her speech patterns. Hayes was instructed to write dialogue that would seem natural coming out of Kelly’s mouth. Hitchcock thought (and rightly so) that if Kelly collaborated with Hayes on some of her dialogue, her characterization would avoid the stiffness of some of her earlier roles. The fact that Hayes’s wife was a former model made him the perfect person to write for Kelly.

Another person Hitchcock introduced to Kelly was renowned costume designer Edith Head. Under Hitchcock’s direction, Head went to work on creating a wardrobe that would be true to Kelly’s character as well as showcase her incredible beauty. With Kelly, Head had a clean canvas upon which she could create a look that was stylish, chic, and deceptively simple in design.

When Rear Window opened at the Rivoli in August of 1954, 2,000 people attended the premier, a benefit for the American-Korean Foundation. It was an immediate commercial and critical success and people took notice of Grace Kelly in what would become an iconic role for the then 25-year-old actress.

Five movies in one year!

In 1954, moviegoers couldn’t avoid Grace Kelly. That year, she had no fewer than five films in release: Dial M for Murder (May), Rear Window (August), The Country Girl, The Bridges at Toko-ri, and Green Fire (December). For her performance in The Country Girl, she was awarded the Best Actress Academy Award for 1955. The competition was unusually stiff that year, with Kelly besting Dorothy Dandridge (Carmen Jones), Jane Wyman (Magnificent Obsession), Audrey Hepburn (Sabrina), and Judy Garland (A Star is Born). Garland was the sentimental and the odds-on favorite, so Kelly’s win was a bit of a shock to many. Supposedly, six votes separated the two stars.

A star is born and then she's gone

As quickly as Kelly’s star rose, so did her departure from Hollywood. She would have one film released in 1955, To Catch a Thief, again working with Hitchcock and Edith Head. In 1956, she would have two films in release, The Swan and High Society, which would be her last. On April 19, 1956, Kelly wed Prince Rainier of Monaco. Rumors of a comeback never materialized. Grace Kelly remained Princess Grace of Monaco until her traffic death in a car accident on September 14, 1982. She was 52 years old.