Carole Lombard: The Hoosier Tornado

.....After watching the movie My Man Godfrey I was interested enough in Lombarde to purchase a book about her life. .....She was a tomboy growing up and this led to to entry into the movies when she was spotted by a producer who was looking for her type in a movie role. From this unlikely beginning she worked her way up to one of the highest paid actresses in Hollywood, married two of its top males along the way, William Powell and Clark Gable and was at the top of her career when she lost her life in a tragic plane crash. .....The book was a little thin on background and read almost like a synopsis so I can't give it 5 stars but it is certainly worth reading. Carole Lombarde was a fine actress and universally liked by her peers

Reviewed for H-Indiana by Randy Roberts ([email protected]), Department of History, Purdue UniversityNobody did it better. She did not invent the type, the scatterbrained blond who spoke faster than she thought, but Carole Lombard made it her own. When I think of her my mind wanders first to My Man Godfrey (1936), a film that without Lombard would be forgotten today. Except for a few fine character performances, and a couple patches of nice writing, it is not really that good of a film. But her breathless charm, her inability to finish a sentence without gasping for air or mouth a sentence that seems to contain a period, carries the entire production. Five minutes into the film the viewer is hooked. How could William Powell, or anyone else, resist her? I cannot imagine another actress in the role without wincing, nor can I picture anyone but Lombard being able to carry Ernst Lubitsch's brilliant, sardonic, and poignant To Be or Not To Be (1942). The two films illuminate another vital aspect of Lombard: She brought out the best in her leading men. William Powell and, particularly, Jack Benny were never better. Although Lombard lacked the range of Barbara Stanwyck, she is like Stanwyck in the respect that their finest films are ageless, as fresh today as they were in the 1930s and 1940s.Wes D. Gehring's Carole Lombard: The Hoosier Tornado is a brief, valuable examination of Lombard's life and films. Part of the recently inaugurated Indiana Biography Series, it reminds us that she was born Jane Alice Peters on October 6, 1908, in Fort Wayne, though Indiana only played the part of bookends in her life. Her mother relocated the family--sans husband--to California when the future star was still a young girl, and, of course, Lombard was returning from Indianapolis to Los Angeles after a war bond drive appearance when the plane she was in crashed west of Las Vegas. She died on January 17, 1942, three months after her thirty-third birthday. What was most important about her life, the films she dominated as an actress in the years between 1934 and 1942, had almost nothing to do with Indiana. Gehring, a professor of film, does not take a fashionable academic approach to Lombard's career. Today, more than ever before, writing about movies is divided between two poles: the theoretically oriented and the biographically inclined. Gehring largely goes the biographical route. He traces Lombard's early career, her automobile accident that scarred her face (never very noticeable) and changed her conception of herself, her marriages to William Powell and Clark Gable, and her salty language and fine sense of humor. But most of his biography is devoted to her films, her relationships with cast members and directors. What emerges is the portrait of an actress caught between worlds. We use the word "Hollywood" with exquisite imprecision. Is it a place, an industry, a product, or a state of mind? It is all these things--and more. It is world