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Hedy Lamarr

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The following quotes about Hedy Lamarr have been collected from a variety of published sources cited below:

"Just try working in the same picture with that beautiful Lamarr face, and just see if you're not ready to commit suicide!"

       --Claudette Colbert on co-starring with Lamarr, Clark Gable and Spencer Tracy in BOOM TOWN (1946); quoted in "Three of a Kind" by Joelyn Littauer (New York Times 17 Feb. 1946) page 49.

"When I first met Hedy Lamarr, about twenty years ago, she was so beautiful that everybody would stop talking when she came into a room.  Wherever she went she was the cynosure of all eyes.  I don't think anyone concerned himself very much about whether or not there was anything behind her beauty, he was too busy gaping at her.  Of her conversation I can remember nothing: when she spoke one did not listen, one just watched her mouth moving and marveled at the exquisite shapes made by her lips.  She was, in consequence, rather frequently misunderstood.  ... Beautiful women -- on whom so many words and hours and fortunes are spent, who are painted and pursued, adored and abused, married and abandoned.  Each one using this trump card in a different way.  Like a joker in canasta, it is a powerful advantage properly played and a heavy load to have left in your hand.  Hedy Lamarr found it a load."

       --George Sanders, Lamarr's co-star in THE STRANGE WOMAN (1946) and SAMSON AND DELILAH (1949); quoted in Memoirs of a Professional Cad by George Sanders (New York: G.P. Putnam's Sons, 1960) page 116.

"[At a party at Saul Chaplin's house in 1950,] Saul immediately sat down at the piano, and what was already a good party just got better.  A musician friend of Saul's arrived with Hedy Lamarr, whom none of us had ever met.  MGM had built up Miss Lamarr as 'The Most Beautiful Woman in the World,' and she was that.  She was also so shy and withdrawn that when she sat on the floor against one wall, it seemed as if she wanted to disappear ... she almost did.  Sometime later Ethyl [Chaplin] joined Saul at the second piano to play and sing Kurt Weill's Threepenny Opera [in German].  Hedy came immediately to life.  She jumped up and hurried to the piano to sing with them.  The transformation was amazing.  She joined in with complete animated abandon.  If she had only been able to bring some of that joy to her screen roles, there would have been no stopping her... It is just too bad that Metro never learned how to use her, because 'The Most Beautiful Woman in the World' was a lot more than an unforgettable face, she was a delightful dame."

       --Farley Granger; quoted in Include Me Out: My Life from Goldwyn to Broadway by Farley Granger (New York: St. Martin's Press, 2007) pages 72-73.

"I married Hedy in May 1942 ... To my surprise I soon discovered that Hedy had very simple tastes and in fact was a typical hausfrau at heart.  She was quite domesticated and preferred to stay at home in the evening rather than go to parties.  On the cook's day off she always prepared the meals herself, but when we did go out she proved an excellent conversationalist and could speak intelligently on politics or any other topic.  She did not drink and was never ostentatious or out to catch the limelight for herself.  I shall always maintain that Hedy's best quality was that she was completely unimpressed by her own outstanding beauty.  Indeed, she seemed oblivious to it."

       --John Loder, Lamarr's third husband and co-star in DISHONORED LADY (1947); quoted in Hollywood Hussar by John Loder (London: Howard Baker, 1977) page 135.

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Last updated: March 10, 2011.
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