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This newspaper page contains 7 articles. Subscribers can read the full text of each article.
Newspaper
Long Beach Press Telegram
Location
Long Beach, California, United States of America
Date
Jan 17, 1950
Page
4
New York fashion experts unveil a bold 1950s eye makeup and two tone Cupid mouth style drawing sharp critique from Pete Westmore. He mocks the look as Frankenstein-esque and warns ordinary women their husbands may abandon them.
Jack Carson counsels motorists to watch out for pedestrians this New Year, noting pedestrians are motorists who found a place to park. He emphasizes safety and shared road use for all travelers.
The piece blends a Tolstoyan collage of futurist headlines with a Jeron King Criswell style column offering predictions on war and politics, plus a barrage of personal horoscopes and Q&A about marriages, finances, health, and daily life. It mixes political forecasts with intimate reader inquiries and dated cues for 1950–1951.
The Women opens the 1956 season starring Jetty French with a 30-woman cast in 35 roles at the Community Playhouse Long Beach. Director Herbert Yenne expects high audience interest with frequent performances through February and March. Gaby Andre signs with Warner Bros for Road Block, her American debut as the femme lead in a Bryan Foy production directed by Andrew Stone.
A Warners hair stylist, flustered in grammar, asks Ginger Rogers to work on all future pictures. Rogers replies with amiable humor promising to “sure they will,” underscoring a light studio moment in the Storm Center era.
Hollywood faces a directors revolt by high earning creators aiming for better films. Leaders like Mark Robson John Huston argue independence within major studios is possible, with the industry shifting toward individual artistry and garage style roots for quality cinema. Veterans Capra Wyler Stevens McCarey also pursue limited interference, signaling a move away from mass production toward distinctive pictures for audiences.
Stanley Kramer, producer of Champion and Home of the Brave, argues the future of the motion picture industry lies with independents not majors. Obert Roasen, director-writer of All the King’s Men, agrees that vital new subjects are needed to win back adult patronage.
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