1953 Orginal MOVIE POSTER Film PAULETTE GODDARD Bible SINS OF JEZEBEL Biblical

Description: DESCRIPTION : Here for sale is an EXCEPTIONALY RARE and ORIGINAL illustrated VINTAGE POSTER for the American release of the HISTORICAL - BIBLICAL drama film " SINS OF JEZEBEL " .Based on the BIBLE - BIBLICAL female heroine. Starring PAULETTE GODDARD . This is the original POSTER , Printed in 1953 by the producers . Text in ENGLISH . Quite archaic typical text . Size around 27" x 19" ( Not accurate ) .The condition is only fair . Imperfections such as creases , Folds and tears ( Reinforced on the verso ) However , Nothing which a framed glass can't nicely hide. The lower price already reflects these imperfections. Sold AS IS. ( Pls look at scan for images ) Poster will be sent rolled in a special protective rigid sealed tube. AUTHENTICITY : The VINTAGE POSTER is fully guaranteed ORIGINAL from 1953 ( dated ) , It is NOT a reproduction or a recently made reprint or an immitation , It holds a with life long GUARANTEE for its AUTHENTICITY and ORIGINALITY. PAYMENTS : Payment method accepted : Paypal & All credit cards.SHIPPMENT : SHIPP worldwide via registered airmail is $ 29 . Poster will be sent rolled in a special protective rigid sealed tube. Will be sent around 5-10 days after payment . Sins of Jezebel is a 1953 American historical drama film produced by Sigmund Neufeld and directed by Reginald Le Borg. It stars Paulette Goddard as Jezebel, the infamous biblical queen of the northern kingdom of Israel during the 9th century BC. The film was shot in Ansco Color for widescreen projection.[2][3] Contents 1 Plot2 Cast3 Production4 Release 4.1 Critical reception5 See also6 References7 External links Plot In 9th century BC Israel, the prophet Elijah advises king Ahab not to marry Jezebel, an idolatrous princess of Phoenicia. Ahab sends for Jezebel, however, and commands Jehu, his captain, to escort her caravan safely to Jezreel. Once Jehu meets Jezebel, he immediately becomes attracted to her and she confuses him for Ahab. Jezebel finally arrives at Jezreel and is greeted by Ahab who, stunned by her beauty, provides her with an individual chamber until they marry. On her wedding night, Jezebel evades Ahab and pursues Jehu, whom she seduces. Jezebel establishes the cult of Baal, her idol, in Israel and builds a temple. Jehovah, the God of the Israelites, delivers drought upon Israel because of the idolatry and sends his prophet Elijah to reprimand the people. Elijah prays to Jehovah and the drought ends. Cast Paulette Goddard as JezebelGeorge Nader as JehuEduard Franz as AhabJohn Hoyt as Elijah / NarratorLudwig Donath as NabothJohn Shelton as LoramJoe Besser as YonkelMargia Dean as DeborahCarmen D'Antonio as Solo Dancer Production Paulette Goddard was signed to star in the film on April 22, 1953.[4] Margia Dean was cast as Deborah on May 11.[5] The film began shooting on May 13.[5] Interior scenes were shot at KTTV Studios[6] and exterior scenes were shot at Corriganville Ranch. Release Critical reception Sins of Jezebel received mixed reviews from critics. The News and Eastern Townships Advocate described the film as "a spectacular Robert L. Lippert, Jr. production in gorgeous new Ansco Color."[7] The Toledo Blade also praised the film's color cinematography, but questioned the film's low budget by writing, "the desire was strong, but the cash was weak."[8] As for the film's cast, The News and Eastern Townships Advocate praised Goddard's "fascinating performance" as she was "ideally cast" as Jezebel,[7] and The Toledo Blade commended the "competent job" of John Hoyt as Elijah.[8] Her days of cinematic glory behind her, Paulette Goddard was compelled to take whatever came along in the mid-1950s. Playing the title role in Sins of Jezebel, Goddard survives the ordeal armed with little more than grim determination. The wicked princess of Phoenicia, Jezebel hopes to expand her power by marrying Ahab (Eduard Franz), the King of Israel. Jezebel brings destruction upon the Israelites through her many sexual peccadilloes and orgiastic bacchanals. The film's nominal leading man is George Nader, cast as a charioteer who succumbs to Jezebel's wiles. Surprisingly, the film manages to be quite entertaining within its tiny budget. The "redeeming moral value" of Sins of Jezebel is achieved by having the film presented in flashback, during a sermon delivered by pious preacher Elijah (John Hoyt). Sins of Jezebel (1954) THE SCREEN IN REVIEW; ' Sins of Jezebel,' a Drama About Biblical Times Starring Paulette Goddard, Is at the Palace H. H. T. Published: January 9, 1954 While "Sins of Jezebel" resounds with many a dire warning for evildoers, this new Lippert Production starring Paulette Goddard comes close to parodying its dimly scriptural source. Palace Theatre spectators may emerge slightly shaken from the barrage of sepulchral intonations in the prologue, epilogue and a scalding portrayal of the prophet Elijah. Almost as unsettling, to recall a whitewashed Delilah and Salome, is Hollywood's insistence, for once, that a Biblical hussy remain the same, proceeding straight to the literal dogs as a lesson for everyone. And on that grimly consistent count, bully for Lippert. However, the sermon is a transparent ruse, being an inane, Minsky-perfumed showcase for Miss Goddard, a lady who at least can still strut with the best. Richard Landau's script foists the Phoenician temptress on the kingdom of the wily Ahab, and she disrupts both for a cuddly liaison with a stalwart Israelite captain. Most of the time the cast edges in and out of court boudoirs or uneasily holds forth on Jehovah and false, graven images. Sandwiched in, alongside the ranting of John Hoyt, as Elijah, are some fairly lively forays. But neither Reginald Le Borg's direction, the Ansco Color coating nor the pulsating background score, which suspiciously echoes Mr. De Mille's "Samson and Delilah," improves matters. Nor, alas, do George Nader, Eduard Franz, Ludwig Donath and the others of the trapped cast. As the hypnotic heroine, Miss Goddard fans her eyelashes, swings a bare midriff with pendulum precision and weighs crises of religion and state as though a wad of gum were parked behind the royal tiara. At one point, Mr. Franz labels her "a queen long to remember." Amen. SINS OF JEZEBEL, written by Richard Landau; directed by Reginald Le Borg; produced by Sigmund Neufeld for Lippert Pictures. At the Palace. Jezebel . . . . . Paulette Goddard Jehu . . . . . George Nader Ahab . . . . . Eduard Franz Elijah . . . . . John Hoyt Deborah . . . . . Marcia Dean Loram . . . . . John Shelton Naboth . . . . . Ludwig Donath Bible movie of the week: Sins of Jezebel (1953) September 30, 2013 by Peter T. Chattaway 1 Comment On at least two occasions this year, I have grumbled about the relative lack of movies about the prophet Elijah. He’s a very important figure in the Bible: not only is he one of two Old Testament figures who went straight to heaven without dying (the other is Noah’s great-grandfather Enoch), he is also one of only two Old Testament figures who appear with Jesus at the Transfiguration (the other is Moses). The Old Testament prophet Malachi predicted that Elijah would return before the great day of judgment, and Christians believe this prophecy was fulfilled by John the Baptist, while Jews set a cup of wine aside at the Passover table in anticipation of Elijah’s return. But has Elijah received the same sort of cinematic attention as Moses and Jesus? Have there been any epic blockbusters about his confrontations with the prophets of Baal and their royal patrons, King Ahab and Queen Jezebel? Alas, no. But that’s not to say there haven’t been any films about Elijah. There are, in fact, a variety of short films and other shows that have covered these subjects, and yesterday I finally got around to watching the one feature-length film version of his story that was produced during the 1950s, when the Bible-movie genre was at its peak. Alas, the film in question, Sins of Jezebel (1953), is not very good. But the fact that it’s pretty much the only film of this pedigree about these characters makes it an interesting artifact even so. And it has some other quirks besides. So, here are some thoughts on the film, the YouTube version of which is embedded here. Biblical authority. The film begins with a harmonized version of the creation stories in Genesis and then — after showing us the Narrator, who dresses and speaks like a minister of the period — it tells us about the Ten Commandments that were given to Moses. So from the very beginning, the film emphasizes the Bible’s authority as a source for both narrative material and commandments to live by. The funny thing is, despite this appeal to the Bible’s authority, the film actually deviates from the biblical narrative in all sorts of ways, big and small. In one scene, the Narrator even stands over what looks like a Bible and tells us about all the things that Jehu did while Ahab was king — but none of those deeds are actually mentioned in the Bible. (Jehu was one of Ahab’s officers, and God mentions Jehu’s name to Elijah during Ahab’s reign, but Jehu himself does not become an active character within the Bible until years after Ahab’s death.) The film even goes so far as to link the Narrator with Elijah himself in at least three ways: First, they are played by the same actor. Second, at one point a shot of the Narrator’s shadow dissolves into a shot of Elijah’s shadow as he confronts Ahab, and then, at the end of the sequence, Elijah’s shadow turns into the Narrator’s shadow again. And third, at the very end of the film, the Narrator tells us that prophets like Elijah pass their mantles on to others — at which point the camera pans down to the cane in the Narrator’s hand as he leaves the room, which seems to me to hark back to the staff that Elijah holds in his hand throughout the film. So the film suggests that the authority of the Hebrew prophet is, in some way, transmitted through modern-day ministers who expound on the story of that prophet (even if, in the movie’s case, the minister tells a somewhat altered version of that story). Biblical references. I’m always intrigued when a Bible film indicates its awareness of stories from other parts of the Bible. In this case, we are told that Naboth can remember how Jehu and his father used to hide from Jeroboam’s soldiers when Jehu was a boy; apparently Jehu’s father worshipped Jehovah and had to flee for his life while Jeroboam was promoting the worship of idols. This is a highly unlikely scenario, if only because Jehu, who became king of the northern kingdom of Israel around 840 BC, lived decades after Jeroboam, who rebelled against Solomon and ultimately led the northern tribes in breaking away from the kingdom of Judah sometime around 930 BC. The thought that Jeroboam could have persecuted Jehu’s father seems like a bit of a stretch; there was at least one extra generation, and maybe two, between Jeroboam and Jehu. Still, it’s impressive that the film mentions Jeroboam in the first place, and the way it beefs up the part of Jehu is at least interesting in theory, if not in execution. There may be another creative mingling of texts near the film’s conclusion. The last time we see Elijah, he anoints Jehu king of Israel and then appoints Elisha — a character we’ve never seen before — to be his own successor as prophet. This is different from the chronology presented in the book of II Kings, where Elijah ascends into heaven and leaves the pages of history in chapter 2, and then Elisha sends yet another prophet to anoint Jehu some time later in chapter 9. But perhaps the filmmakers weren’t simply rewriting the Bible willy-nilly. It’s possible they actually had in mind an even earlier passage, in I Kings 19, when Elijah goes to Mt Sinai and God instructs him to anoint Hazael king of Syria, Jehu king of Israel, and Elisha as Elijah’s own successor. Biblically speaking, the original commandment to anoint Jehu was given to Elijah, but for some reason he never got around to it. So perhaps the filmmakers wrote this scene — in which Elijah personally appoints both Jehu and Elisha — as a more direct fulfillment of that command from God. Sexual politics. The name “Jezebel” had come to mean a sexually promiscuous woman long before this movie came out, so it’s not too surprising that the movie turns the actual biblical Jezebel, who never does anything particularly sexual, into something of a temptress and an adulteress from just about her very first scene. What is surprising, to me at least, is that the film has Jezebel carry on an affair with Jehu behind Ahab’s back. This, despite the fact that Jehu would go on to be the general charged by God’s prophets with the mission of wiping out Ahab’s family and taking its place on the throne. The movie doesn’t get into all of the pertinent details in the end — it never even acknowledges that Ahab and Jezebel had children — but it does have Jehu take over the country, and the fact that he comes back as a soldier for God while Jezebel receives an ignoble death does seem a bit sexist, as though the man could be forgiven for his sexual indiscretion but the woman could not. There is, admittedly, one tiny detail in the Bible that might lend some support to a romantic link between Jehu and Jezebel. When Jezebel heard that the king of Israel (her son) and the king of Judah (her grandson) had been killed by Jehu, and that Jehu was riding his chariot into her city, she “put on eye makeup, arranged her hair and looked out of a window.” Some people have supposed that she was trying to seduce Jehu, but given that the very first thing she does after fixing her appearance is taunt Jehu, by comparing him to a previous assassin who died within days of his coup, I suspect she was simply trying to look authoritative, like a queen. The film’s underlying misogyny is evident in other ways, too. A chariot repairman complains that the vehicle he’s working on is “worse than a woman.” A woman dances sexily before the idol of Baal, inviting the modern-day audience to both enjoy the sight of her sexiness and to condemn her for being part of the evil on display. And Ahab, much to my surprise, is made out to be something of a petulant, vulnerable, foolish beta male who is clearly so desperate for Jezebel’s love that he is easily manipulated by her. So when, at the beginning of the film, the Narrator tells us that “there was evil again in the land, and a woman behind that evil,” the blame is not shared equally by the king and queen who built the temple to Baal; instead, it seems to rest primarily, though not quite exclusively, on the queen. And what a poor sap Ahab is! In his very first scene, he’s whining to Elijah and the elders about how he is “a man of flesh and blood. I will not be denied my human feelings!” And then, when Jezebel arrives at his court, he is absolutely smitten by her but tells her that he cannot go to her chambers until after their wedding — but when he remembers that he forgot to give her a special necklace, he sends Jehu to her chambers to give it to her in his place! (Not surprisingly, that’s when the affair between Jehu and Jezebel begins.) And then, on their wedding night, Ahab makes a big show of how much he wants to be wanted by Jezebel — but as soon as he seems to have won her favour, he falls asleep on the floor next to their bed. Notably, Jezebel does not seem to mind at all that she won’t have to sleep with him right away. Still, all that being said, I thought Ahab did offer an interesting defense of Jezebel in his very first scene, when one of his advisors passes on a rumour that Jezebel dips her fingers in the blood of her sacrificial victims, and Ahab replies that the colour on her hands is actually henna. There’s just a hint there that Jezebel’s reputation might have been the product of Israelite xenophobia, but the film never follows up on it. And of course, not all of the women here are bad. Naboth’s daughter Deborah is presented as the “nice girl” that Jehu ought to be with instead of Jezebel. And when Jehu asks why Deborah considers Jezebel “evil”, Deborah replies, “Because I am a woman. Perhaps I can see things in another woman that a man cannot see.” Historical details. In addition to beefing up Jehu’s role far beyond what the Bible describes, the film also makes curious tweaks to the parts of the biblical narrative that it does present more straightforwardly. Most significantly, the famous contest between Elijah and the prophets of Baal on Mount Carmel (described in I Kings 18) is now presented not as a challenge posed by Elijah from the very beginning, but as a ceremony initiated by Jezebel and the prophets of Baal, which Elijah then interrupts. Even stranger, Elijah now uses the very same altar that the prophets of Baal had used, which not only contradicts the Bible’s claim that Elijah repaired an altar to Jehovah that had been torn down some time earlier, but also seems highly unlikely in light of the spiritual significance that people in the ancient world attached to physical objects. Stones offered up to Baal would not — could not — be used in God’s service mere minutes later, especially if one was engaged in a contest to prove that one set of burnt offerings would get a response and the other would not. The film also fails to deliver on the punchline to that contest. In the Bible, Elijah does not burn the offering himself, but asks God to light the sacrifice instead — and God does! (This is one of a few miracles associated with Elijah that involve fire from heaven; see also the death of the soldiers who try to arrest him in II Kings 1 and the fiery chariot that takes him up to heaven in II Kings 2, neither of which appear in this movie.) But in the movie, Elijah’s prayer is answered instead by rain — which does, indeed, come up at a slightly later point in the biblical narrative, but still. A few other historical quibbles: Ahab talks about the need to build up his dynasty, which he refers to as “the house of Ahab”. However, the Israelite dynasty to which he belonged was actually named after his father Omri, and archaeologists have found inscriptions from the neighbouring countries that refer to Israel as a whole as “the house of Omri”, apparently because Omri and his descendants made a big impression on their neighbours. (Even Jehu, who killed all of Ahab’s heirs, is referred to in one Assyrian inscription — seen here — as “the son of Omri”; scholars disagree as to whether this means Jehu came from a different branch of Omri’s family or simply that Israel had become so identified with the Omrid dynasty that even the post-Omrid kings were given that name.) Ahab also tells Jehu that he is lucky he was not “born to the crown”, but Omri, a former general who came to the throne following a civil war with rival generals Zimri and Tibni, reigned for only 12 years — so if Ahab was already an adult when he took the throne, then he would have been born before his father was king. In fact, in the history of Israel to that point, very few kings had been born to the throne. The united kingdom of Israel was ruled by Saul, David and Solomon, only one of whom was actually born into a royal family. Jeroboam led the northern tribes in breaking away from the tribe of Judah, which continued to be ruled by David’s dynasty, and his son was assassinated almost as soon as he became king. The man who assassinated him, Baasha, ruled for a couple decades and then his son was assassinated almost as soon as he became king. And then came the civil war that led to the establishment of the Omrid dynasty of which Ahab was a part. Ahab was, in fact, the first son of a king since Solomon to rule over the northern tribes for more than a couple years — but since, as I noted above, it is very unlikely that Ahab was an heir to the throne at the actual time of his birth, the political situation in Israel was still arguably in a state of flux, and I suspect Ahab would have been well aware of that. In fact, the marriage of Ahab to Jezebel, whose father was the king of Sidon, might very well have been intended partly to shore up the Omrid dynasty’s claim to regal status; at the very least, it would have been a political alliance as much as anything else, as even the movie’s Ahab states. One other significant deviation from the history of the period is that Ahab promises his fellow Israelites that Jehovah will be their only god, until Jezebel convinces him otherwise. Since the film acknowledges that Jeroboam worshipped idols sometime before this, it would seem that the northern tribes must have turned back to Jehovah at some point — but the biblical record indicates otherwise. In fact, one of the points that the Book of Kings harps on is that every single king who ruled over the northern kingdom of Israel worshipped idols of one sort or another; Ahab, by adding the worship of Baal to the mix, was simply the worst of those kings. Less significantly, the Narrator tells us that Ahab was killed by “a Syrian sword”, when in fact it was an unaimed arrow that killed him. The film does have Jezebel killed with an arrow, though, apparently against Jehu’s wishes, but that too is a deviation from the biblical account, where Jezebel’s eunuchs toss her out of a window at Jehu’s command. (In the film, her body is tossed off the balcony by bitter rebel soldiers who refuse to give her a proper burial after she has been killed.) Contemporary resonances. When Jehu walks out of the Baal ceremony, Jezebel suggests that the “pulse beat” of the music might have made him lose self-control. This film was made a few years before the invention of rock’n’roll, but it’s possible to see in this a concern over the proliferation of jazz and similar forms of music. Perhaps the most striking line comes from Naboth, who is helping the followers of Jehovah to hide in the caves from Jezebel’s soldiers. “Perhaps,” he says, “exile is the fate of our people. What we suffer, others have suffered before us. And still others of our race will suffer in the years that are still to come.” This film, remember, was made only eight years after the end of the Holocaust, and five years after the creation of the state of Israel and the first Arab-Israeli War. Note also how the Narrator describes the caves in which Elijah’s followers hide as a “stronghold for the voice of freedom”. I’m not sure that the Bible or the ancient Israelites would have framed their struggle that way, but it is the sort of language that would appeal to an American audience with its history of struggles for “liberty”, etc. Finally, I cannot help but be amused by the fact that the Narrator’s replica of the Baal idol, which he points to whenever he cites the commandment against graven images, is sitting beneath a stained-glass window. There are some Protestants who believe that the commandment against graven images applies to any and all visual artforms, including stained-glass windows — but I guess this Narrator isn’t one of them. Odd dialogue, odd music. My favorite bit of dialogue has to be the exchange between Ahab and Jezebel on their wedding night, when she says, “I have no kingdom to give. I am only a woman,” and Ahab replies, “That is kingdom enough for me!” I also laughed when Jehu tells Deborah, “In battle or peace, people get hurt. People get hurt just living.” Jehu’s line delivery makes the line sound even more pathetic than it must have looked on paper. For its part, the music feels at times like it’s evoking the theme to Cecil B. DeMille’s Samson & Delilah (1949), which came out four years earlier and thereby kicked off the first significant wave of Bible movies since the silent era. And I thought it was fairly strange how the soundtrack laid on a bit of pious choral music when Elijah declares that there will be no dew or rain on the earth as punishment for Ahab’s worship of Baal; you would think that this threat should come across as ominous or something, but the music goes in a completely different direction. It sounds, in fact, like the kind of choral music that Monty Python sometimes adds to its parodies of these sorts of movies. Casting connections. Jezebel is played by Paulette Goddard, who had previously been married to Charlie Chaplin and had co-starred in two of his films, Modern Times (1936) and The Great Dictator (1940). This was one of her last films. Jehu is played by George Nader, who played the lead role in the infamous 3D sci-fi movie Robot Monster (1953) the very same year that Sins of Jezebel came out. King Ahab is played by Eduard Franz, who would go on to play Jethro in The Ten Commandments (1956) and someone named Jehoam in The Story of Ruth (1960). And both Elijah and the Narrator are played by John Hoyt, who would go on to play the ship’s doctor in the original Star Trek pilot ‘The Cage’ (1964). And who played the captain of the Enterprise under whom that doctor served? Jeffrey Hunter, who had previously played Jesus in King of Kings (1961)! So whenever I see that Star Trek episode again — or ‘The Menagerie’, a two-parter that used footage from ‘The Cage’ — it won’t be Captain Pike and Doctor Boyce meeting onscreen, it will be Jesus and Elijah. At least for me! Update: My friend Matt Page reviewed the film five years ago at his Bible Films Blog, and he makes some excellent points there that hadn’t occurred to me yet, such as how the film all but obliterates the striking humanity of the biblical Elijah. Paulette Goddard (June 3, 1910 – April 23, 1990) was an American actress. A child fashion model and a performer in several Broadway productions as a Ziegfeld Girl, she became a major star of the Paramount Studio in the 1940s. Her most notable films were her first major role, as Charles Chaplin's leading lady in Modern Times, and Chaplin's subsequent film The Great Dictator. She was nominated for an Academy Award for Best Supporting Actress for her performance in So Proudly We Hail! (1943). Her husbands included Chaplin, Burgess Meredith, and Erich Maria Remarque. Contents 1 Early life2 Film career3 Later life4 Death5 Personal life 5.1 Discrepancies regarding year of birth6 Legacy7 Fictional portrayals8 Filmography9 Notes10 Sources11 External links Early life Goddard was the only child of Joseph Russell Levy (1881–1954), who was Jewish, and the son of a prosperous cigar manufacturer from Salt Lake City, and of Alta Mae Goddard (1887–1983), who was Episcopalian and of English heritage.[1][2] They married in 1908 and separated while their daughter was very young, although the divorce did not become final until 1926. According to Goddard, her father left them, but according to J.R. Levy, Alta absconded with the child.[1] Goddard was raised by her mother, and did not meet her father again until the late 1930s, after she had become famous.[3] In a 1938 interview published in Collier's, Goddard claimed Levy was not her biological father.[3] In response, Levy filed a suit against his daughter, claiming that the interview had ruined his reputation and lost him his job, and demanded financial support from her. In a December 17, 1945, article written by Oliver Jensen in Life Magazine, Goddard admitted to having lost the case and being forced to pay her father $35 a week. To avoid a custody battle, her mother and she moved often during her childhood, even relocating to Canada at one point.[1] Goddard began modelling at an early age to support her mother and herself, working for Saks Fifth Avenue and Hattie Carnegie, among others. An important figure in her childhood was her great-uncle, Charles Goddard, the owner of the American Druggists Syndicate. He played a central role in Goddard's career, introducing her to Broadway impresario Florenz Ziegfeld.[1] In 1926, she made her stage debut as a dancer in Ziegfeld's summer review, No Foolin', which was also the first time that she used the stage name Paulette Goddard.[4] Ziegfeld hired her for another musical, Rio Rita, which opened in February 1927, but she left the show after only three weeks to appear in the play The Unconquerable Male, produced by Archie Selwyn.[5] It was, however, a flop and closed after only three days following its premiere in Atlantic City.[5] Soon after the play closed, Goddard was introduced to Edgar James, president of the Southern Lumber Company, located in Asheville, North Carolina, by Charles Goddard.[6] Aged 17, considerably younger than James, they married on June 28, 1927, in Rye, New York. It was a short marriage, and Goddard was granted a divorce in Reno, Nevada, in 1929, receiving a divorce settlement of $375,000.[6] Film career Studio publicity portrait for Modern Times (1936), in which Goddard had her first substantial film role. Goddard first visited Hollywood in 1929, when she appeared as an uncredited extra in two films, the Laurel and Hardy short film Berth Marks, and George Fitzmaurice's drama The Locked Door.[7] Following her divorce, she briefly visited Europe before returning to Hollywood in late 1930 with her mother. Her second attempt at acting was no more successful than the first, as she landed work only as an extra. In 1932, she signed her first film contract with producer Samuel Goldwyn to appear as a Goldwyn Girl in The Kid from Spain. However, Goldwyn and she did not get along, and she began working for Hal Roach, appearing in a string of uncredited supporting roles for the next four years.[7] The year she signed with Goldwyn, Goddard began dating Charlie Chaplin, a relationship that received substantial attention from the press.[7][8] It marked a turning point in Goddard's career when Chaplin cast her as his leading lady in his next box office hit, Modern Times, in 1936. Her role as "The Gamin", an orphan girl who runs away from the authorities and becomes The Tramp's companion, was her first credited film appearance and garnered her mainly positive reviews, Frank S. Nugent of The New York Times describing her as "the fitting recipient of the great Charlot's championship".[7] Following the success of Modern Times, Chaplin planned other projects with Goddard in mind as a co-star, but he worked slowly, and Goddard worried that the public might forget about her if she did not continue to make regular film appearances. She signed a contract with David O. Selznick and appeared with Janet Gaynor in the comedy The Young in Heart (1938) before Selznick loaned her to MGM to appear in two films. The first of these, Dramatic School (1938), co-starred Luise Rainer, but the film received mediocre reviews and failed to attract an audience.[9] Her next film, The Women (1939), was a success. With an all-female cast headed by Norma Shearer, Joan Crawford, and Rosalind Russell, the film's supporting role of Miriam Aarons was played by Goddard. Pauline Kael would later comment of Goddard, "she is a stand-out. She's fun."[10] Selznick was pleased with Goddard's performances, particularly her work in The Young at Heart, and considered her for the role of Scarlett O'Hara. Initial screen tests convinced the director George Cukor and him that Goddard would require coaching to be effective in the role, but that she showed promise,[11] and she was the first actress given a Technicolor screen test.[11] Russell Birdwell, the head of Selznick's publicity department, had strong misgivings about Goddard. He warned Selznick of the "tremendous avalanche of criticism that will befall us and the picture should Paulette be given this part ... I have never known a woman, intent on a career dependent upon her popularity with the masses, to hold and live such an insane and absurd attitude towards the press and her fellow man as does Paulette Goddard ... Briefly, I think she is dynamite that will explode in our very faces if she is given the part." Selznick remained interested in Goddard and after he had been introduced to Vivien Leigh, he wrote to his wife that Leigh was a "dark horse" and that his choice had "narrowed down to Paulette, Jean Arthur, Joan Bennett, and Vivien Leigh".[11] After a series of tests with Leigh that pleased both Selznick and Cukor, Selznick cancelled the further tests that had been scheduled for Goddard, and the part was given to Leigh.[11] It has been suggested that Goddard lost the part because Selznick feared that questions surrounding her marital status with Charlie Chaplin would result in scandal. However, Selznick was aware that Leigh and Laurence Olivier lived together, as their respective spouses had refused to divorce them,[12] and in addition to offering Leigh a contract, he engaged Olivier as the leading man in his next production Rebecca (1940).[13] Chaplin's biographer Joyce Milton wrote that Selznick was worried about legal issues by signing her to a contract that might conflict with her preexisting contracts with the Chaplin studio.[14] Paulette Goddard in a publicity shot for A Stranger Came Home (1954) Goddard signed a contract with Paramount Pictures and her next film The Cat and the Canary (1939) with Bob Hope, was a turning point in the careers of both actors. She starred with Chaplin again in his 1940 film, The Great Dictator. The couple split amicably soon afterward, and Goddard allegedly obtained a divorce in Mexico in 1942, with Chaplin agreeing to a generous settlement. She was Fred Astaire's leading lady in Second Chorus (1940), where she met her third husband, actor Burgess Meredith. One of her best-remembered film appearances was in the variety musical Star Spangled Rhythm (1943), in which she sang a comic number, "A Sweater, a Sarong, and a Peekaboo Bang", with Dorothy Lamour and Veronica Lake.[15] She received one Oscar nomination for Best Supporting Actress, for the 1943 film So Proudly We Hail!, but did not win. Her most successful film was Kitty (1945), in which she played the title role. In The Diary of a Chambermaid (1946), she starred opposite Burgess Meredith, to whom she was married at the time. Cecil B. DeMille cast her in three blockbusters: North West Mounted Police (1940), Reap the Wild Wind (1942), and Unconquered (1947).[15] In 1947, she made An Ideal Husband in Britain for Alexander Korda, and was accompanied on a publicity trip to Brussels by Clarissa Spencer-Churchill, niece of Sir Winston Churchill and future wife of future Prime Minister Anthony Eden. In 1949, she formed Monterey Pictures with John Steinbeck. Her last starring roles were the English production A Stranger Came Home (known as The Unholy Four in the United States), and Charge of the Lancers in 1954. She also acted in summer stock and on television, including the 1955 television remake of The Women, this time playing the Sylvia Fowler role, however.[8] Later life After her marriage to Erich Maria Remarque, Goddard largely retired from acting and moved to Ronco sopra Ascona, Switzerland. In 1964, she attempted a comeback in films with a supporting role in the Italian film Time of Indifference, which turned out to be her last feature film. After Remarque's death in 1970, she made one last attempt at acting, when she accepted a small role in an episode of The Snoop Sisters (1972) for television.[15] Upon Remarque's death, Goddard inherited much of his money and several important properties across Europe, including a wealth of contemporary art, which augmented her own long-standing collection. During this period, her talent at accumulating wealth became a byword among the old Hollywood élite. During the 1980s, she became a fairly well known (and highly visible) socialite in New York City society, appearing, covered with jewels, at many high-profile cultural functions with several well-known men, including Andy Warhol, with whom she sustained a friendship for many years until his death in 1987.[16] Death Goddard underwent invasive treatment for breast cancer in 1975, successfully by all accounts.[17] On April 23, 1990, she died from heart failure while under respiratory support due to emphysema, aged 79,[18] at her home in Switzerland.[16] She is buried in Ronco Village Cemetery, next to Remarque and her mother. Personal life Goddard married the much older lumber tycoon Edgar James on June 28, 1927, when she was 17 years old; the couple moved to North Carolina. They separated two years later and divorced in 1932.[19] In 1934, Goddard began a relationship with Charlie Chaplin. She later moved into his Beverly Hills home. They were reportedly married in secret in Canton, China, in June 1936. Aside from referring to Goddard as "my wife" at the October 1940 premiere of The Great Dictator, neither Goddard nor Chaplin publicly commented on their marital status. On June 4, 1942, Goddard was granted a Mexican divorce from Chaplin.[20] In May 1944, she married Burgess Meredith at David O. Selznick's Beverly Hills home.[21] They divorced in June 1949.[22] In 1958, Goddard married author Erich Maria Remarque. They remained married until Remarque's death in 1970.[23] Goddard had no children. In October 1944, she suffered the miscarriage of a son with Burgess Meredith.[24] She was the first stepmother to Chaplin's sons, Charles, Jr. and Sydney Chaplin, whose mother was Lita Grey. Grey was only two years older than Goddard. Discrepancies regarding year of birth With Phillip Reed in 1957 Like many other actresses, Goddard tampered with her year of birth. According to one of Goddard's biographers, Julie Gilbert, the actress was born in either Whitestone Landing, Queens, New York or Great Neck, Long Island on June 3, 1910, and according to her birth certificate was named Marion Goddard Levy.[25] However, various later documents mention different birth years and places, as well as names. Legal documents and a passport listed her birth year as 1905 and 1915,[25] and when asked to clarify the confusion over her age in a 1945 interview with Life, Goddard claimed she was in fact born in 1915.[26] She later claimed in a magazine column to have been born in Manhattan, and according to her second husband, Charlie Chaplin, she was born in Brooklyn. Goddard's name has also been cited as Pauline Goddard Levy and Pauline Marion Levy.[25] However, according to the U.S. Census taken on January 5, 1920, Goddard (as Pauline G. Levy) and her parents (Joseph R. and Alta M. Levy) were living in Kansas City, Missouri. She is listed as having been born in New York, and her age is given as nine years, the age being the age of the individual as of his or her last birthday, which is the question asked by census enumerators (see Jackson County, Missouri enumeration District 236, p. 5-B, family 145.) Also, her gravestone in Switzerland clearly gives her year of birth as 1910. The 1910 Census confirms Pauline's self-report as her parents were living in Manhattan in April 1910, less than two months before her birth. Legacy With Chaplin in The Great Dictator Arguably Goddard's foremost legacies remain her two feature films with Charles Chaplin, Modern Times and The Great Dictator, and a large donation to a prominent American educational institution. Goddard, whose own formal education did not go beyond high school, bequeathed US$20 million to New York University (NYU) in New York City. This contribution was also in recognition of her friendship with the Indiana-born politician and former New York University President John Brademas. Goddard Hall, a New York University freshman residence hall on New York City's Washington Square in Greenwich Village, is named in her honor. Efforts to raise CHF 6.2M ($7M) to purchase and save Remarque and Goddard's villa from demolition are underway, proposing to transform the Casa Monte Tabor into a museum and home to an artist-in-residence program, focused on creativity, freedom and peace.[27] Fictional portrayals Goddard was portrayed by Diane Lane in the 1992 film Chaplin, and by actress Natalie Wilder in the 2011 play Puma, written by Julie Gilbert, who also wrote Opposite Attraction: The Lives of Erich Maria Remarque and Paulette Goddard.[28] Filmography Film Year Title Role Notes 1929 Berth Marks Train passenger Short subject 1929 The Locked Door Girl on rum boat Uncredited 1931 City Streets Dance extra Uncredited 1931 The Girl Habit Lingerie salesgirl 1931 Ladies of the Big House Inmate in midst of crowd Uncredited 1932 The Mouthpiece Blonde at party Uncredited 1932 Show Business Blonde train passenger Uncredited Short subject 1932 Young Ironsides Herself, Miss Hollywood Uncredited Short subject 1932 Pack Up Your Troubles Bridesmaid Uncredited 1932 Girl Grief Student Uncredited Short subject 1932 The Kid From Spain Goldwyn Girl Uncredited 1933 Hollywood on Parade No. B-1 Herself Short subject 1933 The Bowery Blonde who announces Brodie's jump Uncredited 1933 Hollywood on Parade No. B-5 Herself Short subject 1933 Roman Scandals Goldwyn Girl Uncredited 1934 Kid Millions Goldwyn Girl Uncredited 1936 Modern Times Ellen Peterson – A Gamine 1936 The Bohemian Girl Gypsy vagabond Uncredited 1938 The Young in Heart Leslie Saunders 1938 Dramatic School Nana 1939 The Women Miriam Aarons 1939 The Cat and the Canary Joyce Norman 1940 The Ghost Breakers Mary Carter 1940 The Great Dictator Hannah 1940 Screen Snapshots: Sports in Hollywood Herself Short subject 1940 North West Mounted Police Louvette Corbeau Alternative titles: Northwest Mounted Police The Scarlet Riders 1940 Second Chorus Ellen Miller 1941 Pot o' Gold Molly McCorkle Alternative titles: The Golden Hour Jimmy Steps Out 1941 Hold Back the Dawn Anita Dixon 1941 Nothing But the Truth Gwen Saunders 1942 The Lady Has Plans Sidney Royce 1942 Reap the Wild Wind Loxi Claiborne Alternative title: Cecil B. DeMille's Reap the Wild Wind 1942 The Forest Rangers Celia Huston Stuart 1942 Star Spangled Rhythm Herself 1943 The Crystal Ball Toni Gerard 1943 So Proudly We Hail! Lt. Joan O'Doul Nominated—Academy Award for Best Supporting Actress 1944 Standing Room Only Jane Rogers/Suzanne 1944 I Love a Soldier Evelyn Connors 1945 Duffy's Tavern Herself 1945 Kitty Kitty 1946 The Diary of a Chambermaid Célestine Producer (Uncredited) 1947 Suddenly, It's Spring Mary Morely 1947 Variety Girl Herself 1947 Unconquered Abigail "Abby" Martha Hale 1947 An Ideal Husband Mrs. Laura Cheveley Alternative title: Oscar Wilde's An Ideal Husband 1948 On Our Merry Way Martha Pease 1948 Screen Snapshots: Smiles and Styles Herself Short subject 1948 Hazard Ellen Crane 1949 Bride of Vengeance Lucretia Borgia 1949 Anna Lucasta Anna Lucasta 1949 A Yank Comes Back Herself Uncredited Short subject 1950 The Torch María Dolores Penafiel Associate producer Alternative title: Bandit General 1952 Babes in Bagdad Kyra 1953 Vice Squad Mona Ross Alternative title: The Girl in Room 17 1953 Sins of Jezebel Jezebel 1953 Paris Model Betty Barnes Alternative title: Nude at Midnight 1954 Charge of the Lancers Tanya 1954 A Stranger Came Home Angie Alternative title: The Unholy Four 1964 Time of Indifference Mariagrazia Alternative titles: Les Deux Rivales Gli Indifferenti Television Year Title Role Notes 1951 Four Star Revue Guest actress Episode #1.41 1952 The Ed Sullivan Show Herself 2 episodes 1953 Ford Theatre Nancy Whiting Episode: "The Doctor's Downfall" 1954 Sherlock Holmes Lady Beryl Episode: "The Case of Lady Beryl" 1955 Producers' Showcase Sylvia Fowler Episode: "The Women" 1957 The Errol Flynn Theatre Rachel Episode: "Mademoiselle Fifi" 1957 The Joseph Cotten Show: On Trial Dolly Episode: "The Ghost of Devil's Island" 1957 Ford Theatre Holly March Episode: "Singapore" 1959 Adventures in Paradise Mme. Victorine Reynard Episode: "The Lady from South Chicago" 1959 What's My Line? Guest panelist November 29, 1959 episode 1961 The Phantom Mrs. Harris TV movie 1972 The Snoop Sisters Norma Treet TV movie Alternative title: Female Instinct Radio Year Title Role Notes (Source:[29] unless otherwise noted.) 1939 Lux Radio Theatre Episode: "Front Page Woman" 1939 The Campbell Playhouse Episode: "Algiers" 1940 The Gulf Screen Guild Theatre Episode: "The Firebrand" 1941 The Gulf Screen Guild Theatre Episode: "Destry Rides Again " 1941 Lux Radio Theatre Episode: "Hold Back the Dawn" 1941 Cavalcade of America Episode: "The Gorgeous Hussy" 1941 Screen Guild Players Frenchy Episode: "Destry Rides Again"[30] 1942 Philip Morris Playhouse Episode: "They All Kissed the Bride"[31] 1942 Screen Guild Theatre Episode: "Parent by Proxy"[32] 1942 Screen Guild Players The night club queen Episode: "Ball of Fire"[33] 1942 The Gulf Screen Guild Theatre Episode: "Torrid Zone" 1942 Lux Radio Theatre Episode: "North West Mounted Police" 1942 Lady Esther Screen Guild Theatre Episode: "Ball Of Fire" 1943 Lux Radio Theatre Episode: "Reap the Wild Wind" 1943 Lux Radio Theatre Episode: "So Proudly We Hail!" 1944 Lady Esther Screen Guild Theatre Episode: 'I Love You Again" 1944 Lux Radio Theatre Episode: "Standing Room Only" 1944 Screen Guild Players Episode: "You Belong to Me"[34] 1945 Harold Lloyd Comedy Theatre Episode: "Standing Room Only" 1945 Theatre Guild on the Air Episode: "At Mrs. Beam's" 1947 Lux Radio Theatre Episode: "Kitty" 1947 Hollywood Players Episode: "5th Ave Girl"[35] 1948 Screen Guild Players Episode: "Suddenly It's Spring"[36] 1952 Philip Morris Playhouse Episode: "The Romantic Years"[37] 1952 Broadway Playhouse Standing Room Only[38] ebay3216

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