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71-546: Elizabeth Ruth Grable (December 18, 1916 – July 2, 1973) was an American actress, pin-up girl , dancer, model and singer. Her 42 films during the 1930s and 1940s grossed more than $ 100 million, and for 10 consecutive years (1942–1951) she placed among the Quigley Poll 's top 10 box office stars (a feat only matched by Doris Day , Julia Roberts and Barbra Streisand , although all were surpassed by Mary Pickford , with 13 years). The U.S. Treasury Department listed her as

142-427: A B-movie comedy that gave Grable her famous nickname. When the film did not become the hit for which Paramount had hoped, the studio released her from her contract and Grable began preparing to leave Hollywood for a simpler life. However, she changed her mind and decided to try Broadway , accepting Buddy DeSylva 's offer to appear in his musical Du Barry Was a Lady , starring Ethel Merman and Bert Lahr . The play

213-504: A child, she was pressured by her mother to become a performer. She was entered into multiple beauty contests, winning many and receiving considerable attention. Despite her success, she suffered from a fear of crowds and somnambulism . A 12-year-old Grable and her mother travelled to Hollywood in 1929, shortly after the stock market crash . In Hollywood, Grable studied at the Hollywood Professional School and

284-536: A feud, and each often expressed their admiration for the other. The two reportedly remained friends until Grable's death. After Tin Pan Alley , Grable was teamed again with Ameche in the hit musical Moon Over Miami (1941), which co-starred up-and-coming actress Carole Landis . In 1941, Fox attempted to broaden Grable's acting and audience range by casting her in two films with more serious intent than those in which she had starred previously. The first, A Yank in

355-579: A glamorous Broadway star. Fox then began to develop Philip Wylie 's short story "Second Honeymoon", into a script suited for Grable's talents. The resulting movie was Springtime in the Rockies (1942), directed by Irving Cummings , and the featured actors included Payne, Cesar Romero , Carmen Miranda , and her future husband, bandleader Harry James . The film was an immediate hit, Grable's biggest success to date, grossing more than $ 2 million. The film's success led to Fox increasing her salary and her having

426-509: A long-term contract. "If that's not luck, I don't know what you'd call it", Grable said in her first interview after signing with the studio. Zanuck, who had been impressed by Grable's performance in Du Barry Was a Lady , was, at the time, in the midst of casting the female lead in the musical film Down Argentine Way (1940). The role had originally been assigned to Alice Faye , Fox's most popular musical film star, but she had to decline

497-542: A magazine that began in 2011 has both a print and digital version. It was described in 2015 as "the most-liked" pin-up magazine in the world. One of the magazine's mission statements is "to promote and showcase retro and modern pin-up girls." Another well known modern pin-up magazine featuring pin-ups in vintage dress is Retro Lovely. This is the modern day pin-up magazine with the most sold digital and print copies. Within this subculture, there are opportunities to perform in pin-up contests, including one which takes place during

568-519: A new career starring in her own act in Las Vegas hotels and with her husband at the time, musician Harry James. Later, she starred in big Las Vegas stage productions such as Hello, Dolly . She also appeared on Broadway in Hello, Dolly in 1967. Grable married former child actor Jackie Coogan in 1937. He was under considerable stress from a lawsuit against his parents over his childhood earnings, and

639-560: A platform when the magazine Jet (created in 1951) published material related to the African-American community. Jet supported pin-up with their full-page feature called "Beauty of the Week", where African-American women posed in swimsuits. This was intended to showcase the beauty that African-American women possessed in a world where their skin color was under constant scrutiny. It was not until 1965 that Jennifer Jackson became

710-670: A publicity stunt. Describing her film career, Grable said: "I became a star for two reasons, and I'm standing on them." Elizabeth Ruth Grable was born on December 18, 1916, in St. Louis, Missouri , the youngest of three children of Lillian Rose (née Hofmann; 1889–1964) and John Conn Grable (1883–1954), a stockbroker. Her second cousin was silent-film actress Virginia Pearson . Her siblings were Marjorie Lucille Arnold (née Grable; 1909–1980) and John Karl "Jackie" Grable (1914–1916). The Grable children were of Dutch, English, German, Swiss German and Irish ancestry. Nicknamed Betty as

781-592: A series of films, many of which became worldwide successes, such as Cavalcade (1933). She received larger roles in The Gay Divorcee (1934) and Follow the Fleet (1936). After her brief stint as an RKO contract player, Grable signed with Paramount Pictures , which lent her to 20th Century-Fox to costar in the adolescent comedy Pigskin Parade (1936). Despite the studio's effort to introduce Grable to

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852-541: A string of B movies , mostly portraying college students. She came to prominence in the Broadway musical Du Barry Was a Lady (1939), which brought her to the attention of 20th Century-Fox . She replaced Alice Faye in Down Argentine Way (1940), her first major Hollywood film, and became Fox's biggest film star throughout the next decade. Fox cast Grable in a succession of Technicolor musicals during

923-406: A way to boost morale during the war. The shape of the lip was also iconic of the 1940s. The lips were painted on to look plumper; a broad outline of the lip was added for roundness. This fuller look is known as the "Hunter's Bow", invented by Max Factor . The pin curl is a staple of the pin-up style, as "women utilized pin curls for their main hair curling technique". Originating in the 1920s from

994-456: A wider choice over the films she made. Grable was voted the number-one box-office draw by American movie exhibitors in 1943; she outranked Bob Hope , Gary Cooper , Greer Garson , Humphrey Bogart , and Clark Gable in popularity. Coney Island , released in June 1943, was a Technicolor " gay nineties " period musical and co-starred George Montgomery . The film earned more than $ 3.5 million at

1065-660: A year off from filming, Grable reluctantly reconciled with Fox and agreed to star in a musical remake of The Farmer Takes a Wife (1953). The film was an attempt by Fox to recapture Grable's reputation as the studio's biggest star, and although she was paired with Dale Robertson , the film was a critical and box-office flop. She next starred in How to Marry a Millionaire , a romantic comedy about three models plotting to marry wealthy men, co-starring Marilyn Monroe and Lauren Bacall . During production, Grable and Monroe falsely were rumored to be at odds with each other. Grable, whose career

1136-520: Is a 1930 American Pre-Code musical film made by the Fox Film Corporation . Directed by Frank R. Strayer , the film uses a screenplay by William K. Wells which is based on a story by Andrew Bennison . It was choreographed by Danny Dare . The film stars Joseph Wagstaff , Lola Lane , Sharon Lynn , Frank Richardson , Walter Catlett , Dixie Lee , Ilka Chase , and Larry Steers . unbilled According to IMDB, Let's Go Places

1207-421: The "water-waving technique", the hair style of the 1940s consisted of a fuller, gentle curl. The drying technique consists of curling a damp piece of hair, from the end to the root and pin in place. Once the curl is dry, it is brushed through to create the desired soft curl, with a voluminous silhouette. Victory rolls are also a distinctive hairstyle of the pin-up. The Victory roll is curled inward and swept off

1278-806: The American pin-up queen of the 1950s, Bettie Page . The American burlesque performer Dita Von Teese is often referred to as a modern pin-up due to her involvement in the revival of American Burlesque, known as Neo-burlesque . Von Teese made an appearance in a biographical film about Bettie Page, Bettie Page Reveals All , where she helps to define pin-up. Katy Perry makes use of the ideas associated with pin-up modeling, and has included these in music videos and costumes. The Victoria's Secret Fashion Show can be comparable to burlesque show, whereas their yearly advent calendar can compare to pin-up in general. The pin-up modeling subculture has produced magazines and forums dedicated to its community. Delicious Dolls ,

1349-636: The Ernest Blecher Academy of Dance. To obtain jobs for her daughter, Lillian Grable lied about her daughter's age, claiming that she was 15 to film producers and casting agents. That same year, she made her uncredited film debut as a chorus girl in the Fox Studios all-star revue Happy Days (1929). This success led to chorus-girl roles in Let's Go Places (1930) and New Movietone Follies of 1930 (1930). In 1930, at age 13, Grable (under

1420-539: The R.A.F. , released in September, co-starred heartthrob Tyrone Power , and cast her as Carol Brown, who works in the Women's Auxiliary Air Force during the day, but is employed as a nightclub singer in the evening. The film followed the lines of other movies of the era, but it was not considered a propaganda movie by the studio. At the time of its release, the film received positive reviews, with many critics singling out

1491-502: The Viva Las Vegas rockabilly festival. Marilyn Monroe and Bettie Page are often cited as the classic pin-up, however there were many Black women who were considered to be impactful. In the 1920s the most notable black burlesque dancer was Josephine Baker . Dorothy Dandridge and Eartha Kitt were important to the pin-up style of their time by using their looks, fame, and personal success. African-American pin-up gained

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1562-402: The advice of her agent. When the film was released, it received mixed reviews; it was referred to as "a bright and beguiling swatch of nonsense" and it did not generate the revenue Fox had hoped. Grable immediately thereafter began filming When My Baby Smiles at Me (1948), co-starring Dan Dailey , which became a blockbuster, cementing Grable and Dailey's status as a bankable movie duo. Closing

1633-528: The age of 56 in Santa Monica, California . Her funeral was held two days later and was attended by ex-husbands Jackie Coogan and Harry James as well as Hollywood stars Dorothy Lamour , Shirley Booth , Mitzi Gaynor , Don Ameche , Cesar Romero , George Raft , Alice Faye , Johnnie Ray and Dan Dailey . " I Had the Craziest Dream ", the ballad from Springtime in the Rockies , was played on

1704-461: The box office and was Fox's second-highest earning movie of the year, behind Leave Her to Heaven . After five years of constant work, Grable was allowed time off for an extended vacation. She briefly returned to filming to make a cameo in Do You Love Me (1946), in which she appeared as a fan of her husband Harry James' character. Grable was reluctant to continue her film career, but Fox

1775-412: The box office and was well received by critics. Sweet Rosie O'Grady (1943), her follow-up feature, was equally successful at the box office, but it failed to obtain the same critical favor. In 1943, she collaborated with photographer Frank Powolny for a regular studio photo session. During the shoot, she took several photos in a tight, one-piece bathing suit. One particular pose showed Grable's back to

1846-401: The box office, particularly overseas. She agreed to make How to Be Very, Very Popular (1955) for Fox on the assurance Marilyn Monroe would be her co-star. When Monroe withdrew from the production, she was replaced with Sheree North . The release of the film was surrounded by a massive publicity campaign, but despite the promotion, the film failed to fulfill its hype, and critics complained of

1917-613: The camera as she playfully smiled looking over her right shoulder. The picture was released as a poster and became the most requested photo for G.I.s stationed overseas. Grable's photograph sold millions of copies, eventually surpassing the popularity of Rita Hayworth 's famous 1941 photo. Grable's success as a pin-up girl furthered her career as a mainstream movie star. As her star continued to ascend, Fox chief Darryl F. Zanuck expressed interest in broadening Grable's range as an actress. Zanuck tried, on multiple occasions, to cast her in films that challenged her acting abilities, but Grable

1988-514: The church organ. She was entombed at Inglewood Park Cemetery in Inglewood, California. Pin-up model The term pin-up refers to drawings, paintings, and photographs of semi-nude women and was first attested to in English in 1941. Images of pin-up girls were published in magazines and newspapers. They were also displayed on postcards, lithographs , and calendars. The counterpart of

2059-470: The couple divorced in 1939. In 1943, she married trumpeter Harry James . They had two daughters, Victoria Elizabeth "Vicki" Bivens (born 1944) and Jessica Yahner (1947–2016). Their marriage, which lasted for 22 years, was beset by alcoholism and infidelity, and they divorced in 1965. Grable entered into a relationship with dancer Bob Remick, 27 years her junior, with whom she remained until she died in 1973. Grable died of lung cancer on July 2, 1973, at

2130-477: The decade that were immensely popular, costarring with such leading men as Victor Mature , Don Ameche , John Payne and Tyrone Power . In 1943, she was the number-one box-office draw in the world. Two of her greatest film successes were the musical Mother Wore Tights (1947) and the comedy How to Marry a Millionaire (1953), one of her later films. Grable retired from screen acting in 1955 after she withdrew from her Fox contract, but she continued to perform on

2201-485: The decade, Grable starred in The Beautiful Blonde from Bashful Bend (1949), an oddball movie that unevenly mixed musical numbers with Western clichés. Despite a casting consisting of Cesar Romero and Rudy Vallée , the film was panned by critics, but it was a reasonable success at the box office. Grable had been placed in the "Top Ten Money Making Stars Poll" every year, beginning in 1942. She ranked at

Betty Grable - Misplaced Pages Continue

2272-534: The early 1950s, Grable was searching for originality in the scripts offered to her, she had no luck in finding the movies she wanted to do. She reluctantly agreed to make Call Me Mister (1951) with Dan Dailey, a loose musical remake of A Yank in the R.A.F . . The film was moderately successful and quickly was followed by Meet Me After the Show (1951), co-starring Macdonald Carey , Rory Calhoun , and Eddie Albert . It received favorable reviews from most critics and

2343-415: The face and pinned into place on the top of the head. Soft curls, achieved through the pin curl technique, finish the look of pin-up. As a makeup style, the classic pin-up underwent a revival in modern fashion. The red lip and winged eyeliner made a re-emergence in 2010. Although pin-up modeling is associated with World War II and the 1950s, it developed into a subculture which can be seen represented in

2414-504: The feminist aim of changing the rigid, patriarchal terms." It has been argued by some critics that in the early 20th century that these drawings of women helped define certain body images—such as being clean, healthy, and wholesome—and were enjoyed by both men and women, and that as time progressed, these images changed from respectable to illicit. Conversely, female protesters argued that these images were corrupting societal morality and saw these public sexual displays of women as lowering

2485-736: The field were Earle K. Bergey , Enoch Bolles , Gil Elvgren , George Petty , Rolf Armstrong , Zoë Mozert , Duane Bryers and Art Frahm . Notable contemporary pin-up artists include Olivia De Berardinis , known for her pin-up art of Bettie Page and her pieces in Playboy . Maria Buszek the author of Pin-up Grrrls, said that the pin-up girl "has presented women with models for expressing and finding pleasure in their sexual subjectivity". According to Joanne Meyerowitz in "Women, Cheesecake, and Borderline Material," an article in Journal of Women's History , "As sexual images of women multiplied in

2556-460: The film earned more than $ 3 million at the box office, it struggled to make a profit because of its high production costs. The Dolly Sisters (1945), her next film, teamed her with newcomer June Haver , an actress Fox was promoting as Grable's successor. Although the press hinted that a tense behind-the-scenes rivalry existed between the two actresses, they both denied it, claiming to be good friends. The Dolly Sisters earned more than $ 4 million at

2627-413: The film's opening musical number, titled "Cowboys". In 1932, aged 15, Grable signed a contract with RKO Radio Pictures , and she was assigned to a succession of acting, singing and dancing classes at the studio's drama school. At age 14, her first film for the studio, Probation (1932), provided her first credited screen role. Over the next few years, she was again relegated to uncredited minor roles in

2698-581: The first African American to be published in Playboy as Playmate of the Month. 1990 marked the first year that Playboy ' s Playmate of the Year was an African-American woman, Renee Tenison . Some people believe there is a lack of representation in the media of Black women as pin-up models, even though they were just as influential to the construction of the style. Historically, Black women in pin-up are still not as common as White women pin-ups. However,

2769-484: The highest-salaried American woman in 1946 and 1947, and she earned more than $ 3 million during her career. Grable began her film career in 1929 at age 12 and was later fired from a contract for having signed with a false identification. She studied acting with Neely Dickson at the Hollywood Community Theater. She had contracts with RKO and Paramount Pictures during the 1930s and appeared in

2840-548: The lack of chemistry between Grable and North. It was, however, a box-office hit, earning more than $ 3.7 million. It proved to be Grable's final film appearance. In 1955, she did attempt to return to acting in Samuel Goldwyn 's film version of Guys and Dolls (1955). She opted to play the role of Miss Adelaide, but was passed over in favor of Vivian Blaine , who had played the role on Broadway. She then officially retired from motion-picture acting. Grable thereafter found

2911-649: The latter type was the Gibson Girl , a representation of the New Woman drawn by Charles Dana Gibson . "Because the New Woman was symbolic of her new ideas about her sex, it was inevitable that she would also come to symbolize new ideas about sexuality." Unlike the photographed actresses and dancers generations earlier, art gave artists the freedom to draw women in many different ways. The 1932 Esquire "men's" magazine featured many drawings and "girlie" cartoons but

Betty Grable - Misplaced Pages Continue

2982-423: The looking-glasses, in the joints of the gas-burners, and sometimes lying on top of the sacred cast-case itself." According to historian Maria Elena Buszek, "To understand both the complicated identity and the subversive nature of the 19th-century actress, one must also understand that the era's views on women's potential were inextricably tied to their sexuality, which in turn was tied to their level of visibility in

3053-413: The magazine-without adverts and free of charge was sent to American troops stationed overseas and in domestic bases." The Vargas Girls were adapted as nose art on many World War II bomber and fighter aircraft ; Generally, they were not seen negatively or as prostitutes, but mostly as inspiring female patriots that were helpful for good luck. Among the other well-known American artists specializing in

3124-522: The mainstream movie audience, her performance was overlooked by audiences and critics in favor of Judy Garland . When Grable returned to Paramount, she began a new phase in her career as the studio began casting her in a series of college-themed films in which she usually portrayed a naïve student, such as This Way Please (1937) and College Swing (1938). In 1939, she appeared opposite her husband Jackie Coogan in Million Dollar Legs ,

3195-663: The movie was a traditional black-and-white film noir , containing a combination of suspense and romance. Grable's performance was reviewed favorably by most critics, and the film enjoyed reasonable financial success. Grable's star continued to rise when she starred in Song of the Islands (1942), co-starring Victor Mature and Jack Oakie . The success of the movie led to her re-teaming with Mature in Footlight Serenade (1942), also co-starring John Payne , in which she played

3266-494: The movie's music was like "sticky toothpaste being squeezed out of a tube". The film also suffered from indifferent ticket sales and lost money. Grable next starred in Walter Lang 's Mother Wore Tights , released in September 1947, co-starring Dan Dailey . The film told the story of two aging vaudeville performers as they look back on their heyday through a series of flashbacks. It received critical acclaim from critics and

3337-493: The obvious on-screen chemistry between Grable and Power. It was a major box-office success, becoming the fourth-most popular movie of the year. The second movie, I Wake Up Screaming , released in November, had Grable receiving top billing as Jill Lynn, the sister of a young model who is murdered. The film offered Grable her second teaming with Carole Landis, and it co-starred Victor Mature . Directed by H. Bruce Humberstone ,

3408-444: The part due to an unspecified illness. After reviewing her screen test, Zanuck cast Grable as Faye's replacement in the movie. The film was a lavish Technicolor musical and co-starred Don Ameche and Carmen Miranda . Grable's performance of the song "Down Argentine Way" is considered a highlight of the film. Down Argentine Way was a critical and box-office success at the time of its release, and many critics proclaimed Grable to be

3479-500: The pin-up girl is the male pin-up, also known as beefcake , including celebrated actors and athletes such as the actor James Dean , the singer Jim Morrison , and the model Fabio . From the early 19th century, when pin-up modeling had "theatrical origins"; burlesque performers and actresses sometimes used photographic business cards to advertise shows. These promotional and business cards could be found backstage in almost every theater's green room , pinned up or placed in "frames of

3550-425: The pin-up originates back from the 1940s. Due to the shortages of materials during World War II, the period of makeup is considered the "natural beauty" look. The U.S. was immersed in war-time economy , which put distribution restrictions on consumer goods. General rationing was supported; women applied mild amounts of products. Pin-up style makeup products consisted of: In the 1950s, the overall look consisted of

3621-806: The pin-up photograph in many scenes, which boosted the photo's sales. Many of the film's later scenes had to be rewritten to hide Grable's pregnancy. Pin Up Girl co-starred comedians Martha Raye and Joe E. Brown and was released in April 1944 to overwhelming success at the box office. Critics, though, were not as accepting of the film. Variety wrote that the film "makes no pretenses of ultra-realism", but also called it "very pleasing and pleasant". After time off to give birth to her daughter, Grable returned to Fox to star in Billy Rose's Diamond Horseshoe (1945), co-starring Dick Haymes and Phil Silvers . Though

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3692-456: The popular culture, women participated actively in constructing arguments to endorse as well as protest [against] them." As early as 1869, women have been supporters and opponents of the pin-up. Female supporters of early pin-up content considered these to be a "positive post-Victorian rejection of bodily shame and a healthy respect for female beauty." Additionally, pin-up allows for women to change their everyday culture. The models "succeed in

3763-416: The pseudonym Frances Dean) signed with producer Samuel Goldwyn , thereby becoming one of the original Goldwyn Girls , along with Ann Sothern , Virginia Bruce , Claire Dodd and Paulette Goddard . As a member of the group, Grable appeared in a series of small parts in films, including the hit Whoopee! (1930), starring Eddie Cantor . Although she received no on-screen credit for her performance, she led

3834-420: The public sphere: regardless of race, class or background, it was generally assumed that the more public the woman, the more 'public,' or available, her sexuality." Famous actresses in early-20th-century film who were sexuality fantasized were both drawn, photographed and put on posters to be sold for personal use. Among the celebrities who were considered sex symbols , one of the most popular early pin-up girls

3905-458: The recent revival of pin-up style has propelled many Black women today to be interested and involved with. Making works based on the classic pin-up look to create their own standards of beauty. In Jim Linderman's self-published book, Secret History of the Black Pin Up , he describes the lives and experiences of African-American pin-up models. Let%27s Go Places Let's Go Places

3976-408: The red lip and was often paired with rosy cheeks. Eyeliner became bold and began to be more commonly used to make the eye appear larger. Natural eyebrows were embraced, as opposed to the thin brows of the 1920s and '30s. In the 1940s, brows were shaped and clean but filled in with a pencil to appear fuller. Lipstick "turned into a symbol of resilient femininity in the face of danger" and was seen as

4047-561: The similarities, it had new songs written and dances choreographed to modernize the film. Wabash Avenue was released in May 1950, and was a box-office hit. My Blue Heaven , released in December 1950, re-teamed her with Dan Dailey, and was equally successful financially. In 1950, Grable had regained her status as the most-popular female at the box office; she ranked fourth overall, behind John Wayne , Bob Hope , and Bing Crosby . Although, by

4118-640: The stage and on television. Throughout her career, Grable was a celebrated sex symbol . Her bathing-suit poster made her the top pin-up girl of World War II, surpassing Rita Hayworth . The photo was later included in the Life magazine project " 100 Photographs That Changed the World ". Hosiery specialists of the era often noted the ideal proportions of Grable's legs and thighs (18.5 in (47 cm)), calf (12 in (30 cm)) and ankle (7.5 in (19 cm)). Her legs were insured by her studio for $ 1 million as

4189-428: The standards of womanhood, destroying their dignity, reducing them to mere objects to pleasure men and therefore harmful to both women and young adolescents. Pin-up modeling has been described as a subculture that is invested in promoting positive body images and a love for one's sexuality, "pin-up would also find ways to... encourage the erotic self-awareness and self expression of real women". The classic style of

4260-471: The styles of some celebrities and public figures. Pamela Anderson was considered the "perennial pin-up" due to decades' worth of modeling for Hugh Hefner 's Playboy magazine. The American singer Lana Del Rey , whose style is comparable to that of the classic pin-up model, has performed a song called "Pin Up Galore". Beyoncé has recorded a song titled "Why Don't You Love Me," which pays tribute to

4331-511: The successor to Alice Faye. The film's success led to Grable's casting in Tin Pan Alley (1940), co-starring Faye. As the Lily sisters, both Grable and Faye received favorable reviews for their performances. Over the years, rumors have circulated that a rivalry existed between Grable and Faye during filming, but this has been said to be entirely untrue—both actresses denied all accusations of

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4402-429: The top of the poll in 1943, and ranked second in 1947 and 1948. In 1949, although she still placed in the top 10, she slipped from second to seventh place in popularity. Fox became concerned that Grable might be becoming regarded as passé. Darryl F. Zanuck had the film Wabash Avenue (1950) tailored to fit Grable's talents. The film's plot closely followed the story of Grable's earlier hit Coney Island (1943). Despite

4473-608: Was Betty Grable , whose poster was ubiquitous in the lockers of G.I.s during World War II . In Europe, prior to the First World War, the likes of "Miss Fernande" (who some identify as Fernande Barrey ) were arguably the world's first pin-ups in the modern sense. Miss Fernande displayed ample cleavage and full frontal nudity, and her pictures were cherished by soldiers on both sides of the First World War conflict. Other pin-ups were artwork that depicted idealized versions of beautiful or attractive women. An early example of

4544-617: Was a box-office hit, earning an estimated $ 5 million. Grable was cast in That Lady in Ermine (1948), a film project that had previously been considered for either Jeanette MacDonald or Gene Tierney . It co-starred Douglas Fairbanks Jr and originally was directed by Ernst Lubitsch . After Lubitsch's death early in production, Otto Preminger took over. It was reported that Grable often quarreled with Fairbanks and Preminger and that she nearly walked out on filming, but decided against it on

4615-421: Was a box-office success. In 1952, Grable began re-negotiating her contract with Fox. She requested a higher salary and the option to make only those films she wanted to do. The studio refused, and she went on strike, which led to her being replaced by Marilyn Monroe in the movie adaptation of Gentlemen Prefer Blondes (1953) and by June Haver in the musical comedy The Girl Next Door (also 1953). After

4686-413: Was an instant critical and audience success, and Grable was branded a newfound star. In a 1940 interview, Grable stated she was "sick and tired" of show business and that she was considering retirement. Soon thereafter, she was invited to go on a personal appearance tour, which she readily accepted. The tour brought Grable to the attention of Darryl F. Zanuck , the head of 20th Century-Fox, who offered her

4757-559: Was declining, was assumed to be jealous of Monroe because she was being groomed as Fox's newest star and possibly as Grable's unofficial successor. In fact, Grable and Monroe got along famously; Grable reportedly told Monroe: "Go and get yours, honey! I've had mine!" How to Marry a Millionaire was a box-office triumph when released, grossing an estimated $ 8 million. After refusing the leading female role in Irving Berlin 's There's No Business Like Show Business (1954), Grable again

4828-528: Was desperately in need of her return. Without Grable's movies, which generated large profits, the studio struggled to stay afloat. The Shocking Miss Pilgrim (1947) was her first film back at Fox. She played Cynthia Pilgrim, a college student who graduated at the top of her typewriting class during the first year of the Packard Business College . Although critics acknowledged that the film "momentarily achieved" brilliance, they also felt that

4899-435: Was most famous for its " Vargas Girls ". Prior to World War II, Vargas Girls were praised for their beauty and less focus was on their sexuality. However, during the war, the drawings transformed into women playing dress-up in military drag and drawn in seductive manners, like that of a child playing with a doll. Vargas Girls became so popular that from 1942 to 1946, owing to a high volume of military demand, "9 million copies of

4970-431: Was reluctant; she felt insecure about her talent and this made her unwilling to accept roles she felt required too much of her. Zanuck relented to Grable's own request not to tamper with her successful screen formula. As a result, the studio prepared a film called Pin Up Girl for her. The film has her as a hostess for a USO canteen who provides entertainment for the troops during their time there. The lavish musical used

5041-477: Was suspended from her contract. The following year, she appeared in Three for the Show (1955) for Columbia Pictures , her first film made away from Fox in over 15 years, and featuring up-and-coming actor Jack Lemmon and dancers Marge and Gower Champion . Critics called the film a "slight, but cheerful, item", and proclaimed it "does serve to bring Betty Grable back to the screen". It enjoyed reasonable success at

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