Robert Taylor (1911-1969) was probably the first actor under the MGM Hollywood label to be reluctant to admit himself as a superstar, as almost everyone recognized his handsome face.
Just because of his appearance, he became one of the most awe-inspiring and manly stars of the 1930s, which allowed MGM to stay with him for 24 years, longer than any male movie star.
Images of Robert Taylor and Greta Garbo in the film La Traviata (1936).
Before leaving, Robert Taylor looked in the mirror, and in half an hour, his agent, Donn, was going to take him to a nightclub on Sunset Boulevard.
Robert Taylor looked at the perfectly lined face in the mirror and muttered in his heart: This nightclub trip was just a public exposure arranged in advance by MGM's public relations department, and the paparazzi who received the invitation would stand guard in front of the nightclub, and then take pictures of him without leaving a dead end, and appear in the gossip newspapers and magazines of the next day.
Images of Robert Taylor and Vivien Leigh in the film The Blue Bridge (1940).
Even if Robert Taylor was extremely disgusted by this kind of public relations activity, this trip was a must- because from the moment he signed his CONTRACT at MGM, his life was out of his control.
Then again, Robert Taylor's off-screen private life was very discreet and low-key, much like his fellow Nebrasian fellow Montgomery Clift (1920-1966) – the two were very similar to men.
Robert Taylor was born shy, and even though he later became the dream lover of millions of women on the big screen, he still saw a faint hint of shyness, so unlike Marlon Brando (1924-2004) and James Dean James Dean (1931-1955), he threw a lot of male and female lovers into the public eye without hesitation.
Front row from left: Barbara Stanwyk, Cingi Rogers, Betty Davis; back row: Gregory Pike, Robert Taylor, Ray Mirande
He also did not "go his own way" like Rock Hudson (1925-1985) after finally accepting the company's arrangement; he chose marriage as a "haven" like Gary Grant (1904-1986) and Anthony Perkins (1932-1992), but he never provided a lace news for people to know.
Throughout his life, Robert Taylor was under the protection of an extremely vigilant and careful individual, except, of course, for his "father", Louis Tyler. B. Meyer outside louis b. Mayer (1884-1957) and agent Donne.
In fact, being a star is not Robert Taylor's ideal, but he was spoiled by his mother from an early age, and his mother was extremely strong, so as to make her happy before embarking on this road.
And he also likes money, because money means safety for him and his mother, because he has taken full responsibility for him since his father's death.
Stills from the film Oxford Storm (1938), Robert Taylor
In high school, Robert Taylor became a "Yo-Yo Ma" at the school and followed his cello teacher to a university in California to specialize in music.
However, the university's drama club made Robert Taylor fall in love with acting, leading several small plays of considerable standards, and was photographed by MGM's star scouts.
Robert Taylor and Louis B. Meyer for a group photo
In 1934, Robert Taylor signed a contract with MGM, initially owner Louis Tyler. B. Meyer only had his pretty face in his picture and instructed the authorities to sign a 7-year contract with him first, when everyone didn't know why the boss signed him.
After signing, Louis B. Meyer also had the agency arrange for him to play less important roles, often making him a beautiful backdrop for many MGM movies, playing some insignificant passers-by.
Stills from the film Handy Andy (1934), by Robert Taylor and Mary Carlisle
Robert Taylor's starting salary was $35 a week, rising to $2,500 a week by 1936.
He did put Louis B. Meyer became a father, because he could not adapt to the absence of an authoritative father figure in his heart, and from his heart, he never liked the delicate woman, he liked the rough and controlling man.
Stills from the film The Social Doctor (1935), robert Taylor and Virginia Bruce Virginia Bruce
In May 1934, MGM loaned Robert Taylor to 20th Century Fox for the comedy Handy Andy (1934), where he played a rival role with Will Rogers (1879–1935), the first time Robert Taylor had played a major role in a film.
However, when he took off his shirt in The Social Doctor Society Doctor (1935) and his strong chest muscles paid off, letters of love from fans quickly filled his mailbox.
Promotional photo for the film The Social Doctor (1935), Robert Taylor
Later that year, Robert Taylor was loaned to Universal Pictures to collaborate with Irene Dunne Dunne (1898–1990) on the classic romance Film Magnificent Obsession (1935), which made him the hottest rising star.
At the end of a brief flashback, Robert Taylor and Donne arrive at the nightclub. After dealing with the paparazzi, they found a place to sit down, lit a cigar, and took two sips of whiskey.
Stills from the movie "The Sky Is Too Old" (1935), Robert Taylor and Irene Dunn
When Robert Taylor drew a fourth cigar, Donn stabbed him; "See who's coming?" Robert Taylor looked in the direction he indicated, and Barbara Stanwyck (1907-1990) stepped into his sight.
"Isn't that Barbara Stanwick?" What are you trying to say? Robert Taylor asked.
Images of Robert Taylor and Barbara Stanwick in the film His Brother's Wife (1936).
This fragile and sensitive woman has just been divorced and now is a good opportunity to take advantage of the situation. The corners of Don's mouth inadvertently rose, "Don't be angry first, think about it carefully, although you have the upward momentum now, Hollywood is not the world of desperate Sanlang." “
"Barbara Stanwick is already a big star, if you can be together, you can at least fight for 5 years less, and Barbara Stanwick is now a little bit back, career marriage is not going well, what is missing is you such a vigorous young man." 」 It's a win-win thing. Isn't it? ”
Robert Taylor and Barbara Stanwick
Then, Donne spat out a cigarette, "There are also rumors that she likes women", and then Donn looked at him without hurrying and said, "Good thing, you also need to find someone to cover!" ”
Robert Taylor was told by Donn's remarks without any room for granting the truth — what does it matter if it's just two pieces of the studio playing tricks on the scene?
The key didn't hurt him, so he snuffed out the cigar and walked toward Barbara Stanwick's desk, and after some greetings, the two of them walked onto the dance floor...
Promotional photo for the film The Luxurious Slut (1936), Robert Taylor and Joan Crawford
What Robert Taylor didn't know was that this meeting with Barbara Stanwick was his "father" Louis Tyler. B. Meyer instructed Don to arrange it.
But what Robert Taylor didn't expect was that Hollywood was one of the most likely places in the world to "fake it"—his relationship with Barbara Stanwick seemed to outsiders to be like falling in love.
Image by Robert Taylor in the film Broadway Melody of 1936 (1935).
As Donn predicted, they helped each other tremendously in their careers, especially Robert Taylor, Barbara Stanwick, who taught him the skills to survive and develop in Hollywood, unleashing his potential and maximizing his talents.
MGM went along the way and generously offered its first-line actresses to partner with Robert Taylor, such as Greta Garbo (1905-1990) in Camille la Traviata (1936), Joan Crawford (1904-1977) in The Gorgeous Hussy (1936), and soon Robert Taylor became another cash cow for MGM.
When people sit in the theater and are infected by his magnetic voice, they never think that he, the male star who has conquered thousands of female movie fans, was a shy, stuttering boy when he was a child.
In 1937, Vivien Leigh (1913-1967) first collaborated with Robert Taylor in the film Oxford A Yank at Oxford (1938) as a high-makeup figure.
Images of Robert Taylor and Vivien Leigh in the film Oxford Storm (1938).
In Louis P. Under the full escort of B. Meyer, Robert Taylor continued to be in the list of Hollywood's top ten high-grossing stars from 1936 to 1938, which not only brought considerable profits to the company, but also recognized his acting skills by many people.
In the late 1930s, Robert Taylor became MGM's biggest headache. Because the other superstars in the company are shaping their public image according to some of their personalities.
Promotional photo for the film Personal Property (1937), Robert Taylor and Jane Harlow
Clark Gable (1901–1960) was a strong and romantic man; Spencer Küsser Spencer Tracy (1900–1967) and Greta Garbo showed themselves entirely in the state of life; Jane Harlow (1911–1937) was a sexy actress without courage; Joan Crawford was a dignified broad woman; Lolitaire Jan Loretta Young (1913- 2000) was a gentle-talking lady; but Robert Taylor was a problem.
Images of Robert Taylor and Florence Rice in the film Dragon Tiger (1939).
Later in the life of Louis A. At B. Meyer's suggestion, it was decided to portray Robert Taylor as a Sven man with a masculine temperament. Films like "The Crowd Roars" (1938) and "Dragon Tiger Stand Up and Fight" (1939) are all positioned to shape the characters.
Images of Robert Taylor and Mana Roy Myrna Loy in the film Lucky Night (1939).
After more than three years of dating, on May 14, 1939, Robert Taylor and Barbara Stanwick married in San Diego, which was rumored to be a good story.
They chose to get married because in early 1939, a Hollywood magazine burst into the news of a blockbuster entertainment story— "Hollywood's Unmarried De facto couples," which included popular stars such as Clark Gable and Carol Lombard (1908-1942), Robert Taylor, and Barbara Stanwick.
On May 14, 1939, Robert Taylor and Barbara Stanwick were married
This revelation forced the boss Louis B. Meyer had to respond in an instant, which was to get Robert Taylor and Barbara Stanwick to marry immediately.
But Louis B. Meyer and everyone knows, and the happiest is definitely Barbara Stanwick, because everyone knows her love.
Although at that time, MGM colleagues knew that the two were living together—sleeping in each room under the same roof and playing with each other.
But Robert Taylor sometimes gets so caught up in his home that he suddenly disappears, and only agent Donne will drive Robert Taylor out of any corner of Hollywood and take him wherever he wants Robert Taylor to appear.
At the wedding scene, the media at the time coaxed the two to take pictures of the kissing, but the groom Robert Taylor refused to kiss the bride Barbara Stanwick, and on the wedding night, Robert Taylor ran back to his mother's house to sleep.
Promotional photo for the movie The Crowd Roars (1938), Robert Taylor
A newspaper at the time wrote in a report on the wedding scene that was returned: "Outside the wedding scene, Robert Taylor's agent and a young boy were chatting in the distance, but the boy never had a smile on his face. This in itself is a happy thing, our big star is finally married! ”
People at that time just wondered why the wedding of the two seemed rushing, and now it seems that a reasonable explanation can be found, it must be a contract marriage, and the couple is a contracted actor of MGM.
Image by Robert Taylor in the film Escape (1940).
By the end of the 1930s, Robert Taylor had become a superstar on a par with Clark Gable, and based on his seemingly stable and happy private life, he was given the title of "Man with the Perfect Profile" by fans.
But Robert Taylor knew in his heart that he was still far from his ideal goal at work, and if he wanted to go further, he had to get rid of the label of "pretty boy".
The image of Robert Taylor and Vivien Leigh in the movie "Soul Breaks the Blue Bridge" (1940) - its popularity abroad can only be hehe
In the early 1940s, he began to pursue tougher roles, such as British officers in The Waterloo Bridge (1940), gangsters in The Bloody Eager (1941), marines in Far Cry/ Bataan at the Battle of Bataan (1943).
Robert Taylor then took part in World War II, and despite the fans' strong opposition to sending their "lover" to be cannon fodder, Robert Taylor joined the army, and from 1943 to 1945, while serving in the U.S. Air Force Transport Division, he insisted on making two films.
Robert Taylor took a picture in front of his own warplanes when he joined the army
After the war, both in appearance and body, he returned safely, and the directors of the studio boldly let him partner with the most beautiful actresses of the time, without worrying that he would lose his luster under the beauty of these women, and his charm was fully tested; the many famous actresses he worked with, the starlight was always just a little brighter than him, and his performance seemed to be a living prop for the tragic love of the heroine.
However, Louis A. The fame that B. Meyer painstakingly ran for Robert Taylor was almost in the clouds. Because in the years when he was a soldier, the audience gradually lost a lot.
Promotional photo for the film The Tyrant Burns The City of Quo Vadis (1951), Robert Taylor and Deborah Deborah Kerr
Although the epic film "Tyrant Burning City Record Quo Vadis" (1951) gave him a little bit of the sense of glory of the past, during the filming, he was rumored to have a peachy scandal with an Italian actress, which became the trigger for ending his 12-year marriage to Barbara Stanwick.
And that's not all, what matters is that in the early 1950s, it was precisely the biggest turning point in Robert Taylor's life, because his "father" Louis Tyler was the first to turn the corner. B. Meyer was expelled from MGM by shareholders.
Image of Robert Taylor in the film The Newlywed Holocaust (1946).
Before that, Robert Taylor had never turned down a single louis. The role B. Meyer gave him.
Louis P. B. Meyer did treat him as a "son" — Robert Taylor was one of the few stars who was actually treated like a person by MGM rather than a tool.
When Robert Taylor had not yet entered World War II, his reputation was rising and he ran to Louis Tyler. B. Meyer offers a raise in front of him, but the response is "No, but a father!"
Until Louis Before B. Meyer was forced out of the kingdom he had singled out, he said to Robert Taylor, "Have I ever fooled you, son?"
Elizabeth Taylor Elizabeth Taylor (1932-2011) explicitly wrote about an interesting thing in her autobiography:
That was after she made Little Women Little Women (1949), she took over her first adult role in the film, playing Robert Taylor's wife in Ivanhoe (1952).
On the set of the film Ivanhoe (1952), Robert Taylor and Elizabeth Taylor
At the same time, she was tasked by Universal Pictures to "seduce" Robert Taylor to create a scandal.
This will not only increase her exposure, but also increase her value, which is a great way to attract attention in one fell swoop.
But Elizabeth Taylor failed, and the answer was obvious—Robert Taylor still liked men.
Stills from the movie Ivanhoe (1952), Robert Taylor and Elizabeth Taylor
When Robert Taylor and Elizabeth Taylor filmed "The Legend of the Hero After the Disaster", the newspaper really had nothing to write about, and could only "build behind closed doors" and constantly create the "two Taylor" fake dramas into reality, which just accelerated Robert Taylor's tiredness of formal marriage.
Although he understood that Barbara Stanwick was really good to him, he never had that love for Barbara Stanwick.
Moreover, running back and forth between one home and another made him feel tired, and since he returned from being a soldier, he could not find a close agent like Don en who could be a friend and help himself block things.
At the golf course, from left: Robert Taylor, Barbara Steinwick, Clark Gable
However, after the marriage, the two played their own games, but barbara Stanwick never said that he was not, which also made him feel very guilty.
Plus mother and "father" Louis B. Meyer's "departure" also made him understand that it was time for him to make up his own mind.
On the eve of his divorce, Robert Taylor made a decision to leave the United States for a while, but he hoped that Barbara Stanwick would give up his job and accompany him to relax, but Barbara Stanwick declined his invitation because he was filming.
Promotional photo for the film "Don't Let This Is My Affair" (1937), robert Taylor and Barbara Stanwick
Robert Taylor still went abroad alone, no one took it, Barbara Stanwick knew and gambled that he wanted a divorce, who knew that Robert Taylor immediately agreed.
The two divorced on February 25, 1952, on the condition that Robert Taylor had to pay 15 percent of his annual income as alimony, and Robert Taylor had no opinion, hoping that Barbara Stanwyk would live better.
Images of Robert Taylor and Barbara Stanwick in an interview
After all, Barbara Stanwick had helped him a lot as he grew up, and she was his relative, but not the one next to him.
After Robert Taylor and Barbara Stanwick divorced, they played "crazy" with "Movie Emperor" Clark Gable.
Although many of those who have long been in Hollywood know that Clark Gable was a cowboy in his early days and did not refuse to come to men and women for a period of time, somehow, since he became famous, he has become a staunch "homophobic" person.
Robert Taylor and Clark Gable
The most famous event was the behavior of director George Cook George Cukor (1899-1983) on set during the filming of Gone with the Wind (1939), and Clark Gable asked producer David Gable to do so. O. Selznick David O. Selznick (1902-1965) replaced George Cook or left the crew.
Director Victor Fleming (1889-1949) then succeeded George Cook.
Clark Gable also knew something about Robert Taylor, who was 10 years younger, but he liked the "brother" very much.
In addition to hunting and fishing, he is "bubble girl". He often went out at night to have fun, and the funny thing was that Robert Taylor never participated in specific actions, and when he went to a place, he went to the house next door to rest or sleep, and when Clark Gable was finished, the two left together.
Promotional photo for the film Three Males in Blood (1953), Robert Taylor and Ava Gardner
Ava Gardner (1922-1990) had no intersection after working with Robert Taylor on The Jade Tiger The Bribe (1949), and it wasn't until 1953 that rumors about the two began to surface after their consecutive collaborations on Three Heroes Blood Ride, Vaquero! (1953) and Knights of the Round Table (1953).
At that time, many people preferred to believe that Robert Taylor was sexually incompetent, and the divorce from Barbara Stanwick was due to Robert Taylor's inability to fulfill his legal responsibilities, but Robert Taylor seemed to be rejuvenated in front of the sexy and charming Ava Gardner, and there is a saying that Ava Gardner cured Robert Taylor's sexual power.
Promotional photo for the film The Knights of the Round Table (1953), Robert Taylor and Ava Gardner
But when one looks through Ava Gardner's autobiography, they see little to none of the comments about Robert Taylor, but frank Sinatra (1915-1998) who, when filming From Here to Eternity (1953), was the same person who worked with Robert Taylor on The Round Table Warrior again, while Frank Sinatra ran to the Crew of The Round Table to check on Ava Gardner because he suspected that Ava Gardner was the only one who could do it again. Gardner cheated on him behind his back.
Image of Robert Taylor in the film Rogue Cop Cop (1954).
Without any warning, on May 24, 1954, Robert Taylor married German actress Ursula Thiess (1924-2010), and Ursula Sis came to Robert Taylor with two children born to her ex-husband.
They then had a son and a daughter, and their marriage lasted until robert Taylor's death in 1969.
The TV series The Detectives (1959) set, Robert Taylor and Ursula Sis
In 1964, Michael, the child of Ursula Sis's ex-husband, attempted to poison Robert Taylor with an insecticide, and told his mother Ursula Sis that he had discovered something terrible. Michael then spent a year in the correctional facility.
An autobiography written after Ursula Sisi. But I have promises to keep, all the trivial life fragments of her and Robert Taylor are recorded, and it is conceivable that Robert Taylor's early brilliant life and anecdotes in Hollywood, Robert Taylor never told in front of Ursula Seas.
In 1962, Robert Taylor and Ursula Cisse and his family of four were photographed
The only time Barbara Steinwick is mentioned in the book, in 1964 director William Castle Castle (1914-1977) invited Robert Taylor to appear in The Night Walker (1965), telling him that the actress was Barbara Stanwick.
Robert Taylor returned home and told Ursula Seas about it, who strongly objected and made a big fuss, but Robert Taylor took over the film anyway.
Images of Robert Taylor and Barbara Stanwick in the film The Ghost (1965).
What really ended the life of this screen lover was not war, but lung cancer. In the last days of his life, he lay quietly on the bed, quietly waiting for God's call.
Perhaps at this moment, what kept flashing back in his mind were his lovers who had never been made public—the boys who hid in the closet forever, and of course himself.
title:... But I have promises to keep subtitle: My Life Before, With, and After Robert Taylor By Ursula Thiess Publisher: Xlibris Corporation Published: 2007-01-17
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