Hedy Lamarr
During the Filming of ‘White Cargo’ (1942)
White Cargo: In Africa early in World War II, a British rubber plantation executive reminisces about his arrival in the Congo in 1910. He tells the story of a love-hate triangle involving Harry Witzel, an in-country station superintendent who'd seen it all, Langford, a new manager sent from England for a four-year stint, and Tondelayo, a siren of great beauty who desires silk and baubles. Witzel is gruff and seasoned, certain that Langford won't be able to cut it. Langford responds with determination and anger, attracted to Tondelayo because of her beauty, her wiles, and to get at Witzel. Manipulation, jealousy, revenge, and responsibility play out as alliances within the triangle shift.
Trude Fleischmann
SELECTED IMAGES OF HEDY LAMAR
Photography
Private collection
Trude Fleischmann opened her studio at age 25, worked as a successful independent photographer through the Depression, and photographed some of the great artists, thinkers, and activists of her day, including Max Reinhardt, Eleanor Roosevelt, and Albert Einstein. In 1920 she founded her studio, photographing musicians and performers for magazines. Her expressive, often erotic style brought her difficulties in 1925 when her powerful nude photographs were confiscated for indecency. Fleischmann fled the Anschluss in 1938, first to Paris and then New York, where she opened a studio in 1940 with fellow émigré Frank Elmer. Her clients included many artists and intellectuals who had fled Europe, as well as noted Americans. In 1969 Fleischmann retired to Switzerland, and in 1987, she returned to the US. More on Trude Fleischmann
Hedwig Kiesler (Hedy Lamarr)
Ekstase (1933)
Hedy Lamarr (born Hedwig Eva Maria Kiesler, November 9, 1914 – January 19, 2000) was an Austrian-born American film actress and inventor.
After a brief early film career in Czechoslovakia, including the controversial Ecstasy (1933), she fled from her husband, a wealthy Austrian ammunition manufacturer, and secretly moved to Paris. Traveling to London, she met Metro-Goldwyn-Mayer studio head Louis B. Mayer, who offered her a movie contract in Hollywood. Her greatest success was as Delilah in Cecil B. DeMille's Samson and Delilah (1949). She also acted on television before the release of her final film, The Female Animal (1958). She was honored with a star on the Hollywood Walk of Fame in 1960.
At the beginning of World War II, she and composer George Antheil developed a radio guidance system for Allied torpedoes that used spread spectrum and frequency hopping technology to defeat the threat of jamming by the Axis powers. Although the US Navy did not adopt the technology until the 1960s, they claim. But it was used as early as 1955 by contractor to the Navy Romuald Scibor for the development of the sonar buoy. A Tribute to Hedy Lamarr by Romuald Scibor The principles of their work are incorporated into Bluetooth technology and are similar to methods used in legacy versions of CDMA and Wi-Fi. This work led to their induction into the National Inventors Hall of Fame in 2014. More on Hedy Lamarr
Hedy Lamarr in 'Ecstasy' (1933)
Hedwig Kiesler (Hedy Lamarr)
Ekstase (1933)
Ecstasy is a 1933 Czech-Austrian romantic drama film directed by Gustav Machatý and starring Hedy Lamarr (then Hedy Kiesler), Aribert Mog, and Zvonimir Rogoz.
The film became both celebrated and notorious for showing Lamarr's face in the throes of orgasm as well as close-up and brief nude scenes, a result of her being "duped" by the director and producer, who used high-power telephoto lenses.
The film gained world recognition after winning an award in Rome. Throughout Europe, it was regarded an artistic work. In America it was considered overly sexual and received negative publicity, especially among women's groups. It was banned there and in Germany.
The film is about a young woman who marries a wealthy but much older man. After abandoning her brief passionless marriage, she meets a young virile engineer who becomes her lover.
Lamarr swims in the nude and runs through the countryside naked. The film was celebrated as the first motion picture to include a nude scene, rather than the first to show sexual intercourse, for which it has a better claim. More on Ecstasy
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