100 Books Like Marlene

This novel is a blend of fact and fiction and informed speculation, centered on the relationship between two mammoth film stars of Hollywood’s Golden Age: Loretta Young and Clark Gable. While the deeper truths of their relationship during the filming of Call of the Wild might be disputed, what is certain is that they produced a daughter whose identity was kept secret—even from her father. Loretta is sympathetically portrayed, often from the perspective of an Italian nun (the author’s creation). A whole galaxy of film celebrities passes through the pages of this book, which for fans of 20th century cinema, is a plus. One touching and poignant aspect of the story, for me, is the danger Loretta’s beloved child poses to her reputation and career.

This murder mystery novel is one that really stayed with me. It has a noir quality that fits the 1940s era, and a realistic depiction of the difficulties of employment at various levels in Hollywood. Suspicion falls on the protagonist when her roommate turns up dead on the set of a Barbara Stanwyck film, and through the course of the novel various scandals, mysteries, and cover-ups collide. Though the main character isn’t herself a star, far from it, she offers a particular perspective on the stars she knows and the industry as a whole. Stanwyck is one of Hollywood’s great talents and true survivors, as forceful on the page and as desperate to salvage her personal life as any of her movie characters.

I love Martin Turnbull’s writing. He truly knows how to conjure up Hollywood’s Golden Period. He’s gained popularity for his Garden on Sunset series, about the Garden of Allah apartment complex on Sunset Boulevard. However, he has begun to branch out with other series and also with standalone books. 

This book was his second standalone, about producer/boy wonder Irving Thalberg, and it is a remarkable achievement. The characters really hop off the page, including Thalberg, Marion Davies, Norma Shearer, and others. 

The best part for me was how Turnbull really brought Charles Laughton to life, making him incredibly human and letting us glimpse the tortured homosexual behind the portly actor. 

So many Hollywood novels focus primarily on the marquee names—the movie stars. This one explores the tortured romantic relationship between gossip columnist Sheilah Graham and author F. Scott Fitzgerald, whose stint as a scriptwriter was financially sustaining and artistically demoralizing, deepening his descent into alcoholism and despair over his failing marriage to Zelda. Sheilah could have been his creation, with her Gatsby-esque concealment of her background and reinvention of herself. Though this is a work of fiction, it results from meticulous research into the lives and careers of its fascinating and legendary main characters. As a writer myself, who has produced newspaper columns as well as more than a dozen novels, I fully appreciate the literary aspects of this story.

I finished this novel quickly as the story and writing are engaging.

I knew something of Hedy Lamarr’s wartime efforts and intelligence going in, but this story shed much more light on the woman and highlighted the difficulties she faced.

I recommend it for readers who enjoy historical fiction, WW2 stories, and novels about strong women.

Blonde is a fictional biography of Marilyn Monroe. I tend not to read thick books – and this is over 600 pages – and I only had a passing interest in Monroe before beginning it, but the book was highly recommended so I gave it a go. I’m glad that I did. 

This is a colossus of a book – in size, in scope, in adaptation, in emotion. The mood is tragedy – tragedy on so many levels it hurts to think about them. Oates pitches the 'Monroe' character perfectly. And for me, the book's strength comes from the fact that I'm content with this as a piece of fiction. I don't need to know the 'truth' (however, so much truth can ever be known).

It's also a book that makes me angry. A book that pitches hope against fate, all men against one woman, fame against success. We want… show more.

As Hollywood’s first Latina star, Dolores del Río broke down barriers for Hispanic women, just as Josephine Baker opened doors for Black women. Baker arrived in Paris just when French artists were cultivating Primitivism, and French intellectuals were fascinated with Africa. Performing her Danse Sauvage in the Revue Nègre and then at the Follies Bergères, Baker became an instant sensation and fabulously wealthy. She owned homes, clubs, cars, and even an airplane. When World War II erupted, she became a spy for the Resistance. Later, when she returned to the U.S., she became a civil rights activist. Sherry Jones brings to life this extraordinary woman, who triumphed over poverty, prejudice, domestic violence, and even Nazi racial targeting.  

I thoroughly enjoyed Elizabeth Letts’s behind-the-scenes look at the making of The Wizard of Oz, one of my favorite films. The story revolves around the efforts of Maud, the widow of Frank Baum, author of the original novel, to ensure that MGM remains true to Frank’s vision. At first, the choice of Judy Garland to play the lead seems totally wrong, as the girl is too old for the part. However, when Maud hears Judy rehearsing “Over the Rainbow,” she recognizes an authentic longing. Furthermore, Judy is receptive to Maud’s suggestions and wants to play the role right. Although Judy seems confident on set, Maud recognizes in her an unhappy, insecure girl who is struggling to cope with the death of her father and is dominated by her overbearing mother.   

LaSalle’s book made me fall in love with Pre-Code Hollywood despite having been in film and media studies for 20 years.

His in-depth study of many famous actresses during this era such as Greta Garbo, Norma Shearer, and Jean Harlow, shows how freer women could be on screen for their life choices. 

The later chapters address the lasting impact of the Code era on the representation of women and their agency, even on contemporary movies. As he discusses it, the Code caused the decline of “socially responsive women’s pictures.”

In many ways, this book is a precursor to Audrey Hepburn in Paris. Both books were conceived by Audrey’s son, Luca Dotti. I used Audrey at Home as a guide while writing my book. I was moved by Luca’s personal anecdotes and the private photos from his family albums.

Although the two books differ in subject—one is about Audrey’s home life, and the other is about her fashionable career—one concept I borrowed was the exploration of the woman behind the actress. Luca’s book changed the field for Audrey biographies. By inviting us into the intimate setting of his mother’s kitchen, we are given access to a rarely-shown side of Audrey. This book tenderly examines the actress, the mother, the wife, and the friend.