Jean and Jane

Fake News: Fact Checking Hollywood Babylon Archive by Karina Longworth

Hollywood+Babylon+Cover.jpg

Considered by many to be the urtext of salacious movieland gossip, Kenneth Anger’s Hollywood Babylon has been derided by some readers as a work of dangerous libel for its embellishments and, in some cases, outright fictions about real people and events. This season, we examine some of the stories Anger tells and the way he tells them, and we’ll try to figure out the real story. Throughout, we’ll talk about how the seemingly contemporary concept of “fake news” has played a key role in Hollywood’s star-making (and star-destroying) apparatus from the industry’s earliest days, and how such practices mutated through the work of counter-narrators like Anger and beyond.

Episodes:

  • D.W. GRIFFITH, THE GISH SISTERS AND THE ORIGIN OF HOLLYWOOD BABYLON: The phrase “Hollywood Babylon” entered the vernacular thanks to D.W. Griffith, one of Hollywood’s first great directors, who followed up the racist smash The Birth of a Nation with a less-successful historical epic called Intolerance. Anger’s use of that film’s Babylon set, which was left to stand and decay for years after the film came and went, as the structuring image of his gossip bible, helps to set the ironic tone of the book. But what of Anger’s accusations that Griffith was a known pedophile, and that his stars, sisters Dorothy and Lillian Gish, were incestuous? Listen

  • OLIVE THOMAS: The first Hollywood scandal to attract international intentional was the death-by-poison of Olive Thomas, the twenty-five year old star of au courant Hollywood hit The Flapper. According to Hollywood Babylon, Thomas’s death was the suicide of a woman desperate over her failure to score dope for her junkie husband. What’s the real story—and what role was played by Jack Pickford, Olive’s husband and the brother of the actress then considered “America’s Sweetheart”? Listen

  • ROSCOE "FATTY" ARBUCKLE AND VIRGINIA RAPPE: At a boozy party over Labor Day weekend 1921, Roscoe “Fatty” Arbuckle, silent Hollywood’s superstar plus-size comedian, followed sometime actress Virginia Rappe into a hotel room. They were alone together for only a few minutes, but in that time, Rappe fell ill, and died several days later from her sickness. Arbuckle was tried for murder, and accused of rape in the newspapers. The story of the definitive sex-and-death scandal in early Hollywood history, which left a woman dead and effectively killed off a star comedian’s career, has been plagued with misinformation and distortions for nearly 100 years. Today we’ll closely examine Anger’s text to demonstrate how he implies both Arbuckle and Rappe’s guilt, and we’ll also use more recent scholarship on the case to try to suss out what really happened in that hotel room, and how the facts were distorted throughout Arbuckle’s three trials. Listen

  • WILLIAM DESMOND TAYLOR: The killing of director William Desmond Taylor was the third in a trifecta of scandals which, over the course of about a year and a half, painted such a sordid a picture of the movie colony as a hotbed of sin that the industry was forced to fundamentally change its way of conducting business. Anger’s telling implies that Taylor’s murder may have been a consequence of the affairs he supposedly conducted simultaneously with several women, including both a starlet and her mother, or related to the fact that Taylor was living under an assumed identity and employing his own brother as his butler. Today we’ll sort out fact from fiction in the Taylor case, and demonstrate how the media frenzy surrounding it had wide-ranging consequences despite the fact that no one was ever arrested for the crime. Listen

  • MABEL NORMAND: A frequent co-star of Roscoe Arbuckle’s, Mabel Normand was the definitive female screen comedienne of her generation. But it wasn’t her association with Arbuckle that brought Normand’s career to an abrupt close and her life to an early end. Today we’ll interrogate Hollywood Babylon’s claim that Normand was a cocaine addict, explore Normand’s involvement in various scandals which did more damage than drugs, and talk about the disease that led to her early death. Listen

  • WALLACE REID: According to Hollywood Babylon, actor Wallace Reid —a morphine addict who died in an asylum at the age of 31—was the first sacrificial lamb of the post-sandal era, and Reid’s wife, a former teen star named Dorothy Davenport, was the ultimate opportunistic hypocrite. What made Reid’s case different from the other scandals around this time? Was Davenport the black widow that Anger suggests, or should she be remembered as a pioneering female writer, producer and director? Listen

  • WILL HAYS AND "PRE-CODE" HOLLYWOOD: Who was Will Hays, and how did he come to put his name on the censorship “Code” that would shape the content of movies more than any other single force from the early 1930s into the 1960s? How much power did Hays really have in 1920s Hollywood, how corrupt was he, and why did it take a decade before the Hays Code was fully enforced? Listen

  • PEGGY HOPKINS JOYCE AND CHARLIE CHAPLIN: The Kim Kardashian of her day, Peggy Hopkins Joyce was famous for being rich and famous—and for her marriages and involvements with rich and famous men, including Charlie Chaplin. Did Peggy really ask Chaplin on their first date if he was “hung like a horse?” We’ll investigate this and other claims made about the affair in Hollywood Babylon, and chart how the dalliance with Hopkins Joyce inspired Chaplin’s first dramatic film A Woman of Paris, and explain how a woman of the 1910s-1920s could come from nothing and become internationally famous before ever arriving in Hollywood. Listen

  • THOMAS INCE AND THE HEARST "COVERUP": Thomas Ince was one of early Hollywood’s most pioneering producers—in fact, some credit him for popularizing “producer” as a job title and for codifying what it meant to do the job, as well as helping to develop the Western as a genre. But today, if Ince is remembered at all, it’s for his death aboard a yacht owned by William Randolph Hearst, amidst a star-studded party attended by Chaplin, writer Elinor Glyn, and actress/Hearst’s mistress Marion Davies. For decades, rumors have swirled that Ince was felled not by “acute indigestion,” as Hearst’s papers claimed, but by “a bullet hole in [his] head,” as Kenneth Anger put it. Who was Ince, what really happened on that yacht, and why have fictionalizations of his death (spread by Anger and others) flourished for so long? Listen

  • RUDOLPH VALENTINO: Rudolph Valentino was Hollywood’s first “latin lover.” His shocking death at the age of 31 was attributed to side effects from an appendectomy, but Hollywood Babylon forwards theories that Valentino may have actually been poisoned, or killed by the husband of a lover, and/or secretly gay and recently divorced from his second secretly lesbian wife. What was the real story of Valentino’s marriages, and what really led to his untimely demise? Listen

  • CLARA BOW: We’ll close this half of our Hollywood Babylon season with one of that book’s most famously distorted stories: the tale of “It” Girl Clara Bow’s supposed nymphomania and alleged “tackling” of the entire USC football team. The real story of Clara Bow’s life and career is a much richer tale, involving changing sexual mores, and the change in the audience’s tastes that overlapped with the end of the silent era. Listen

  • MAE WEST: Today we begin part two of our season, Fake News: Fact Checking Hollywood Babylon. Mae West was the biggest new star in Hollywood in 1933, thanks to two hit films she co-wrote and starred in as a sexually implicit, wisecracking broad who romanced a young Cary Grant. In Hollywood Babylon, Anger credits West’s abrupt decline in movies to a coordinated conspiracy organized by William Randolph Hearst and carried out by the Hays Office. Today we’ll explore West’s background, her history of pushing the censors past the limits of legality, and the truth of her lightning-fast rise in Hollywood and somewhat slower descent back to earth. Featuring special guest Natasha Lyonne. Listen

  • MARY ASTOR'S DIARY: In 1936, actress Mary Astor (who had not yet made her most famous film, The Maltese Falcon) and her husband went to court to fight for custody of their four year-old daughter. The trial made international news thanks to both sides’ use of Astor’s diary, in which she had recorded details of her affair with playwright George S. Kaufman. How much did Astor truly reveal in her diary, and what role did the scandal play in her life and career? Listen

  • LUPE VELEZ: Mexican actress Lupe Velez was the victim of one of Anger’s cruelest invented stories. His fabrication of her manner of death lays bare a vicious racism in addition to Hollywood Babylon’s usual sexism. Today we will sort out the fact of Velez’s life from Anger’s fiction, and consider the star of the Mexican Spitfire series as comedienne ahead of her time. Listen

  • MARLENE DIETRICH AND CLAUDETTE COLBERT: The bisexuality of Marlene Dietrich was not exactly a secret in 1930s Hollywood -- in fact, her ambiguous sexuality was part of her on-screen brand. But there is some debate as to who Dietrich counted among her lovers, and which of her fellow stars participated in what has been called the “sewing circle” of female intimacy. Anger alleges that Dietrich had a “passionate affair” with Claudette Colbert, an Oscar-winning actress with an extremely heteronormative persona. We’ll explore what was going on in Dietrich’s life and career around the time when this affair could have taken place, and then delve into Colbert’s image as a very different kind of on-screen sex symbol, and her complicated off-screen personal life. Listen

  • BUGSY SIEGEL: Jewish gangster Benjamin “Bugsy” Siegel is frequently credited with corrupting Hollywood’s unions and “inventing” Las Vegas. Siegel did have movie star friends, but the true story of his involvement with the Flamingo casino is also the story of a much bigger movieland player: Hollywood Reporter founder/publisher/columnist Billy Wilkerson. Listen

  • DOROTHY DANDRIDGE AND THE CONFIDENTIAL MAGAZINE TRIAL: Over two episodes, we will explore Hollywood Babylon’s coverage of Confidential Magazine and the two celebrities who testified against the scandal rag in the 1957 trial that helped end what Anger rightfully refers to as its “reign of terror.” We’ll begin with Dorothy Dandridge, the first black actress to be nominated for a Best Actress Oscar. Dandridge’s testimony against Confidential reveals the publication’s racist agenda, as well as the double standards that governed her real private and public lives. Listen

  • MAUREEN O'HARA AND THE CONFIDENTIAL MAGAZINE TRIAL: In part two of our two-parter on the demise of the biggest and most pernicious tabloid of the 1950s, we’ll explore what happened after the magazine’s claim that redheaded star Maureen O’Hara was caught having sex at Grauman’s Chinese Theater. O’Hara positioned herself the “Joan of Arc” of Hollywood, single-handedly defending a cowardly industry against the existential threat posed by Confidential. As we’ll see, this is one story where the Kenneth Anger version is more credible than the version related by one of the subjects. Listen

  • RAMON NOVARRO: Ramon Novarro was a Mexican actor and singer whose stardom at MGM in the 1920s and 30s was not impeded by his offscreen life as a gay man. In Hollywood Babylon, Anger focuses only on Novarro’s grisly murder in 1968 -- which outed Novarro to a public that had largely forgotten him--and needlessly embellishes a crime scene that was already pretty horrible. Today, in our final episode of Fact-Checking Hollywood Babylon, we will explore the life which Anger left out of Hollywood Babylon, and correct that book’s version of Novarro’s death. Listen

Bela and Boris Archive by Karina Longworth

boris-karloff-and-bela-lugosi.jpg

The original Hollywood Dracula and Frankenstein, Bela Lugosi and Boris Karloff were two middle-aged, foreign, struggling actors who became huge stars thanks to a wave of monster movie hits released by Universal Studios during the 1930s. This season, we discuss their parallel but very different lives and careers.

Episodes:

  • WHERE THE MONSTERS CAME FROM: In the first episode of the season, we start by exploring where each man came from, what they were doing before they got to Universal, and why Universal began making monster movies in the first place. Listen

  • BELA AND THE VAMPIRES: With Dracula (1931), Bela Lugosi instantly became the first horror star of sound cinema. It’s not easy being a trailblazer, and Bela would have difficulty capitalizing on his newfound stardom. In this episode, we’ll discuss how Dracula made him, and trapped him, and trace the subsequent vampire roles that became his bread and butter. Listen

  • BORIS AND THE MONSTERS: After twenty years as a journeyman actor/laborer, Boris Karloff became an instant superstar as the Monster in Frankenstein (1931). Today we’ll explore how Karloff, unlike Lugosi, managed to maintain a steady stardom throughout the decades, returning to the monster that made him without feeling trapped by the character. Featuring Patton Oswalt as Boris Karloff. Listen

  • BELA VS. BORIS: Lugosi and Karloff, the two stars made by Universal’s monster movies, made eight films together. Today we’ll dive deep into some of these movies (including The Black Cat, The Raven, Son of Frankenstein and Val Lewton’s The Body Snatcher), and continue to explore how even when their careers brought them together, Karloff and Lugosi remained worlds apart. Featuring Patton Oswalt as Boris Karloff and Taran Killam as Bela Lugosi. Listen

  • BELA LUGOSI AND ED WOOD: Forgotten by Hollywood, struggling with morphine addiction and a dependency on alcohol, at the end of his life Bela Lugosi was welcomed into a ragtag bunch of micro-budget movie-making freaks led by Edward D. Wood Jr,, who would later become known as the worst filmmaker of all time. Through their collaborations on movies like Glen or Glenda? and Bride of the Monster, did Ed Wood help Bela, exploit him, or a little of both? Featuring Taran Killam as Bela Lugosi and Noah Segan as Ed Wood. Listen

  • BORIS KARLOFF AND ROGER CORMANWhere Bela Lugosi lived his last decade in sad obscurity, Boris Karloff worked until the very end of his life, even as his body began to fall apart. Some of that work was for Roger Corman, the extremely prolific independent genre film producer whose movies helped to define the generation gap in the 1960's, while serving as a training ground for the next generation of auteurs. Karloff’s and Corman’s finest collaboration, Peter Bogdanovich’s directorial debut Targets, would serve as a bridge between cinematica eras, paying tribute to Karloff and his long career while depicting events that were shockingly of-the-moment--and still relevant today. Featuring Patton Oswalt as Boris Karloff and Rian Johnson as Roger Corman. Listen

Jean and Jane Opening Montage Credits by Karina Longworth

IMG_6557.JPG

Last season our Jean and Jane opening montage included audio clips from various films, movie scores and interviews. By popular demand, here is a list of the intro clip sources. For a full list of films referenced in the Jean and Jane series, or any other episodes in the archive, please check out the You Must Remember This Film Club.

Breathless Score by Martial Solal, 1960

breathless_dutch_poster.jpg

Barbarella Theme by Bob Crewe and Charles Fox, 1968

MPW-57541.jpg

"I don't know if I'm unhappy because I'm not free, or if I'm not free because I'm unhappy." Jean Seberg, Breathless, 1960

jean-sebergs-style-breathless-3-e1335975956294.png

"I say our responsibility as Americans is to be concerned about what our Country is doing.” Jane Fonda, The Phil Donahue Show, 1972

hqdefault.jpg

"The suicide of Jean Seberg...the young actress from Iowa..." Alistair Cooke's Letter from America, Jean Seberg and the FBI, 1979

cooke.jpg

"Are you ready to do the workout?” Jane Fonda, The Workout, 1982

Screen Shot 2017-08-31 at 4.30.47 PM.png

Jean and Jane Archive by Karina Longworth

JeanandJane.jpg

Jane Fonda and Jean Seberg, two white American actresses who began their careers at the tail end of the Classical Hollywood studio system, found great success (and husbands) in France before boldly and controversially lending their celebrity to causes like civil rights and the anti-war movement. Fonda and Seberg were both tracked by the FBI during the Nixon administration, which considered both actresses to be threats to national security. But for all their similarities, Jane and Jean would end up on different paths.

Episodes:

  • HOLLYWOOD ROYALTY/MIDDLE-AMERICAN MARTYR: In the first episode of the season, we track Jane’s difficult upbringing with her famous but absentee father and troubled mother, and the path of privilege -- and tragedy -- that led her to the Actor’s Studio. Meanwhile, in small town, church-dominated Iowa, Jean Seberg announced herself as the town rebel at age 14 when she joined the NAACP. Three years later, she was plucked out of obscurity by a mad genius movie director to star in one of the highest-profile Hollywood movies of the late-50s. Listen

  • JEAN AND OTTO PREMINGER/JANE IN NEW YORK: Jean Seberg made her first two films, Saint Joan and Bonjour Tristesse, for director Otto Preminger, a tyrannical svengali character whose methods would traumatize Jean for the rest of her life and career. No wonder she rebelled against this bad dad figure by marrying a handsome French opportunist. Meanwhile, Jane Fonda moves to New York, joins the Actors Studio, takes up with her own hyper-controlling male partner, and tries to define herself as something other than Henry Fonda’s daughter. Listen

  • JEAN AND JANE IN PARIS: With her Hollywood career already something of a disappointment, Jean Seberg took a chance on a French film critic turned first-time director who wanted her to play an amoral American in an experimental movie without a script. The result was Breathless, the catalyzing hit of the French New Wave and the movie that would make Jean Seberg an icon. Soon thereafter, Jane Fonda got her own invitation to come make a movie in Paris, where she’d soon fall in love with Roger Vadim, the man who discovered Brigitte Bardot. Jane Fonda would become Vadim’s new creative muse, as well as his third wife. Listen

  • JEAN VS. LILITH: Having left her husband to be the mistress of writer/diplomat Romain Gary, Jean secretly gave birth to a son, and then made the movie that she thought would prove herself as an actress once and for all. In Lilith, Seberg would go all in on her portrayal of madness -- perhaps too deep. After a disastrous collaboration with Gary, Jean happily accepted an offer to star in a big budget Hollywood musical. But it was 1969, the studio system had crumbled, and that musical -- Paint Your Wagon -- would become a symbol of everything that was wrong with the Hollywood establishment. Listen

  • JANE VS. BARBARELLA: Having coaxed Jane into participating in an open marriage, Vadim began casting her in films as a male fantasy of female sexual liberation. This phase of her career would peak with Barbarella, a sci-fi film based on an erotic comic book featuring Jane as a horny space warrior. Jane’s perfect body was on full display and fetishized the world over, but no one knew the self-destruction that went on behind the scenes in order to maintain her looks. While Vadim was building her up as an international sex kitten, Jane was gradually becoming more socially conscious. For all of his experience with women, Roger Vadim didn’t know what to do with a woke wife. Listen

  • JEAN AND JANE BECOME PUBLIC ENEMIES: On the heels of making her biggest Hollywood movies in years, Jean Seberg becomes involved with two black radicals, one a cousin of Malcolm X who spouted violent, anti-white rhetoric, the other a leader of the Black Panthers. Jean starts offering money and support to these men and their causes, which attracts the attention of the FBI. Meanwhile, Jane leaves Vadim -- and Hollywood -- to find herself as a political activist, working on behalf of American Indians, the Black Panthers, and Vietnam veterans. Despite all her best efforts, Jane hadn’t yet alienated Hollywood -- while she was being watched by the FBI, Jane starred in one of the great surveillance thrillers of the 1970s, Klute. Listen

  • HANOI JANE AND THE FBI VS. JEAN SEBERG'S BABY: After shooting a film with a much-changed Jean-Luc Godard, Jane Fonda travels to Vietnam, where she naively participates in a stunt that would leave her branded “Hanoi Jane” for decades. The world media had a field day mocking her, the US government set to work plotting to destroy her, and Jane would seek refuge in a new relationship with activist-turned-politician Tom Hayden. Meanwhile, in the midst of divorcing Romain Gary, Jean found herself pregnant. Having wiretapped a phone call between Jean and a Black Panther about her pregnancy, the FBI decided to “neutralize” both Seberg and her unborn child. Listen

  • COMING HOME: Jean buries her child in Iowa, and then returns to Paris in a fragile mental state. Increasingly plagued by both justifiable paranoia and delusions, she makes her last significant films (including another misguided collaboration with Romain Gary), and another attempt at marriage. Back in the States, Jane subsumes her passion for activism into her new marriage to Tom Hayden, and works to get her movie career back on track by producing commercial yet socially conscious vehicles in which she can star in. One of these films, Coming Home, would become both an anti-war and feminist landmark, and would win Jane another Oscar. Listen

  • THE LAST OF JEAN/JANE WORKS OUT: Jean Seberg, now plagued with mental illness and alcoholism, comes to a tragic end in Paris. Jane Fonda reinvents herself, once again, for the 80s. Listen

The Last of Jean/Jane Works Out (Jean and Jane Episode 9) by Karina Longworth

IMG_6229.JPG

Listen to this episode on Apple Podcasts.

Jean Seberg, now plagued with mental illness and alcoholism, comes to a tragic end in Paris. Jane Fonda reinvents herself, once again, for the 80s.

Jean Seberg with her third husband Dennis Berry, c. 1970's

Jean Seberg with her third husband Dennis Berry, c. 1970's

Jean Seberg Les Hautes Solitudes, 1974 | Image via NYTimes & Film Desk

Jean Seberg Les Hautes Solitudes, 1974 | Image via NYTimes & Film Desk

Jon Voight and Jane Fonda at the Academy Awards, 1979

Jon Voight and Jane Fonda at the Academy Awards, 1979

Lily Tomlin, Dolly Parton and Jane Fonda 9 to 5, 1980

Lily Tomlin, Dolly Parton and Jane Fonda 9 to 5, 1980

Katharine Hepburn, Henry Fonda and Jane Fonda On Golden Pond, 1981

Katharine Hepburn, Henry Fonda and Jane Fonda On Golden Pond, 1981

SHOW NOTES:  

Sources:

Played Out: The Jean Seberg Story by David Richards

Breathless by Garry McGee

My Life So Far by Jane Fonda

Jane Fonda: The Private Life of a Public Woman by Patricia Bosworth

“The Vietnam Oscars” by Peter Biskind, Vanity Fair, March, 2008

“A Conversation with Philippe Garrel” by Vadim Rizov, January 13, 2016, filmmakermagazine.com

“A Showbiz Saint Grows Up or Whatever Happened to Jean Seberg” by Bart  Mills, June 16, 1974

“Review: ‘Les Hautes Solitudes,’ the Silent Sides of Jean Seberg (Mostly)” by Manohla Dargis, February 23, 2017

Music:

All of the music used in this episode, with the exception of the intro and outro, is from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca. Outro song: “Message of Love” by The Pretenders. Excerpts from the following songs were used throughout the episode: “Meet Me In Queens 2” by Orjan Karlsson, “Dust 1” by Emil Axelsson, “My Island 3” by Jonatan Järpehag, “Quantum Jazz” by Chris MacLeod, “Devil’s Canyon 1” by Håkan Eriksson, “Groovy Development” by Christian Andersen, “The Diary” by Johannes Bornlof, “Into the Earth 4” by Gunnar Johnsen, “Drop World 6” by Niklas Ahlström, “Salty Breeze 1” by Martin Gauffin, “Readers Do You Read” by Chris Zabriskie, “Out of the Skies Under the Earth” by Chris Zabriskie, “My Island 2” by Jonatan Järpehag.

Sponsors:

This episode is sponsored by American Express and Naturebox and Great Courses Plus.

Credits:

This episode was edited by Sam Dingman, and produced by Karina Longworth with the assistance of Lindsey D. Schoenholtz. Our logo was designed by Teddy Blanks.

Coming Home (Jean and Jane Episode 8) by Karina Longworth

Listen to this episode on Apple Podcasts.

Jean buries her child in Iowa, and then returns to Paris in a fragile mental state. Increasingly plagued by both justifiable paranoia and delusions, she makes her last significant films (including another misguided collaboration with Romain Gary), and another attempt at marriage. Back in the States, Jane subsumes her passion for activism into her new marriage to Tom Hayden, and works to get her movie career back on track by producing commercial yet socially conscious vehicles in which she can star in. One of these films, Coming Home, would become both an anti-war and feminist landmark, and would win Jane another Oscar.

Jean Seberg and Dennis Berry at the Last Tango in Paris premiere, 1972

Jean Seberg and Dennis Berry at the Last Tango in Paris premiere, 1972

Jane Fonda, Tom Hayden and their son Troy Garity, Santa Monica, c. 1975

Jane Fonda, Tom Hayden and their son Troy Garity, Santa Monica, c. 1975

Jon Voight and Jane Fonda, Coming Home, 1978

Jon Voight and Jane Fonda, Coming Home, 1978

SHOW NOTES:  

Sources:

Played Out: The Jean Seberg Story by David Richards

Breathless by Garry McGee

A Taste of Power: A Black Woman's Story by Elaine Brown

My Life So Far by Jane Fonda

Jane Fonda: The Private Life of a Public Woman by Patricia Bosworth

Jane Fonda's War: A Political Biography Of An Antiwar Icon by Mary Hershberger

“Barbarella Goes Radical” by Susan McLeland, from the book Headline Hollywood: A Century of Film Scandal edited by Adrienne L. McLean and David A Cook  

“About New York” by John Korry, The New York Times, March 27, 1974

“The Vietnam Oscars” by Peter Biskind, Vanity Fair, March, 2008

“Romain Gary, Who Says He Wants Peace and Quiet, Stirs Storm With Hollywood Memoir” by John L. Hess, The New York Times, April 27, 1970

Operation Last Patrol directed by Frank Cavestani.

Music:

All of the music used in this episode, with the exception of the intro and outro, is from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca. Outro song: “Ecstasy” by PJ Harvey. Excerpts from the following songs were used throughout the episode: “Meet Me in Queens 2” by Orjan Karlsson, “Easy Lynch Guitars 1” by Johan Hynynen, “Earthbound 1” by Joachim Nilsson, “Salty Breeze”, “Earthbound 1” by Joachim Nilsson, “Tomorrow I'll Be Gone” by Franz Gordon, “Easy Lynch Guitars 2” by Johan Hynynen, “Modern “Vintage Gypsy 2” by Gavin Luke, “Devils Canyon 1” by Håkan Eriksson, “Song For Johanna” by Franz Gordon, “Mediterranean Mix 10” by Stefan Netsman, “Groovy Development” by Christian Andersen, “Musique a la Carte 5” by John Ahlin, “Last Exit To Earth” by Håkan Eriksson, “A Trace Of Light 2” by Magnus Ringblom, “I Need to Start Writing Things Down” by Chris Zabriskie.

Sponsors:

This episode is sponsored by Audible, American Express and Winc.

Credits:

This episode was edited by Sam Dingman, and produced by Karina Longworth with the assistance of Lindsey D. Schoenholtz. Our logo was designed by Teddy Blanks.

Hanoi Jane and the FBI vs. Jean Seberg's Baby (Jean and Jane Episode 7) by Karina Longworth

unnamed.jpg

Listen to this episode on Apple Podcasts.

After shooting a film with a much-changed Jean-Luc Godard, Jane Fonda travels to Vietnam, where she naively participates in a stunt that would leave her branded “Hanoi Jane” for decades. The world media had a field day mocking her, the US government set to work plotting to destroy her, and Jane would seek refuge in a new relationship with activist-turned-politician Tom Hayden. Meanwhile, in the midst of divorcing Romain Gary, Jean found herself pregnant. Having wiretapped a phone call between Jean and a Black Panther about her pregnancy, the FBI decided to “neutralize” both Seberg and her unborn child.

Jane Fonda and Donald Sutherland during a F.T.A. performance, 1971

Jane Fonda and Donald Sutherland during a F.T.A. performance, 1971

Jane Fonda accepts her Academy Award for Best Actress, 1972

Jane Fonda accepts her Academy Award for Best Actress, 1972

Jane Fonda during her 1972 visit to Hanoi, North Vietnam

Jane Fonda during her 1972 visit to Hanoi, North Vietnam

Jean Seberg and David Janssen, Macho Callahan, 1970

Jean Seberg and David Janssen, Macho Callahan, 1970

COINTELPRO_-_Jean_Seberg.jpg

SHOW NOTES:  

Sources:

Played Out: The Jean Seberg Story by David Richards

Breathless by Garry McGee

A Taste of Power: A Black Woman's Story by Elaine Brown

My Story by Jane Fonda

Jane Fonda: The Private Life of a Public Woman by Patricia Bosworth

Jane Fonda's War: A Political Biography Of An Antiwar Icon by Mary Hershberger

“Barbarella Goes Radical” by Susan McLeland from the book Headline Hollywood: A Century of Film Scandal edited by Adrienne L. McLean and David A Cook

“The Authorized Version : How I Fell in Love With Jane” by Tom Hayden, Los Angeles Times, May 5, 1988

“Total recall” by John Patterson, TheGuardian.com, September 2, 2005

“The Truth About My Trip To Hanoi” by Jane Fonda, JaneFonda.com, July 22, 2011

Music:

All of the music used in this episode, with the exception of the intro and outro, is from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca. Outro song: “A Mistake” by Fiona Apple. Excerpts from the following songs were used throughout the episode: “Meet Me in Queens 2” by Orjan Karlsson, “Easy Lynch Guitars 1” by Johan Hynynen, “EarthBound 1” by Joachim Nilsson, “Salty Breeze”, “Earthbound 1” by Joachim Nilsson, “Tomorrow I'll Be Gone” by Franz Gordon, “Easy Lynch Guitars 2” by Johan Hynynen, “Modern Vintage Gypsy 2” by Gavin Luke, “Devils Canyon 1” by Håkan Eriksson, “Song For Johanna” by Franz Gordon, “Mediterranean Mix 10” by Stefan Netsman, “Groovy Development” by Christian Andersen, “Musique a la Carte 5” by John Ahlin, “Last Exit To Earth” by Håkan Eriksson, “A Trace Of Light 2” by Magnus Ringblom, “I Need to Start Writing Things Down” by Chris Zabriskie.

Sponsors:

This episode is sponsored by The Great Courses Plus and American Express.

Credits:

This episode was edited by Sam Dingman, and produced by Karina Longworth with the assistance of Lindsey D. Schoenholtz. Our logo was designed by Teddy Blanks.

Jean and Jane Become Public Enemies (Jean and Jane Episode 6) by Karina Longworth

Listen to this episode on Apple Podcasts.

On the heels of making her biggest Hollywood movies in years, Jean Seberg becomes involved with two black radicals, one a cousin of Malcolm X who spouted violent, anti-white rhetoric, the other a leader of the Black Panthers. Jean starts offering money and support to these men and their causes, which attracts the attention of the FBI. Meanwhile, Jane leaves Vadim -- and Hollywood -- to find herself as a political activist, working on behalf of American Indians, the Black Panthers, and Vietnam veterans. Despite all her best efforts, Jane hadn’t yet alienated Hollywood -- while she was being watched by the FBI, Jane starred in one of the great surveillance thrillers of the 1970s, Klute.

Jean Fonda, Mugshot, 1970

Jean Fonda, Mugshot, 1970

Jean Seberg and Burt Lancaster in Airport, 1970

Jean Seberg and Burt Lancaster in Airport, 1970

Jane Fonda and Donald Sutherland, Klute, 1971

Jane Fonda and Donald Sutherland, Klute, 1971

SHOW NOTES:  

Sources:

Played Out: The Jean Seberg Story by David Richards

Breathless by Garry McGee

A Taste of Power: A Black Woman's Story by Elaine Brown

My Life So Far by Jane Fonda

Jane Fonda: The Private Life of a Public Woman by Patricia Bosworth

Jane Fonda's War: A Political Biography Of An Antiwar Icon by Mary Hershberger

“Barbarella Goes Radical” by Susan McLeland, from the book Headline Hollywood: A Century of Film Scandal edited by Adrienne L. McLean and David A Cook  

Black Panthers directed by Agnes Varda

“A Taste of Power: The Woman Who Led the Black Panther Party” by Elaine Brown

“Declining Black Panthers Gather New Support From Repeated Clashes With Police, The New York Times, December 14, 1969

"Fascination and Fear: Covering the Black Panthers" by Giovanni Russonello, The New York Times, October, 15, 2016

Music:

All of the music used in this episode, with the exception of the intro and outro, is from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca. Outro song: “Rich Girl” by Nina Simone. Excerpts from the following songs were used throughout the episode: “Devils Canyon 1” by Hakan Ericksson, “Meet Me in Queens 2” by Orjan Karlsson, “Surfing Ghouls” by Hakan Ericksson, “Salty Breeze 1” by Martin Gauffin, “Easy Lynch Guitars 2” by Johan Hynynen, “Easy Lynch Guitars 1” by Johan Hynynen, “Psychedelic Dirt 3” by Victor Ohlsson, “Alligator Skies 5” by Håkan Eriksson, “Swamp Fever 3” by Hakan Eriksson, “Ambient Acoustic Guitar 18” by Anders Ekengren.

Sponsors:

This episode is sponsored by The Great Courses Plus and American Express.

Credits:

This episode was edited by Sam Dingman, and produced by Karina Longworth with the assistance of Lindsey D. Schoenholtz. Our logo was designed by Teddy Blanks.

Jane vs. Barbarella (Jean and Jane Episode 5) by Karina Longworth

Listen to this episode on Apple Podcasts.

Having coaxed Jane into participating in an open marriage, Vadim began casting her in films as a male fantasy of female sexual liberation. This phase of her career would peak with Barbarella, a sci-fi film based on an erotic comic book featuring Jane as a horny space warrior. Jane’s perfect body was on full display and fetishized the world over, but no one knew the self-destruction that went on behind the scenes in order to maintain her looks. While Vadim was building her up as an international sex kitten, Jane was gradually becoming more socially conscious. For all of his experience with women, Roger Vadim didn’t know what to do with a woke wife.

SHOW NOTES:  

Sources:

Jane Fonda: The Private Life of a Public Woman by Patricia Bosworth

My Life So Far by Jane Fonda

Bardot, Deneuve, Fonda by Roger Vadim

Easy Riders, Raging Bulls by Peter Biskind

“Barbarella Goes Radical” by Susan McLeland, from the book Headline Hollywood: A Century of Film Scandal edited by Adrienne L. McLean and David A Cook  

“Heres What Happened to Baby Jane” by Gerald Jonas, The New York Times, January 22, 1967

Music:

All of the music used in this episode, with the exception of the intro and outro, is from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca. Outro song: “Gloria” by Patti Smith. Excerpts from the following songs were used throughout the episode: "Groovy Development " by Christian Andersen, "Neighbours At Night 2" by Martin Hall, "Salty Breeze 1" by Martin Gauffin, "Easy Lynch Guitars 2" by Johan Hynynen, "Swamp Fever 3" by Håkan Eriksson, "Old Time Action 2" by Gunnar Johnsén, "Psychedelic Weirdo Lounge" by Håkan Eriksson, "A Mysterious Presence" by Håkan Eriksson, "You're In Trouble Deep" by Anders Bothén, "Ambient Acoustic Guitar 19" by Anders Ekengren, "Ambient Acoustic Guitar 18" by Anders Ekengren, "Meet The Macho Man 1" by Bo Järpehag, "Meet Me in Queens 2" by Orjan Karlsson, "Suburban Life 3" by Gavin Luke, "High Stakes" by Nicklas Ahlstrom.

Sponsors:

This episode is sponsored by Blue Apron, Naturebox and American Express.

Credits:

This episode was edited by Sam Dingman, and produced by Karina Longworth with the assistance of Lindsey D. Schoenholtz. Our logo was designed by Teddy Blanks.

Jean vs. Lilith (Jean and Jane Episode 4) by Karina Longworth

Listen, download this episode, or find on iTunes.

Having left her husband to be the mistress of writer/diplomat Romain Gary, Jean secretly gave birth to a son, and then made the movie that she thought would prove herself as an actress once and for all. In Lilith, Seberg would go all in on her portrayal of madness -- perhaps too deep. After a disastrous collaboration with Gary, Jean happily accepted an offer to star in a big budget Hollywood musical. But it was 1969, the studio system had crumbled, and that musical -- Paint Your Wagon -- would become a symbol of everything that was wrong with the Hollywood establishment.

Jean Seberg and Romain Gary, 1960's

Jean Seberg and Romain Gary, 1960's

Jean-Pierre Cassel and Jean Seberg in Five Day Lover (1961)

Jean-Pierre Cassel and Jean Seberg in Five Day Lover (1961)

Jean Seberg and Warren Beatty and in Lilith (1964)

Jean Seberg and Warren Beatty and in Lilith (1964)

SHOW NOTES:  

Sources:

Jane Fonda: The Private Life of a Public Woman by Patricia Bosworth

My Life So Far by Jane Fonda

Played Out: The Jean Seberg Story by David Richards

Star: The Life and Wild Times of Warren Beatty by Peter Biskind

The Kid Stays in the Picture: A Notorious Life by Robert Evans

The Talent Scout by Romain Gary

Music:

All of the music used in this episode, with the exception of the intro and outro, is from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca. Outro song: “Schizophrenia” by Sonic Youth. Excerpts from the following songs were used throughout the episode: “Modern Vintage Gypsy 3” by Gavin Luke, “Readers Do You Read” by Chris Zabriskie, “Meet Me In Queens 2” by Orjan Karlsson, “A Trace of Light 2” by Magnus Ringblom, “Musique a la Carte 5” by John Ahlin, “Song for Johanna” by Franz Gordon, “Some Autumn Waltz 1” by Jonatan Järpehag, “Latin Quarters Jazz Band 2” by Magnus Ringblom, “Les Beaux Jours 3” by Martin Gauffin, “Past Closing Time 3” by Magnus Ringblom, “High Stakes” by Niklas Ahlstrom, “Suburban Life 3” by Gavin Luke.

Sponsors:

This episode is sponsored by The Great Courses Plus, Audible and American Express.

Credits:

This episode was edited by Sam Dingman, and produced by Karina Longworth with the assistance of Lindsey D. Schoenholtz. Our logo was designed by Teddy Blanks.

Maurice Ronet and Jean Seberg in Birds in Peru (1968)

Maurice Ronet and Jean Seberg in Birds in Peru (1968)

Jean and Jane in Paris (Jean and Jane Episode 3) by Karina Longworth

IMG_4948.JPG
<

Listen to this episode on Apple Podcasts.

With her Hollywood career already something of a disappointment, Jean Seberg took a chance on a French film critic turned first-time director who wanted her to play an amoral American in an experimental movie without a script. The result was Breathless, the catalyzing hit of the French New Wave and the movie that would make Jean Seberg an icon. Soon thereafter, Jane Fonda got her own invitation to come make a movie in Paris, where she’d soon fall in love with Roger Vadim, the man who discovered Brigitte Bardot. Jane Fonda would become Vadim’s new creative muse, as well as his third wife.

Jean Seberg with first husband François Moreuil in Paris, 1959, Photo by Mark Shaw

Jean Seberg with first husband François Moreuil in Paris, 1959, Photo by Mark Shaw

Jane Fonda and Roger Vadim at ther wedding in Las Vegas, 1965, Photo by Dennis Hopper

Jane Fonda and Roger Vadim at ther wedding in Las Vegas, 1965, Photo by Dennis Hopper

SHOW NOTES:  

Sources:

Jane Fonda: The Private Life of a Public Woman by Patricia Bosworth

My Life So Far by Jane Fonda

Played Out: The Jean Seberg Story by David Richards

Everything Is Cinema: The Working Life of Jean-Luc Godard by Richard Brody

Laid Bare: A Memoir of Wrecked Lives and the Hollywood Death Trip by John Gilmore

Jean Seberg interview with Mike Wallace

Music:

All of the music used in this episode, with the exception of the intro and outro, is from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca. Outro song: “Paris” by Lana Del Ray. Excerpts from the following songs were used throughout the episode: “Meet Me In Queens 2” by Örjan Karlsson, “Surfing Ghouls” by Håkan Eriksson, “Song For Johanna” by Franz Gordon, “Latin Quarters Jazz Band 2” by Magnus Ringblom, “Past Closing Time 3” by Magnus Ringblom, “Widows Dance” by Håkan Eriksson, “Ambient Acoustic Guitar 18” by Anders Ekengren, “Cinema Francais 4” by Magnus Ringblom, “Modern Vintage Gypsy 2” by Gavin Luke, “Modern Vintage Gypsy 3” by Gavin Luke, “Musique A La Carte 05” by John Åhlin, “Nightclub Standoff” by Håkan Eriksson, “Meet Me In Queens 3” by Örjan Karlsson, “Easy Lynch Guitars 2” by Johan Hynynen.

Sponsors:

This episode is sponsored by The Great Courses Plus

Credits:

This episode was edited by Sam Dingman, and produced by Karina Longworth with the assistance of Lindsey D. Schoenholtz. Our logo was designed by Teddy Blanks.

Jean-Luc Godard, Raoul Cotard, Jean Seberg and Jean-Paul Belmondo on the set of Breathless, 1960, Photo by Raymond Cauchetier

Jean-Luc Godard, Raoul Cotard, Jean Seberg and Jean-Paul Belmondo on the set of Breathless, 1960, Photo by Raymond Cauchetier

Jane Fonda and Alain Delon in Joy House, 1964

Jane Fonda and Alain Delon in Joy House, 1964

Jean and Otto Preminger/Jane in New York (Jean and Jane Episode 2) by Karina Longworth

8.JPG

Listen to this episode on Apple Podcasts.

Jean Seberg made her first two films, Saint Joan and Bonjour Tristesse, for director Otto Preminger, a tyrannical svengali character whose methods would traumatize Jean for the rest of her life and career. No wonder she rebelled against this bad dad figure by marrying a handsome French opportunist. Meanwhile, Jane Fonda moves to New York, joins the Actors Studio, takes up with her own hyper-controlling male partner, and tries to define herself as something other than Henry Fonda’s daughter.

Jean Seberg and Otto Preminger, c. late 1950's

Jean Seberg and Otto Preminger, c. late 1950's

Jean Seberg in Bonjour Tristesse, 1958

Jean Seberg in Bonjour Tristesse, 1958

Jane Fonda in a stage production of There Was A Little Girl, 1960

Jane Fonda in a stage production of There Was A Little Girl, 1960

Jane Fonda and Rod Taylor in Sunday in New York, 1963

Jane Fonda and Rod Taylor in Sunday in New York, 1963

SHOW NOTES:  

Sources:

Jane Fonda: The Private Life of a Public Woman by Patricia Bosworth

My Life So Far by Jane Fonda

The World and Its Double: The Life and Work of Otto Preminger by Chris Fujiwara

Played Out: The Jean Seberg Story by David Richards

Preminger: An Autobiography by Otto Preminger

“Two Saint Joans, Old and New” by L.R. Swainson, The Age, February 12, 1957

Photo of Otto Preminger kissing Seberg from Los Angeles Times, October 22, 1956

Music:

All of the music used in this episode, with the exception of the intro and outro, is from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca. Outro song: “Since U Been Gone” by Kelly Clarkson. Excerpts from the following songs were used throughout the episode: “Meet Me In Queens 1, 2 and 3” by Örjan Karlsson, “By the Lake in the Evening” by Franz Gordon, “Be Still” by Johannes Bornlöf, “Widows Dance” by Håkan Eriksson, “Musique A La Carte 01” by John Åhlin, “Weekly” by Martin Gauffin, “Swing Manouche 05” by John Åhlin, “Old Time Action 2” by Gunnar Johnsén, “Cadillac Quiff Boys 1” by Victor Olsson, “Hot Rod Rebels 5” by Victor Olsson, “Hippies On A Bus 1” by Martin Landh, “It Takes Four” by Niklas Ahlstrom, “Readers Do You Read” by Chris Zabriskie.

Sponsors:

This episode is sponsored by Blue Apron, Naturebox and Squarespace.

Credits:

This episode was edited by Sam Dingman, and produced by Karina Longworth with the assistance of Lindsey D. Schoenholtz. Our logo was designed by Teddy Blanks.

Hollywood Royalty/Middle-American Martyr (Jean and Jane, Episode 1) by Karina Longworth

Listen to this episode on Apple Podcasts.

Introducing our new series, “Jean and Jane,” exploring the parallel lives of Jane Fonda and Jean Seberg, two white American actresses who found great success (and husbands) in France before boldly and controversially lending their celebrity to causes like civil rights and the anti-war movement. Fonda and Seberg were both tracked by the FBI during the Nixon administration, which considered both actresses to be threats to national security. But for all their similarities, Jane and Jean would end up on different paths. They also started from very different circumstances. Today we’ll track Jane’s difficult upbringing with her famous but absentee father and troubled mother, and the path of privilege -- and tragedy -- that led her to the Actor’s Studio. Meanwhile, in small town, church-dominated Iowa, Jean Seberg announced herself as the town rebel at age 14 when she joined the NAACP. Three years later, she was plucked out of obscurity by a mad genius movie director to star in one of the highest-profile Hollywood movies of the late-50s.

Jean Seberg at her screen test for Saint Joan, 1956, Photo Bob Willoughby

Jean Seberg at her screen test for Saint Joan, 1956, Photo Bob Willoughby

The Fonda family, 1949, Photo by Genevieve Naylor

The Fonda family, 1949, Photo by Genevieve Naylor

SHOW NOTES:  

Sources:

Jane Fonda: The Private Life of a Public Woman by Patricia Bosworth

My Life So Far by Jane Fonda

The World and Its Double: The Life and Work of Otto Preminger by Chris Fujiwara

Played Out: The Jean Seberg Story by David Richards

The anti-Jane Fonda video mentioned in this episode. 

Music:

All of the music used in this episode, with the exception of the intro and outro, is from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca. Outro song: "Modern Girl" by Sleater-Kinney. Excerpts from the following songs were used throughout the episode: "A Trace of Light 2" by Magnus Ringblom, "Memories of November" by Martin Landh, "Widows Dance" by Hakan Eriksson, "Musique A La Carte" by John Ahlin, "Mediterranean Mix 10" by Stefan Netsman, "Upbeat Flatfeet 2" by Martin Gauffin, "Les Beaux Jours" 3 by Martin Gauffin, "Ambient Acoustic Guitar 18" by Anders Ekengren, "Ripples" by Peter Sandberg, "By the Lake in the Evening" by Franz Gordon, "Gypsy Guitar Swing" by Martin Carlsberg,  "Discretion" by Peter Sandberg.

Sponsors:

This episode is sponsored by Winc, Squarespace and Audible.

Credits:

This episode was edited by Sam Dingman, and produced by Karina Longworth with the assistance of Lindsey D. Schoenholtz. Our logo was designed by Teddy Blanks.

Jane Fonda on the Cover of VOGUE, July 1959

Jane Fonda on the Cover of VOGUE, July 1959