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Debbie Reynolds still wants to ‘Make ’Em Laugh’ Debbie Reynolds still wants to ‘Make ’Em Laugh’
(about 17 hours later)
Debbie Reynolds has long been the ultimate purveyor of Tinseltown relics. Thanks to her once enormous collection — from Marilyn Monroe’s white dress to Charlie Chaplin’s black bowler — Reynolds has acted in the popular imagination as both the literal and figurative bridge between bygone Hollywood and contemporary Hollywood. Debbie Reynolds has long been the ultimate purveyor of Tinseltown relics. Thanks to her once-enormous collection — from Marilyn Monroe’s white dress to Charlie Chaplin’s black bowler — Reynolds has acted in the popular imagination as both the literal and figurative bridge between bygone Hollywood and contemporary Hollywood.
In her latest book, “Make ’Em Laugh,” co-written with Dorian Hannaway, Reynolds moves away from the intimacy and heartfelt nature of her 2013 memoir “Unsinkable,” to mine her own collection, not only as a participant in Hollywood life but as someone committed to preserving its legacy. In her latest book, “Make ’Em Laugh,” co-written with Dorian Hannaway, Reynolds moves away from the intimacy and heartfelt nature of her 2013 memoir, “Unsinkable,” to mine her own collection, not only as a participant in Hollywood life but as someone committed to preserving its legacy.
“Make ’Em Laugh” recounts — sometimes gleefully, sometimes mournfully — Reynolds’s experiences in and outside of the movies, using many of the items from her archives, scrapbooks and diaries. The book also offers candid shots of “America’s Sweetheart” with the likes of state dignitaries and even circus animals to gauge and eulogize the changing tides of Hollywood and the studio system. “Make ’Em Laugh” recounts — sometimes gleefully, sometimes mournfully — Reynolds’s experiences in and outside the movies, using many items from her archives, scrapbooks and diaries. The book also offers candid shots of “America’s Sweetheart” with the likes of state dignitaries and even circus animals to gauge and eulogize the changing tides of Hollywood and the studio system.
Reynolds, 83, shares details about many of her contemporaries and peers. We read of Lucille Ball suspecting Desi Arnaz — his alcoholism spiraling out of control — of having an affair with Reynolds. We learn of the unparalleled power of gossip columnist Hedda Hopper and her sway over the studios and their stars. “Everyone but me was afraid of her,” Reynolds brags.Reynolds, 83, shares details about many of her contemporaries and peers. We read of Lucille Ball suspecting Desi Arnaz — his alcoholism spiraling out of control — of having an affair with Reynolds. We learn of the unparalleled power of gossip columnist Hedda Hopper and her sway over the studios and their stars. “Everyone but me was afraid of her,” Reynolds brags.
Reynolds also offers up a tale or two of her encounters with royalty, including one about being “groped” by Prince Philip while at a charity event and another about sneaking off the MGM studio lot with the king of Belgium while his handlers went looking for him. Reynolds also offers up a tale or two of her encounters with royalty, including one about being “groped” by Prince Philip at a charity event and another about sneaking off the MGM studio lot with the king of Belgium while his handlers went looking for him.
A note of sadness gilds many of these intimate, often funny, stories, especially one that Reynolds recounts about Judy Garland. Garland had just been fired by MGM for her wayward and self-destructive behavior. In an effort to shake off the blues, she began planning a one-woman comeback tour. A band of Hollywood cronies — from Humphrey Bogart to Lana Turner — went out on a bus to support Garland in concert, but “as it turned out, that show was the end of Judy’s comeback tour.” Reynolds writes that it was clear that Garland’s upbringing under the lights and her haphazard education on the back lots doomed her to struggle the moment she was on her own away from the clutches of studio executives. A note of sadness gilds many of these intimate, often funny, stories, especially one that Reynolds recounts about Judy Garland. Garland had just been fired by MGM for her wayward and self-destructive behavior. In an effort to shake off the blues, she began planning a one-woman comeback tour. A band of Hollywood cronies — from Humphrey Bogart to Lana Turner — went out on a bus to support Garland in concert, but “as it turned out, that show was the end of Judy’s comeback tour.” Reynolds writes that it was clear that Garland’s upbringing under the lights and her haphazard education on the back lots doomed her to struggle the moment she was on her own, away from the clutches of studio executives.
These rich, often illuminating, anecdotes read much like a catalogue of the memorabilia that Reynolds sold off over the last few years. The stories not only augment the gaps left in “Unsinkable” but also act as an elegy to the ever-fading memories of Hollywood’s golden era. As such, “Make ’Em Laugh” proves a bittersweet read. We see many of the possessions that Reynolds once prized — Garland’s ruby slippers and Elizabeth Taylor’s headpieces from “Cleopatra” — but these relics only serve to remind us how classic Hollywood is being carved up and auctioned off. These rich, and often illuminating, anecdotes read much like a catalogue of the memorabilia that Reynolds sold off over the past few years. The stories not only augment the gaps left in “Unsinkable” but also act as an elegy to the ever-fading memories of Hollywood’s golden era. As such, “Make ’Em Laugh” proves a bittersweet read. We see many of the possessions Reynolds once prized — Garland’s ruby slippers and Elizabeth Taylor’s headpieces from “Cleopatra” — but these relics only serve to remind us how classic Hollywood is being carved up and auctioned off.
Nathan Smith is an arts writer living in Australia.Nathan Smith is an arts writer living in Australia.
By Debbie Reynolds and Dorian HannawayBy Debbie Reynolds and Dorian Hannaway
William Morrow. 268 pp. $25.99William Morrow. 268 pp. $25.99