Hedy Lamarr

The most beautiful girl in the world Hedy Lamarr: movie star, glamour queen, patented inventor. That the outrageously beauteous Lamarr should add that last, unexpected laurel to her wreath shouldn't come as a shock, as from the beginning, she was far from the average movie actress. Unlike many of her celluloid sisters at MGM, she came neither from grinding poverty, nor with a determined stage mother in the wings: instead, the well-bred and highly intelligent Lamarr came from a wealthy Austrian family. She began her theatrical career in Europe, first appearing on stage, and then, cataclysmically, in the Czechoslovakian film Ecstasy (1933), which featured the young beauty simulating (or was she?) orgasm and appearing in full frontal nude scenes. Lobby card for the 1940 American release of Ecstasy Lamarr then married her first husband, an Austrian arms manufacturer with Nazi ties. To escape, Lamarr reportedly disguised herself as one of her maids, and fled her husband's castle to Paris, where she obtained a divorce. Her next stop was London, where a chance meeting with Louis B. Mayer led to a contract with MGM in Hollywood. Mayer made it his personal mission to turn Lamarr into the star of stars; ironically, her first American film, Algiers (1938), was made on loan-out to United Artists, and its fame (based chiefly on co-star Charles Boyer's seductive suggestion to "Come away with me to the casbah") ultimately overshadowed nearly anything MGM featured Lamarr in. Indeed, her first two MGM pictures -- Lady of the Tropics (1939) and I Take This Woman (1940) -- were bombs, despite the huge Lamarr publicity build up, and the star wattage of co-stars Robert Taylor and Spencer Tracy, respectively. Being made up for I Take This Woman (1940, MGM) -- snickeringly referred to as I Retake This Woman, so tedious and convoluted was its filming Lamarr's most successful films were the ensemble dramas Boom Town (1940) with Tracy, Clark Gable and Claudette Colbert, and Ziegfeld Girl (1941) with James Stewart, Judy Garland and Lana Turner; but her own starring vehicles were ultimately disappointing, with the exception of White Cargo (1942), in which the elegant "ice queen" played deliciously against type as the hot-blooded native girl, Tondelayo. White Cargo (1942, MGM) It was Tondelayo too late, though; the writing was on the wall for Lamarr at MGM, as Mayer grew increasingly frustrated with both his own attempts at molding her into a superstar, and Lamarr's refusal to bow to his every whim. Mayer was accustomed to screaming, crying and cajoling what he wanted out of his vulnerable stable of female stars, many of whom came from unfortunate childhoods and looked to him as a father figure. He was thoroughly unprepared to deal with the demands and caprices of an independent, well-educated European lady of pedigreed background. To be fair, Lamarr's stubborn and mercurial nature often worked against her. For instance, she refused the plum role that Ingrid Bergman would eventually win an Oscar for in Gaslight (1944), objecting to taking second billing to Charles Boyer -- her argument being that he, not she, was the loaned-out star this time. Hedy Lamarr at her most glamorous, 1944 Lamarr's MGM contract was cancelled in 1945 (by "mutual agreement," as they euphemistically said in those days), and she immediately formed her own production company, which resulted in two interesting noir-ish dramas, The Strange Woman (1946) and Dishonored Lady (1947). Not bad films by any stretch, they also weren't earth-shattering; and, moreover, an exhausted Lamarr realized how much work went into being a self-contained artist without the benefit of a major studio for support. Wearied by her experience with self-production, Lamarr signed a short-term contract with Paramount, and was cast as one of the titular characters in Cecil B. DeMille's gloriously vulgar epic, Samson and Delilah (1949). The film was a smash hit, and briefly restored Lamarr to renewed stardom; but the excitement was short-lived. MGM requested her services for A Lady Without a Passport (1950), but the film was such a dog, Lamarr should have refused. Paramount did her no favors by tossing her into a dreary Western, Copper Canyon (1950), then had her playing second fiddle in a minor Bob Hope comedy, My Favorite Spy (1951). In barely a year, Lamarr's comeback was already over. Samson and Delilah (1949, Paramount) The ad copy and costumes for A Lady Without a Passport (1950, MGM) shamelessly cashed in on Hedy's success in Samson and Delilah Lamarr made one last attempt at reclaiming her movie stardom with the campy B melodrama The Female Animal (1957), in which she portrayed a fading screen queen, competing with daughter Jane Powell for the studly charms of George Nader. From there it was on to sporadic, sometimes bizarre TV appearances; botched plastic surgery which altered her exquisite looks; an embarrassing arrest for shoplifting which made worldwide headlines; a lurid "tell all" autobiography (ghost-) written for the money; and finally, quiet obscurity in Florida, far removed from her former fame. With George Nader in The Female Animal (1957, Universal) Guest hosting Shindig! with Jimmy O'Neill, 1965 At a press conference following her arrest for shoplifting, 1966 It's not to belittle Hedy Lamarr's abilities when we propose that she was the ultimate case of style winning out over substance. She was a tremendous star during the 1940's, whose very name was a byword for otherworldly glamour and beauty -- yet she never carried a classic film on her own, never was considered big box office. But even in her worst films, Lamarr's face was so compelling, audiences simply couldn't keep their eyes off of her. Unlike some starlets who had the looks but no talent and, worse, no charisma, Hedy Lamarr was a star who had the looks and charisma, and more talent than she was given credit for. As for that invention? With George Antheil, Lamarr co-invented a technique for spread spectrum communications and frequency hopping, initially intended for wartime use to make radio-guided torpedoes difficult for enemies to detect or jam -- and the basis for the technology used for such modern day essentials as Wi-Fi and wireless telephones. As we noted before: not your average movie star.

Item specificsConditionNew: A brand-new, unused, unopened and undamaged item. See the seller's listing for full details. See all condition definitionsopens in a new window or tabUnit of SaleSingle PieceAntiqueNoAutograph FormatN/ASigned ByNot SignedSize8.5 X 11 InchCustom BundleNoImage ColorColorFramingUnframedVintageNoAutograph Authentication NumberN/AYear of Production2022Format8.5 X 11Autograph AuthenticationN/AStylePhoto PrintFeaturesN/AFeatured Person/ArtistHedy LamarrFinishGlossyImage OrientationPortraitSignedNoMaterialPaperSubjectActors, Model, Pin-up ModelTypePhotographPhotographerUnknownNumber of Photographs1ThemeCelebritiesTime Period Manufactured2020-NowProduction TechniquePrintCountry/Region of ManufactureUnited StatesUPCDoes not apply

Hedy Lamarr in I Take This Woman, 1940

Frequenzsprungverfahren Hedy Lamarr | 2020 | Kunst und Kultur im Austria-Forum

Hedy Lamarr, Crossroads, 1942

The patent Lamarr filed aimed to protect her 1941 invention for radio communications to ‘hop’ from one frequency to another so that Allied torpedoes couldn’t be detected by the Nazis. The technology became a precursor to secure wi-fi, GPS and Bluetooth used by billions of people around the world.

Hedy Lamarr. Técnica de transmisión en el espectro ensanchado. Hedwig Eva Maria Kiesler. Frequency Hopping Spread Spectrum. Sistema Secreto de Comunicación

“When you talk to a sympathetic mind about technology, gender, age and experience disappear completely.”

There's more to Hedy Lamarr's life than her beauty and starring roles. She was also an inventor who had an idea that would have implications for both the U.S. military and technology such as GPS and Bluetooth.