The ambient energies of the cosmos laminate desires
and filter into our subconsciousness. A sole entity journeying into the spheres
of infinity. Enjoy the meek pleasures and the laughing eyes.
Watch a 1930s movie with tangible wanton desires penetrating
the minds of the many, listen to enticing music, and embrace positive energy.
Mark Izzy Schurr
Stripped of all meaning. In an instant there is no joy
and no love, just a dim memory of emotions no longer tangible. Formless terrors
penetrate the periphery of everything we perceive. Streaking down a labyrinth of
lunacy and into the virulent vibes of the unknown.
Once upon a time, the wretchedness of addiction seized
my actions. At last, my heart and mind are together in the now. I have finally
bridged the dualism between infinity and oblivion. Always an outsider, even amongst
others.
Furrowing into the craters of imagination as unknown
energies tantalize curiosity.
Mark Izzy Schurr
Picture is Schurr Shot with my Sony Cybershot 50 mm zoom camera using manual focus.
All the gods are dead, and all the faiths dazed, amidst
a timeless realm known as the divine.
He rode the quantum waves over the seas of creation.
The thunder of ancient universes dying while other were born a new. He journeys
across the universe, to the border land between eternity and oblivion, he is of
course, the Silver Surfer. (J.M. DeMatteis, Thomas Doherty, me)
His heart became a cauldron of dark and savage
emotions upon the thought of his murdered planet. His lover, and the entire
planet of Zenn-Laa was dead, killed by an alien conscientiousness called the
Other.
Celestial music of from the universe revived his thirst
for life. His hopes and joys gleefully jousted with his pain and sorrows. (J.M.
DeMatteis)
The opposites within us don’t have to tear us apart. We
are now entering into an uncharted dimension, complete with all the layers of
human consciousness. The Silver Surfer opens the doorways between tangible
reality and bathes Earth with the resultant energies of love.
The exquisite ecstasy thrust onto Earth via the power
cosmic is much too brief, but none the less fantastic.
Mark Izzy Schurr
“Inhabitants of Hollywood are dedicated to
crawling in every pair of pants they can find, and you become egotistical to
think you’re the prime par of pants,” Veronica Lake said.
Veronica Lake’s blend of beauty, her ice cool persona and dry comic style makes her a timeless magnetic screen personality, writer Eddie Muller said in the introduction of “Veronica, The Autobiography of Veronica Lake.”
He was a man, rough within bounds and serious with love making…I preformed whorish rituals, but never felt the whore. I welcomed him over me, in me, his entrance, his throbbing moment of release. We so often achieved a miraculous and stimulus climax, mutual detonation, she said about the man she loved. If you want to know who he was, read the book. Lake initially hooked up with this man in 1961. Lake also said she was his Geisha and proudly served him sex. A Geisha is a Japanese woman trained to entertain men.
The vast array of the human condition was vividly told by Lake in her 1969 autobiography. By the time she was 16-years-old in 1938 she was in Hollywood chasing her dream of stardom. Lake spoke bluntly about the expectations of sex to acquire certain parts in movies. Relates to today’s sex scandals involving Harvey Weinstein and many others.
“Most men view the whole casting interview as a license for sex,” Lake said.
Veronica Lake talked about how women were lured into pornography in the 1930s. Veronica Lake had friends in the 30s who did porn and got paid $50.00 per film session. Lake avoided porn and barely paid her bills.
Hollywood is mostly unglamorous, and too many women get sexually preyed upon, Lake said in her autobiography. Hollywood is synonymous with sex, and producers strike accordingly, Lake said.
In 1939, Lake appeared in her first comedy short, “The Wrong Room,” starring Leon Errol. Veronica Lake was credited with her real name, Connie Keane, in this Two-Reeler. A Two-Reeler simply means the movie is about 20 minutes long. Movies shot on 35 mm film run about 10 minutes per reel, hence the term ‘Two Reeler for 20-minute shorts.
Lake became an iconic acting beauty in 1941 upon the release of “I Wanted Wings.” Veronica wasn’t the female lead, but her role was very significant, and at 19-years-old, she became a household name to many Americans and the rest of the world.
“I Wanted Wings” took four months to film, and Lake made $75.00 a week during this period. She then made $300 a week for her second movie. By the mid-1940s, she was making $4,500 a week.
“Some critics thought I was a good actress, some didn’t, but everyone knew one thing. Veronica Lake was a star. Paramount knew it, my mom knew it and I knew it,” Lake said.
I’m not going to detail her life as she did in her book, but there was a lot or sadness and alcohol addiction in her life. Lake pulled no punches when criticizing certain friends or movie stars, and she was even brutally honest about herself, especially when she detailed certain actions when she drank heavily.
Actor, Brian Donlevy couldn’t handle a punch from the much smaller and petite Veronica Lake. In 1942s, “The Glass Key,” the script called for Lake to punch Donlevy in the face which she did. After I hit him in the face rehearsing, his eyes were a glassy haze upon impact, and his face seethed with a barely controlled rage. I pulled my punches after that Lake said.
In the 1960s, Lake’s movie career was practically nonexistent and the man she loved was drinking heavily to maintain a level of detachment from the reality of living, Lake said. I understood, I’d been there myself, I joined him in the escape.
Veronica lake was a single mother with two boys and two girls, and she wasn’t a good parent she said.
“Yes, I contributed mightily to ruining things when I had an honest shot at achieving my professional goals,” Lake said.
Lake died in 1973, and she was only 50-years-old. Alcoholism claimed her life many said. Before she died, she could fly a plane, mix a cocktail and knock you on your ass with a right cross!
Lake was barely five feet tall, and weighed less then a 100 pounds, and her cascade of blonde hair made her a beacon of sexiness and sass. She was bright and cool in the dark days of World War II, Eddie Muller said.
Mark Izzy Schurr
A delectable array of delicious deceits has spawned from these Pre-Code classics. The complete spectrum of vice shrouded the critique of commercial Christianity. Sin in soft focus contained all the dark and lurid themes that are in today’s films. Writers and movie makers in the early 20th century dealt with a biblically written document tilted, "Code to Govern the Making of Talking, Synchronized and Silent Motion Pictures and the Reason Supporting It."
Before 1935, lasciviously looking ladies in alluring
and classy lingerie mainstreamed themselves in movie theatres across the globe.
Women were allowed to show a lot more skin in moving
pictures between 1930-1934. I challenge any reader right now to find a
mainstream movie made in America before 1967 where a woman shows off more skin than Claudette
Colbert did in 1934s “Cleopatra.”
Actress’s Joan Blondell, Claudette Colbert,Toby Wing and Jean
Harlow were a small fraction of ladies that ignored the Christian
critique during the Pre-Code era. These women chased married men and juggled their boyfriends. Enthusiastic indulgences, both legal and
illegal weaved its way into the cerebral and tangible desires between the two
genders.
The movies were a Cathedral of sin for many
politicians and religious zealots. Writers and filmmakers thrust a visual
assault upon their censorship foes in the Pre-Code Hollywood years, and no genre
was sacred for the big screen.
“Red Headed Woman,” starring Jean Harlow was a
well-mixed cocktail of adultery and shady career advancement techniques. Harlow
was a pioneering and definitive force in 1932 for even today’s female stars who
showcase their flesh and display their fornication success.
In “Gold Diggers of 1933,” Joan Blondell and Ginger
Rodgers, among countless other dancing and singing beauties displayed their bodies in
teddies and fancy lingerie.
Christianity and politics went hand in hand in
combating creativity. Hollywood was not only depicting vice, but it was also
glorifying it, some said.
All the gods are dead, and the faiths dazed via the movies. Delirious desires and social chaos amidst the masses has corrupted all movie-goers some said. Hollywood is a symbolic journey into the forbidden zone, and the book, “Pre-Code Hollywood, Sex, Immorality, and Insurrection in American Cinema 1930-1934,” by Thomas Doherty was an insightful read. It's because of this book, I'm currently into all the movies I've seen and written about thus far.
Four stars for Doherty’s 1999 “Pre-Code Hollywood” book, which has ignited my passion to collect Pre-Code flicks.
Mark Izzy Schurr
