Vivien Leigh was born Vivian Mary Hartley in Darjeeling, India. At a very young age she showed an ability to act, but she could only engage in it at age 18 when she enrolled at the Royal Academy of Dramatic Art in London.

At age 19, she married Leigh Holman, who was a lawyer and that was her name she used to make up his stage name. A year after marriage, Vivien was still a student and had a daughter named Suzanne.

Then in mid-1930, Vivien arrives to meet with Laurence Olivier and thus began one of the most passionate affairs of that time. Olivier was married during this time for Jill Osmond, but that did not stop Olivier and Vivien to know their business.

During this period, the two lovers have often acted together on stage and screen and this time they had left their spouses to be together. Olivier then signed for Wuthering Heights and Leigh was asked to play the role of Cathy in the film. However, his application was rejected because it was not well known in America.

Leigh ended up having his most famous role – Scarlett O’Hara – in the movie Gone with the wind and the film was released the same year as Wuthering Heights. Leigh film was a box office success and this little known actress has won the award for best actress in 1939.

In 1940, Olivier and Leigh got married at last. Then WWII happened and Vivien mainly worked on plays in and around London. During this period she became insomniac and his step-son Tarquin Olivier had to stay up the night with her.

In 1994, during the filming of Caesar and Cleopatra, Vivien realized she was pregnant, but unfortunately she had a miscarriage after a fall on the entire film. His step-son attributes his manic-depressive to the loss of the baby. In 1945, Leigh was also diagnosed with tuberculosis, which has not helped the situation.

During this period, manic-depression was not understood and that further Leigh received shock therapy for her disorder. His mental state associated with physical illness has begun to play havoc in his personal life and that affected her marriage, leading to a divorce in 1960. In addition, she also started drinking heavily.

Although Leigh had bipolar disorder and tuberculosis, she continued to play and won his second Oscar for his role in the film A Streetcar Named Desire.

In 1967, Leigh died from tuberculosis.

About the author:
Pauline Go is an online expert player in the medical industry. It also offers high quality items such as:
Famous People Biography,
Barrack Obama Biography

Article Source: http://EzineArticles.com/?expert=Pauline_Go

During the 1910s, popular comedy shorts before features the most esteemed. In the 1920s, however, comedy developed into a kind of mass observed length feature with stars like Buster Keaton and Charlie Chaplin. Silent film, simply by referring to its title, suggested physical dependence action-comic-actors. But that was not enough to distinguish the capabilities of the silent film comedy. A similar, but the sound was performed on stages of vaudeville and circus arenas. To this end, the silent film needed to offer something more actors to explain his longevity with audiences plentiful, although the appearance of the mass-exposure is a crucial issue when considering the various strategies offered by specific the actors.

A focus on the careers of performers above “offers an explanation on how this relationship not only with the environment, but also the public, affected their approach to silent film comedy. Through analysis of Sherlock Jr. (1924), The Jug (1920), and the Immigrant (1917), film course offered itself as a form of figurative art in time and space that could be handled to transmit a gag complicated and more sophisticated story. This was accomplished through the use of actors’ techniques exclusive medium and the development of a character film that worked both for and against public expectations.

Before any consideration of this silent film comedians offered specifically occurs, it must first recognize the overall contribution of cinema to performers and audiences. Before movies, live shows such as circuses and music halls were the main sites of inexpensive entertainment (Bordwell 3). However, because these performances were live, the constriction of time and space limited opportunities for exposure to some. For a specific performance, there was only time and space to see it, there would obviously be a small crowd that a performance described in various places at multiple times.

Similarly, transportation plays in various locations all was expensive (Bordwell 3). The distinctive aspect of cinema is the ability to mass-exposure at a cheap rate. In addition, the medium of silent film comedy released in spatial and temporal boundaries associated with the performance of the scene. Would no longer be an actor only have one chance to successfully execute a joke or express their concern over the limitations of a single place. In fact, they were able to capture more complex scenes, especially through the use of filmic devices.

Such an idea is in Keaton’s Sherlock Junior. As Keaton’s character, Sherlock Jr., sleeps in the projection booth, it becomes twice the effect of imposing great. This is to let the public know that the real Sherlock Jr. is asleep, her gorgeous body becomes the main character and the product must be developed with a gag the film itself. This suggests that the public openly accountable for the quality of inanimate comedian. In introducing the character of that dream body without life, the viewer is given more reasons to laugh at the agency rather than worrying. In the next scene, Sherlock Jr. (not yet fully absorbed in the film, he tries to enter) is transported across multiple domains to thank you for a film already published. As he dives from a rock surrounded by ocean, for example, cutting him disappear into a snowbank, legs sticking up. Not only is it impossible to reproduce the sequence of the film to the outside, but it also comments on the medium itself. The scene alters film cutting techniques applied to public expectations. To this end, the art film itself becomes the guardian of the joke.

The scene of hunting motorcycle without a driver who covers climax of the film is a sort of gag-specific elaborated offered by the silent cinema. It is both a spectacle and comedy scene to see Keaton do his own stunts. For a moment, the safe passage of the motorcycle in a missing part of a bridge is only possible through the support of two trucks passing through. This picture was produced with the assistance of a screen divided horizontally. Like the movie scene, further illustrates how the bike film devices have been used both complicate and execute various gags.

While the silent film comedians offered average specific devices, the option of mass-exposure led to the development of a broader examination of identity both on and off screen. The massive attention paid to performance Keaton in The pitcher reflect the presence of not only a budding star, but a specific style of acting that have shaped cinematic identity. Since 1909, dramatic films sought a form of “legitimate act” in which actors’ restricted their movements in order to draw attention to the subtle gestures and facial expressions “(Kramer 281). But actors often asked their improved performance to the camera, the point was a reaction to the public immediately or laughter (the theater scene in Sherlock Jr.) or surprise (the motorcycle chase).

In pitcher, Keaton turns with a description of the character in a Bertie right “too small” piece of quality of a comic strategy. Admittedly Keaton theatrical past, to ask this as a strategy rather than a weakness; Keaton ” permanently and subtly expressive acting “was the result of his broad powers of the live stage (Kramer 281). As has been juxtaposed with the legitimate quality of William H. Crane, retaining its performance has become a comedy show, which often suffers as a commentary on the dramatic style of Crane (285). For example, the conclusion of the film shows Bertie heard the news about the birth of her twins. Crane character, Nick, expresses joy in a dance, but Bertie shows no emotional response. Performance Keaton became a central theme of the film for that reason. Some critics have described as a reflection of poor quality, but others have found it as a declaration of ironic character Bertie unintelligent as the only hero in film at this point (286). This involves the performance as a product of his professional pleasure. For style recycled acting become a brand Keaton, as he developed the character through a line of films, he would become known as “The Great Stone Face” (Bordwell 140). His character, because of the fame offered from the middle, was often confusing overlap with his personal life. Gossip, because he never smiled, often assumed a melancholy love life (Kramer 287).

Take the focus in Chaplin, his films also reflected the initial character connected to the tradition of a live performance environment. As an employee of Mack Sennett at Keystone, Chaplin was less concerned about his cinematic character. His presence in movies Keystone shown a rather flat characterized by violence and vulgarity. It can be seen hitting a man in the mouth with a brick in Laughing Gas (1914) and a snub to a policeman in a film by Johnnie (1914) (Maland 199). Although he had great success with this farce, various critics hated this primitive favoring one who could positively influence the masses and to further develop artistic silent film (204). Chaplin responded to criticism of vulgarity through a reflection of its past:

It is because of my background music hall and experiences … in my work as little son vulgarisms … This crude form of farce and slapstick comedy … was due solely to my environment at the beginning, and now I’m trying to stay away from this kind of humor and adapt to a shade more subtle and fine quality. (Maland 204)

It is therefore evident that there is a certain level of sophistication desired by the middle of the silent cinema. Like Keaton tampered with the strategy of performance, the actors linked by a vaudeville past now needed to rework their personality and humor to satisfy the expectations of a new medium.

It is important to recognize the importance of how this review and the response of a specific product Chaplin illustrates the contribution of the silent film comedians. The existence of the criticism itself proves the mass attention not only to the actor as an important figure, but a film artist whose influence must be directed toward the didactic and artistic development. Chaplin as noted, these concerns have been non-existent as a live performer. The attention of the comedian in the middle of the silent film made with her demands and expectations on a broader level of appeal. Similarly, the medium of actors offered a tangible trace of their transformations comic, which leads not only a strong cinematic identity, but also an image of the star outside the development environment.

As shown by the response to criticism of Chaplin’s character, a greater level of responsibility was needed to maintain the reputation of comedy in the silent movies. It is urgent to explain his artistic choices, while at the same time, being careful not to reduce his popularity (Maland 204). As Chaplin announced his ambitions comic in the same width, a level of attention outside the film-formed. While the actor acquired the ability to influence the film (which the reviewer noted) it was just as much guided by the call of his audience, while the silent film was working at a certain level of art, it was ultimately a commercial product. Nonprofit, the actor no longer has continued to work in film. Therefore, the image of the star associated with the film actors provided a vital source of publicity for their durability. Throughout 1915, Chaplin’s image was exploited by the Motion Picture Magazine, various cartoons, and clothing (203). This gave him a level of notoriety beyond the environment and the responsibility to strengthen profit.

The continued popularity and profits have been crucial for artists in the world of silent movies. Actors needed to carefully follow the desires of their audience to remain in the film through this, they were forced to greater awareness about their characters and the style of humor. Silent film actors offered the opportunity to develop a story that praised the gags. Through the review of Chaplin, The Immigrant, we’ll see how the review above reasons against Chaplin silent film with a keener eye. The film contains a character more grounded vulgarity and violence, but a novel depicting humorous character and kindness (Maland 205). This “subtle nuances and finer quality” is complemented by his ingenuity with humor (204).

The initial reception of silent film, as seen through the years prior to Chaplin and the movie scene in Sherlock Jr., that was because the characters lacked the votes, they were closer to inanimate objects. Immigrants, however, transcended this design. Although people can still be seen around like fish on a boat launch or being knocked in as punching bags, the delicate treatment of Chaplin’s character and history prevented a complete surface representation of the comedy. The most obvious transformation of comedy silent film could be seen through the changing character of Chaplin film. In the immigrant, he is a man guided by his love for a woman. As the film begins, he offers his lover a seat while the boat rocks violently and secretly gives her money to her. The fact is that Chaplin developed humanity in his character, which allows people to see something more than funny, inanimate object, but still find room to laugh. There is a goodness of his character, but at the same time, it makes use of the devices for silent film comedy, in particular through the implementation of the gags of causality.

In terms of humor of the immigrant, the use of gag causal illustrated an important aspect of the silent film comedy. As the film begins, using the heading interrupts the swing of the boat with the words, “More working capital.” This implies a causal link with the turnover of people on the boat when it actually refers to roll the dice in a game of chance. In addition to using a device-the-film as a tool for heading a joke, the gag of causation was a substantial mode of humor in the films of Chaplin. Another form of this joke film is also used in the capture of introducing Chaplin. Seems to be sick over the catcher boat, it is actually pulling a freshly caught fish. Stationery, toys for the front camera with the notion of public expectations as Keaton did with mounting devices in Sherlock Jr.

We can now see that the creation of silent film highlighted a previously untapped outlet for humor, an environment free of limitations of space and time. This evidence has attracted actors as they were now able to perform elaborate gags, as in Sherlock Jr., unworkable in the field of life. The silent nature of the natural environment has encouraged the use of physical measures to convey humor. However, actors like Keaton

The pitcher has used the medium of comic highlight strategies for action. These strategies also present with Chaplin, were identified through the actors’ ability to fingerprint identity, personality comically through a line of films. This character, often extrapolated beyond the middle, was the subject of advertising and celebrity gossip. In addition to the role of comedians in silent film, focusing on Chaplin showed the development of comedy in something beyond the surface humor. Immigrants, for example, grew by Chaplin not only as an artist of comedy, but a filmmaker who has treated his characters and story with a previously nonexistent sentimentality.

Literature Cited
Bordwell, David, and Kristin Thompson. Film History: An Introduction. New York, NY:
Higher Education McGraw-Hill, 2010. Print.

Krämer, Peter. “The Making of a Comic Star:. Buster Keaton and The pitcher (1920)” The
Reader silent film. Ed Lee Grieveson and Peter Krämer. London: Routledge, 2004. 278-289. Print.

Maland, Charles J. “A Star Is Born: American culture and dynamics of Charlie Chaplin
Star Image, 1913-1916 “The Silent Cinema Reader Ed Lee Grieveson and Peter Krämer :…. London Routledge, 2004 197-209 printing …

Article Source: http://EzineArticles.com/?expert=Tyler_M_Wilson

I went to see The Dark Knight on opening night on the IMAX screen. Overwhelmed, I knew I had him again to give a proper assessment. Then I got my hands on a copy of it to watch at home and spent nearly every weekend can not get out of the film world. Now that I’ve seen a few times, he deconstructs, reverse-designed it, and savored my favorite scenes repeatedly, I realize that this is not simply awesome. It is beautiful, graceful as a ballerina, and will be one of those films that reference we judge others against the decades to come.

For all comparisons Heat and Goodfellas, I am especially reminded of Natural Born Killers. Both films share a go-for-broke fearlessness in their vision of a world where what we see is real. They go way above, but making history in such a skillful landing that you not only buy it as possible, but probable and even likely, given the right circumstances. Batman Begins showed us the world of Batman in a way that makes them feel very real. The Dark Knight shows us the real world in the extreme where Batman makes sense.

Much of the attention the movie is about the quality of the centers. Everyone goes nuts over Heath Ledger, but I think Gary Oldman Jim Gordon in the stand-out performance here. But Gary Oldman is always great, and Jim Gordon is not the center of this movie phenomenon. The Joker is. Some tried to argue that the performance of Ledger’s attention is more to do with his death that the actual work he did. Bollocks to that. Cesar Romero is the best screen representation of the Joker as portrayed in comics, but Nolan and Heath Ledger is absolutely perfect characterization of The Joker as he would if he were a real man. And that brings me back to my comparison Natural Born Killers.

I loved talking with people who did not like NBK. The most common criticism was that it offers its odious protagonists as heroes. I then remarked that the genius of it is social commentary in which he makes the point that if Mickey and Mallory, happened for real, at the age of Marilyn Manson on the radio and television, Geraldo, he happen exactly as described in the film. And then the characters become real icons of the culture inspire tributes and homages to various media, all the way down to dress up as Mickey and Mallory becomes a rite of passage for couples sharing their first Halloween together. I do not even want to get into crimes imitation of real life. I return to The Joker, I promise.

To get the most out of The Dark Knight, you need to have attended the various viral sites which includes the largest marketing campaign for anything, ever. There were websites for everything from transit system for the Gotham newspaper network news 24 hours, with a weekly magazine show featuring characters from the movie as guests (all websites were “disfigured by the Joker one week before the movie release). I am surprised that no notice others have mentioned the brilliance and skill in how, through these sites, they began to tell the story two months before the movie even came out. At the beginning of the film, when Jim Gordon asks Batman if he trusts that the new district attorney, you know everything about him because you followed his campaign and the overwhelming victory over the internet.

But all this pales compared to what they did with the Joker’s own website. For over a year leading to the release of the film, “The Joker” had people to join his organization, then he gave them orders over the Internet. It was a great series of flash mob events, the grand finale of what has led participants to their local cinema to be the first to see the movie trailer. The campaign had rabid fans appear in cities around the world, in Joker make-up, often in large gatherings. And who does not even touch on the number of persons taking no part in the campaign that painted Joker make-up on their own Facebook profile photo. And that’s where The Dark Knight a ups Natural Born Killers. Oliver Stone has held a mirror up to society to raise the alarm about the fact that we live in a world where people can identify with Mickey Knox – an anarchic psychopath. The marketing of The Dark Knight, not only encouraged us, but we offered incentives to declare full allegiance to the Joker – an anarchic psychopath.

In the graphic novel by Frank Miller, The Dark Knight Returns, much of the story involves young people, without a more appropriate model, falling under the influence of the wicked. In the world of film The Dark Knight, I imagine the Joker would also inspire a crowd of disciples, imitators and copycats, and probably even use the Internet in much the same way that marketers of the film done. I thought it was something worth exploring in the film. That is, until I realized they did not need to because they had already done BY MAKING IT HAPPEN IN REAL LIFE. How much more of a boost it would have taken, were as much power and influence in the hands of an artist with a vision a little more creative anti-social, to postpone the Joker-philes in one place where life imitates art in a way that we do not even want to think? And if that happens, you have to wonder what kind of force would emerge to stop them.

People have been saying for years that superheroes are the Greek gods of our culture, and their adventures in comics and movies are our mythology. As technology has improved and the public has become accustomed to even higher levels of credibility, the filmmakers were able to inch ever closer to putting ourselves in a world where Batman and Spider-Man is real. Marvel and the studios, they were affiliated in the summer of leaders in the field, but Iron Man and The Incredible Hulk each fumbled in their own way. Each summer a little more than a step in the eventual establishment of the great film team in place, taking the audience for granted. DC Comics and Warner Brothers have not only been a classic of all time with The Dark Knight, they went and innovated the art form to a point where we can barely tell the difference between their world and ours, no more .

Freestyle Weekend Sean Ward
Every Friday http://www.seanward.net

Article Source: http://EzineArticles.com/?expert=Sean_Ward

Well, who is the next Marlon Brando? “This is an issue that has been playing on your mind as well, I know! However, before letting slip an answer we plunge deeper into this” be the next Brando “actually means. I am speculating on who the next player to wear a tight t-shirt and mumble a scene with captivating magnetism? Of course not! It would be nothing more than cheap resale a parody of an image now over fifty years.

Need I say will be the next name actor renowned for his expanding waistline, as if in preparation for large digital display? Wrong again, the muscle fat ratio of your Hollywood star is for the gossip magazines to ruminate. No. .. To understand the issue, we must travel back in time to 1951 (the year the film A Streetcar Named Desire came out no less) and to explore what performance as Stanley Kowalski has done for modern cinema. When Tennessee Williams wrote “Streetcar” for the stage (and also adapted for the screen), it could not consider doing that would lead the revolution.

Eliza Kazan film was a drama with no real precedent in the film and continued to destabilize the public long after the last line on the kindness of strangers had been pronounced with nostalgia. It was a heady mix of sexual tension, violence and unfulfilled aspirations that was as bold and it was shocking at the time. However, through the eyes of the 21st century it lacks the realism of social cuts and gravel that we have become accustomed too. It still has the power to hire if it can not be regarded as a period film because of the florid dialogue and sickly sweet smell of melodrama that lingers just below the surface. The only thing that has not dated one iota though is the characterization of the seller by a young Polish character actor named Marlon Brando. While the rest of the cast (especially Vivien Leigh) to perform their roles admirably, Brando did not look as if he played for anyone and that, finally, was the crucial difference. One might almost seem to someone with no knowledge of the casting process that they did not hire an actor but just pulled a guy from the street and asked if he would not mind having a chat with a couple of women.

In short, here was an actor who does not look as if it acted at all! Not even a second. He did all these things, whether playing poker, getting someone drunk or hit, for real and he just happened to be captured on film. It’s the only explanation, no doubt! Nobody can memorize words on a page and make them sound this spontaneous! It has its component …. it should be! But of course it was not and the film will never be the same. The aftermath of the earthquake acting would be felt immediately by his peers and then by all subsequent generations for the rest of the century. Each school plays, amateur productions and show the school would now have a chewing gum, brooding presence lodged in the corner of the rehearsal room. It was poor diction a crushing burden on the text but rather as a new way to “naturalize” part. Acting was out, baby “being” was! He was helped by the fact that he had the genetic side. I mean would he really engraved itself on the collective consciousness of impressionable young people if it was a squat little thing big with a double chin and eyes wrong?

The answer is …. highly unlikely, that the job requirements of being an icon of film does demand a certain aesthetic appeal and he, for some time, was happy to oblige. It was not without its detractors (comedians impersonate a Hamlet mumble when it was announced he was going to do Shakespeare was two a penny), but it is now, with astonishing speed, headlining a new kind of movie star. Of course, for each precursor that illuminates the road of artistic talent with just the pale imitators, but is required: Imitation is truly the highest form of flattery. It all ended too soon in a mess, vomiting colored cocktail of self-sabotage, lazy and indulgent Hollywood performance, but, and this is where the shoe pinches, even at its lowest level and in the worst worst movies (and boy, did he have stinkers) that he was always totally committed. How his apathy towards his job must have infuriated the rest of the world acting, which continued to catch up, then continue what he started. No matter how he tried, his genius could not be rejected (as any company sticker would rightly declare). The real gift Marlon Brando gave the film was the gift of new, daring, dynamics and that is what will be the next Marlon Brando will be the demand.

So to complete the task of answering the above question we now need to examine the current landscape of cinema. Christ is an arid desert terrain there. Make no mistake, this new century has been blessed with talented actors and directors wonderful, but what we seek is the revelation and that is where the machine fails Hollywood. There is nothing new to offer us more, nothing unexpected or unprecedented. This is a case of there, seen that, bored with the t-shirt. However, a more fundamental obstacle to the film industries lack of imagination is that we (the film to the public) are not really expect more.

We know that the drilling never buy into the magic of Hollywood with the same boundless spirit that postwar generations did. A torrent of sequelae re-done, poorer and more hype flops by marketing men grappling with the task of polishing a shit left us cynical and unresponsive to the belief in the power of radical reinvention. This is not a fault of ourselves, but neither is it completely because of Hollywood, either we live in times very different from those so-called “golden age”. The choice became king, and even God, in the new Internet, broadband, I-pod and mobile age in which we live. We simply do not follow the calendar of a studio multi-stranded for when we decide to plunge into the entertainment world over. We can now determine, to a greater extent than ever, the context in which we eat our evening entertainment and it will only continue this way.

Summer / Christmas blockbuster he also played a part in diluting the real adventure by promising bigger and brighter flashing lights to vibrate and then you reverse with the ever before. He constantly insists you throw the old in favor of the new “if not now, there is nowhere” or if the media would have you believe. It is a promise defeating giving each new version of great longevity and a pint of milk provides another brick on the foundation of this disposable, discard the culture we are now building our new house. Yes, it is easy to look back on a bygone era by affection in the eyes wet for something that did not really exist, because with all the classics of cinema comes from a multitude of less slag, we forget.

However, if the cultural environment for artistic creation, which persists in the heart and mind is transformed once and for all in its current state, it is really time to declare “It’s a wrap on significant works in the cinema. So instead of picking summarily buffet predictable, always half distracted by what might be on the other table, perhaps we should be together for the feast of exotic dishes that we do not know much thing. Perhaps, instead of seeking a new Marlon Brando instead we should look into the thing we all lose that childhood we survived, the ability to see simple truths … and be surprised.

Anthony English author-

Article Source: http://EzineArticles.com/?expert=Anthony_English

Jean Harlow is best known today for being the original blonde bombshell and sex symbol par excellence of the 1930s. However, there was more to John than his angelic beauty. One of my favorite actresses of all time, John was a gentle, intelligent and generous, never a diva, always friendly to everyone. It has been very misunderstood, and later became the inspiration for Marilyn Monroe. The parallels between their lives is borderline scary. Although Harlow seemed to have everything a woman could desire, she had a very tragic life, and at the age of 26 years, the “baby” was dead.

Jean Harlow never wanted to become an actress. Being young and naive, she was always bothered by the celluloid world of Hollywood, and being forced to be something she did not. According to his best friend, Clark Gable, “She did not want the fame. She wanted to be happy.” When John met actor William Powell in 1935, they quickly fell in love. After many failed marriages, John finally felt that Powell was “The One”, and wanted to marry her right away. However, Powell was fresh out of a divorce with actress Carole Lombard, and was reluctant to remarry. John, who was sensitive, heart-broken that Powell does not want to marry, and she took it personally. She started drinking to excess with his best friend and confidant of Clark Gable (the two were so close they saw every brother and sister. Clark was the only person who never called John “Baby” instead, he called the “SIS”) In fact, Gable boasted that Harlow could to him to drink!

In 1936, Harlow discovered she was pregnant with baby Powell. However, Powell and Harlow have always supported more children. It has always been the dream of Harlow to leave acting and become a wife and mother. However, Powell did not want children. It was the only blemish in their relationship, and it has often led to many fights between the two. John’s mother pressures her daughter to abort, and the party was likely John to realize his dream. Powell did not know the child. In 1937, Powell has finally hired Harlow, giving it a beautiful sapphire ring. That same year, John began filming Saratoga with Clark Gable.

When filming began, John had started to look sick. She gained some weight, which seemed natural to her tiny body. Her skin has also started to adopt a strange grayish color, and it was incredibly swollen and Moody. It was believed she had an inflammation of the gallbladder. As filming progressed, John began to arrive later and later to the whole. One day, she collapsed on set in great pain and Powell have been called to take her home. Jean condition has worsened. She began vomiting and episodes of delirium. Soon, she was taken to hospital. overprotective mother Harlow only allowed those dearest to John Powell and Gable, to visit him. Clark was especially shocked and shaken at the sight of a weak and ailing John, his best friend. When he bent to kiss him, he smelled of urine on his breath. He said this and we discovered she was misdiagnosed and suffered from uremic poisoning and kidney failure from a case of scarlet fever which she contracted when she was a child. Because of scarlet fever, kidney Jean deteriorates over the years without anyone noticing. In advanced renal illness, John could not excrete waste through their breath and sweat, which is why Gable smelled of urine on her lips. Powell was beside himself when he saw how swollen with urine John had become. His hair was shaved into desperation that would have drained some fluid from his head. Every day, Powell would leave the hospital room with a flushed face from crying.

Despite ongoing medical care, John falls into a coma and died June 7, 1937. Powell was shocked and upset, and for the rest of his life he regretted not marrying him. He was a changed man, more sober and mature. He himself was diagnosed with rectal cancer the following year. Fortunately, he caught early and treated. Gable also went into deep mourning for Harlow. He served as a pallbearer and usher in his star-studded funeral, and began to drink heavily. He reluctantly ended Saratoga without it. Powell paid $ 25,000 for John’s final resting place: a 9 of 10 private room lined with multicolored imported marble in the Sanctuary of the blessed at the Forest Lawn Memorial Park in Glendale, California. John was buried before, Powell had slipped a single white gardenia and a note in his hand saying “Good evening, my dear darling.”

But perhaps we have not lost Baby John, after all …
Jean Westwood elegant house would be haunted by her spirit. A resident of the house says that when she moved into the house, she heard a soft voice whispering in his ear “Please help me.” Although shaken, the woman did not leave the house. Throughout her stay, she had heard his name being called, and he had seen ectoplasm, which looked like cigarette smoke. Keeps his dogs bark and whine for any paranormal activity, and she also felt much bumping against the bed as if someone was trying to fall out of it. The lights flash on and off by themselves, and sometimes glimpse Jean reflect against the ceiling! Once, the woman also heard hysterical sobs wrenching, and there were many cold spots and winds around the house. The resident also heard footsteps and felt a slight brush against her cheek. There were also cases in which strong, musky scent that invade through the rooms of the house, and sometimes the sounds of a party have been heard coming from the closet.

It would be a dark story of four years that John spent in this house. Her second husband, Paul Bern, often beat her, and John would be left covered in bruises. Finally, Bern committed suicide in 1932, and Jean Westwood was at home when it happened. John immediately attempted suicide by overdosing on sleeping pills, feeling tha it was the reason for the death of Bern. Have death of Paul Bern have a link with John?