DESCRIPTION : Here for sale is an EXCEPTIONALY RARE and ORIGINAL Hebrew-Israeli POSTER for the ISRAEL PROJECTION of the 1938 American film - movie " MARIE ANTIONETTE" which was directed in 1938 by W.S.VAN DYKE

Starring , Among others : NORMA SHEARER , TYRONE POWER  , JOHN BARRYMORE and ROBERT MORLEY. The colorful ARTISTIC beautifully ILLUSTRATED poster was created by an Israeli artist ESPECIALLY for the Israeli release of the film. The poster is not dated but its GRAPHIC DESIGN and paper patina indicates the 1950's at the latest.  It's a beautifuly illustrated LOVE SCENE between SHEARER and POWER  . Kindly note : This is an original ISRAELI MADE poster - Designed , Printed and distributed only in Israel for the israeli projection of the FILM . you can be certain that this surviving copy is ONE OF ITS KIND. Size around 28" x 40" ( 100 x 70 cm ). The poster is in very good condition. Clean. Intact . Folded. ( Pls look at scan for accurate AS IS images ). Poster will be sent  in a special protective rigid sealed packaging.

AUTHENTICITY : This poster is guaranteed ORIGINAL from the 1950's at the latest , NOT a reprint or a recently made immitation.  , It holds a life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.

PAYMENTS : Payment method accepted : Paypal & All credit cards.

SHIPPMENT : Shipp worldwide via registered airmail is $ 29 . Poster will be sent in a special protective rigid sealed packaging. Handling around 5-10 days after payment. 

Marie Antoinette is a 1938 American historical drama film produced by Metro-Goldwyn-Mayer.[3][4] It was directed by W. S. Van Dyke and starred Norma Shearer as Marie Antoinette. Based upon the 1932 biography of the ill-fated Queen of France by the Austrian writer Stefan Zweig, it had its Los Angeles premiere at the legendary Carthay Circle Theatre, where the landscaping was specially decorated for the event. The film was the last project of Irving Thalberg who died in 1936 while it was in the planning stage. His widow, Norma Shearer, remained committed to the project even while her enthusiasm for her film career in general was waning following his death. With a budget over two million dollars, it was one of the more expensive films of the 1930s, but also one of the bigger successes. Plot In 1769, Vienna, Austria, Holy Roman Empress Maria Theresa tells her youngest daughter, Archduchess Maria Antonia she is to marry the Dauphin Louis-Auguste. Marie is excited to become the future Queen of France but grows dismayed upon learning her husband is a shy man more at home with locksmithing than attending parties. After countless attempts to please him, Louis reveals he cannot produce heirs, prompting Marie to associate with the power-hungry Duc d'Orleans. On her second wedding anniversary, Madame du Barry, King Louis XV's mistress, gifts Marie with an empty cradle and a poem critical of her inability to produce an heir. Despite Marie's distress, Louis proves to be too weak to stand up to his grandfather. Sometime later, Marie meets Swedish Count Axel Fersen at a costume ball, during which she wagers and loses an expensive necklace. Count Mercy, the Austrian ambassador, scolds her for her wanton behaviour, but she pays him little heed. Marie hosts a ball in an attempt to make amends with du Barry and please Count Mercy. However, the attempt fails when du Barry draws attention to Louis's absence, and Marie responds with reference to du Barry's past. The King decides to annul the marriage, prompting Louis to defend Marie. Meanwhile, Marie flees to Count Mercy's residence after learning she is to be sent back to Austria. While there, she reunites with Fersen, who professes his love for her. Realising she too has fallen in love with Fersen, Marie goes to tell Louis but learns she cannot leave him as the King is dying of smallpox and Louis himself is still fond of her. She agrees to remain, and they ascend to the throne following the King's death. Despite Marie's attempts to continue their relationship, Fersen refuses to risk ruining her reputation and tells her to fulfill her duties as France's Queen. She goes on to give birth to daughter Marie Thérèse and son Louis Charles. Years later, when the Dauphin has grown into a young boy, peasants throw stones at Marie's carriage while she is taking her children for a drive. She is shocked at the intense dislike displayed by the people of France. She blames d'Orleans for inciting them. Marie later rejects a jeweller's expensive and elaborate necklace. Still, she is framed by court insiders plotting to acquire the necklace for themselves, and the Affair of the Diamond Necklace erupts. Marie is outraged, but d'Orleans tells the royal couple to abdicate the throne in favour of the Dauphin under the regency of d'Orleans. The French Revolution comes, and the royal family is taken prisoner. Fersen returns with a plan of escape, but when the Dauphin tells a guard that his father is a locksmith, the King is recognised and arrested after a former priest at Versailles identifies him. The King is put on trial and sentenced to death and spends his last night with his family, his children not realising this is the last night they will spend with their father. Marie is heartbroken but is then separated from her children, put on trial, and condemned to death. The Dauphin, too young to understand what is going on around him, is forced to testify against his mother. The night before she is executed, Fersen goes to the prison and pledges their love to each other, with Marie telling him that she will never say goodbye. The next morning she goes bravely to her execution, which Fersen witnesses from a distance. As Marie gazes at the guillotine, she thinks back to the day her mother told her that she was to become Queen of France, and how excited she had been at the prospect. Cast Norma Shearer as Marie Antoinette Tyrone Power as Count Axel von Fersen John Barrymore as King Louis XV Robert Morley as King Louis XVI Anita Louise as Princesse de Lamballe Joseph Schildkraut as Duc d’Orléans Gladys George as Madame du Barry Henry Stephenson as Count Mercey Cora Witherspoon as Countess De Noailles Barnett Parker as Cardinal de Rohan (referred to, and credited as "Prince de Rohan") Reginald Gardiner as Comte d'Artois Henry Daniell as La Motte Leonard Penn as Toulan Albert Van Dekker as Comte de Provence Alma Kruger as Empress Maria Theresa Joseph Calleia as Drouet George Meeker as Robespierre Scotty Beckett as Louis XVII of France (credited as "The Dauphin") Marilyn Knowlden as Princesse Thérèse Harry Davenport as Monsieur de Cosse (uncredited) Nigel De Brulier as Archbishop (uncredited) Walter Walker as Benjamin Franklin (uncredited) Rafaela Ottiano as Louise (uncredited) Norma Shearer Norma Shearer Tyrone Power Tyrone Power John Barrymore John Barrymore Robert Morley Robert Morley Anita Louise Anita Louise Joseph Schildkraut Joseph Schildkraut Gladys George Gladys George Henry Stephenson Henry Stephenson Background This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (November 2015) (Learn how and when to remove this template message) William Randolph Hearst originally planned this film as a vehicle for Marion Davies as early as 1933. However, a clash with Louis B. Mayer after the failure of her film Operator 13 led to the couple switching to neighboring Warner Bros. Norma Shearer was the wife of MGM studio head Irving Thalberg when this project was greenlit sometime before his death in 1936. This was reportedly Shearer's favorite role. Originally to be directed by Sidney Franklin, the job was given to W.S. Van Dyke. Irving Thalberg originally planned for Charles Laughton to play the role of Louis XVI, but Laughton, after lengthy deliberations, finally declined. Costumes and set designs The film boasted thousands of expensive costumes and lavish set design. The array of costumes created for the film are among the most expensive in film history. Costume designer Adrian visited France and Austria in 1937 to research the period. While there he purchased vast quantities of antique materials, French lace, and period accessories for use in the film. He studied the paintings of Marie Antoinette, even using a microscope on them, so that the embroidery could be identical. Fabrics were specially woven and subsequently embroidered with stitches sometimes too fine to be seen with the naked eye. The studio raged at the amount of money being spent on costumes for the film. The attention to detail was extreme, from the framework to hair. Some gowns were extremely heavy due to the amount of embroidery, fabric and precious stones used in their creation. Ms. Shearer's gowns alone had the combined weight of over 1,768 pounds, the heaviest being the 108 pound wedding dress created using hundreds of yards of white silk satin hand embroidered in gilt thread. Originally slated to be shot in Technicolor, many of the gowns were specially dyed. The fur trim on one of Ms. Shearer's capes was therefore dyed the exact shade of her eyes.[5] The elaborate costumes were subsequently reused multiple times in other period films to offset the cost of their creation. Many have survived and exist in both museum and private costume collections internationally. The ballroom at Versailles was built to be twice as large as the original to give the ball sequences a grander scale. Genuine French furniture from the period was purchased and shipped to Hollywood, some of it thought to have originally been from Versailles. The budget was a then-enormous $2.9 million. After calculating the huge expense of costume and set design, plans to render it in color were scrapped because of concerns it would cost even more to add Technicolor.[6] Reception The film premiered on July 8, 1938, at the Carthay Circle Theatre in Los Angeles following a lavish outdoor red carpet ceremony for which the nearby lawns were transformed into an imitation of the gardens of the Palace of Versailles. The premiere, including the preparations of the grounds, is depicted in a short black-and-white newsreel film, Hollywood Goes to Town, produced by M-G-M. According to MGM records Marie Antoinette took in $1,633,000 in theater rentals from the United States and Canada and an additional $1,323,000 from foreign rentals,[1][2] but because of its enormous cost recorded a loss of $767,000.[7] Home media Sofia Coppola released her 2006 film version of the life of the queen at Versailles, causing Warner Bros. to release its 1938 vault version of Marie Antoinette on DVD. Extras are sparse, with two vintage shorts included on the disc: "Hollywood Goes to Town" provides a glimpse of the elaborate premiere for the movie, while a trailer is also included.[6] Academy Award nominations Best Actress – Norma Shearer Best Supporting Actor – Robert Morley Best Art Direction – Cedric Gibbons Best Music, Original Score – Herbert Stothart *******Woodbridge Strong Van Dyke II (March 21, 1889 – February 5, 1943) was an American film director who made several successful early sound films, including Tarzan the Ape Man in 1932, The Thin Man in 1934, San Francisco in 1936, and six popular musicals with Nelson Eddy and Jeanette MacDonald. He received two Academy Award nominations for Best Director for The Thin Man and San Francisco, and directed four actors to Oscar nominations: William Powell, Spencer Tracy, Norma Shearer, and Robert Morley.[1] Known as a reliable craftsman who made his films on schedule and under budget, he earned the name "One Take Woody" for his quick and efficient style of filming. ***** Edith Norma Shearer (August 11, 1902 – June 12, 1983)[2][3] was a Canadian-American actress who was active on film from 1919 through 1942.[4] Shearer often played spunky, sexually liberated women.[5] She appeared in adaptations of Noël Coward, Eugene O'Neill, and William Shakespeare,[6] and was the first five-time Academy Award acting nominee, winning Best Actress for The Divorcee (1930).[7] Reviewing Shearer's work, Mick LaSalle called her a feminist pioneer, or "the exemplar of sophisticated modern womanhood and ... the first American film actress to make it chic and acceptable to be single and not a virgin on screen".[8] Early life This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (July 2016) (Learn how and when to remove this template message) Shearer was of Scottish, English, and Irish descent. Her childhood was spent in Montreal, where she was educated at Montreal High School for Girls and Westmount High School.[9] Her life was one of privilege, due to the success of her father's construction business. However, the marriage between her parents was unhappy. Andrew Shearer was prone to manic depression and "moved like a shadow or a ghost around the house",[10] while her mother Edith Fisher Shearer was attractive, flamboyant, and stylish. Young Norma was interested in music, as well, but after seeing a vaudeville show for her ninth birthday, she announced her intention to become an actress. Edith offered support, but as Shearer entered adolescence, she became secretly fearful that her daughter's physical flaws would jeopardize her chances. Norma Shearer "had no illusions about the image I saw in the mirror". She acknowledged her "dumpy figure, with shoulders too broad, legs too sturdy, hands too blunt", and was acutely aware of her small eyes that appeared crossed due to a cast in her left eye. By her own admission, she was "ferociously ambitious, even as a young girl", and planned to overcome her deficiencies through careful camouflage, sheer determination, and charm. The childhood and adolescence that Shearer once described as "a pleasant dream" ended in 1918 when her father's company collapsed, and her older sister Athole suffered her first serious mental breakdown. Forced to move into a small, dreary house in a "modest" Montreal suburb, Shearer found her determined attitude was strengthened by the sudden plunge into poverty: "At an early age, I formed a philosophy about failure. Perhaps an endeavor, like my father's business, could fail, but that didn't mean Father had failed."[11] Edith Shearer thought otherwise. Within weeks, she had left her husband and moved into a cheap boarding house with her two daughters. A few months later, encouraged by her brother, who believed his niece should try her luck in "the picture business", then operating largely on the East Coast of the United States, Edith sold her daughter's piano and bought three train tickets for New York City. In her pocket was a letter of introduction for Norma, acquired from a local theatre owner, to Florenz Ziegfeld, who was preparing a new season of his famous Ziegfeld Follies. Career Early days Portrait of Shearer by Arnold Genthe, c. 1920 In January 1920, the three Shearer women arrived in New York, each of them dressed up for the occasion. "I had my hair in little curls", Shearer remembered, "and I felt very ambitious and proud."[12] Her heart sank, however, when she saw their rented apartment: "There was one double bed, a cot with no mattress and a stove with one gas jet. The communal bathroom was at the end of a long, dimly lit hallway. Athole and I took turns sleeping with mother in the bed, but sleep was impossible anyway—the elevated trains rattled right past our window every few minutes." The introduction to Ziegfeld proved equally disastrous. He turned Shearer down flat, reportedly calling her a "dog", and criticized her crossed eyes and stubby legs.[13] She continued doing the rounds with her determination undimmed: "I learned that Universal Pictures was looking for eight pretty girls to serve as extras. Athole and I showed up and found 50 girls ahead of us. An assistant casting director walked up and down looking us over. He passed up the first three and picked the fourth. The fifth and sixth were unattractive, but the seventh would do, and so on, down the line until seven had been selected—and he was still some ten feet ahead of us. I did some quick thinking. I coughed loudly, and when the man looked in the direction of the cough, I stood on my tiptoes and smiled right at him. Recognizing the awkward ruse to which I'd resorted, he laughed openly and walked over to me and said, 'You win, Sis. You're Number Eight.'"[14] Norma Shearer's strabismus, 1926 Other extra parts followed, including one in Way Down East, directed by D. W. Griffith. Taking advantage of a break in filming and standing shrewdly near a powerful arc light, Shearer introduced herself to Griffith and began to confide her hopes for stardom. "The Master looked down at me, studied my upturned face in the glare of the arc, and shook his eagle head. Eyes no good, he said. A cast in one and far too blue; blue eyes always looked blank in close-up. You'll never make it, he declared, and turned solemnly away." Still undeterred, Shearer risked some of her savings on a consultation with Dr. William Bates, a pioneer in the treatment of strabismus.[15][16][17] He wrote out a series of muscle-strengthening exercises that after many years of daily practice would successfully conceal Shearer's cast for long periods of time on the screen. She spent hours in front of the mirror, exercising her eyes and striking poses that concealed or improved the physical flaws noted by Ziegfeld or Griffith. At night, she sat in the galleries of Broadway theatres, studying the entrances of Ina Claire, Lynn Fontanne, and Katharine Cornell. In desperate need of money, Shearer resorted to some modeling work, which proved successful. On her modeling career, she commented: "I could smile at a cake of laundry soap as if it were dinner at the Ritz. I posed with a strand of imitation pearls. I posed in dust-cap and house dress with a famous mop, for dental paste and for soft drink, holding my mouth in a whistling pose until it all but froze that way." She became the new model for Kelly-Springfield Tires, was bestowed with the title "Miss Lotta Miles" and depicted seated inside the rim of a tire, smiling down at traffic from a large floodlit billboard.[18] Finally, a year after her arrival in New York, she received a break in film: fourth billing in a B-movie titled The Stealers (1920). In January 1923, Shearer received an offer from Louis B. Mayer Pictures, a studio in Northeast Los Angeles that was run by a small-time producer, Louis B. Mayer. Irving Thalberg had moved to Louis B. Mayer Pictures as vice president on February 15, 1923, but had already sent a telegram to Shearer's agent, inviting her to come to the studio. After three years of hardship, she found herself signing a contract. It called for $250 a week for six months, with options for renewal and a test for a leading role in a major film called The Wanters. Hollywood Shearer left New York around February 17.[19] Accompanied by her mother, she felt "dangerously sure of herself"[20] as her train neared Los Angeles. When she was not welcomed, even an hour after her arrival, she realized that there would be no star treatment from her new studio. Dispirited, she allowed Edith to hail a taxi. The next morning, Shearer went to the Mayer Company on Mission Road to meet with Thalberg. Shearer was momentarily thrown by their confused introduction, but soon found herself "impressed by his air of dispassionate strength, his calm self-possession and the almost black, impenetrable eyes set in a pale olive face".[21] Shearer in an early MGM publicity photo Shearer was less impressed, however, with her first screen test: "The custom then was to use flat lighting, to throw a great deal of light from all directions, in order to kill all shadows that might be caused by wrinkles or blemishes. But the strong lights placed on either side of my face made my blue eyes look almost white, and by nearly eliminating my nose, made me seem cross-eyed. The result was hideous."[21] The day after the test had been screened for Mayer and Thalberg, cameraman Ernest Palmer found Shearer frantic and trembling in the hallway. Speaking with her, he was struck by her "fierce, almost raging disappointment", and after viewing the test himself, agreed that she had been "poorly handled". Under Palmer's own supervision, a second test was made and judged a success by the studio brass. The lead in The Wanters seemed hers, until the film's director objected, finding her "unphotogenic". Again, Shearer was to be disappointed, relegated to a minor role. Shearer in A Slave of Fashion (1925) She accepted her next role in Pleasure Mad, knowing "it was well understood that if I didn't deliver in this picture, I was through". After only a few days of shooting, things were not looking good. Shearer was struggling. Finally, the film's director complained to Mayer that he could get nothing out of the young actress, and when summoned to Mayer's office, she fully expected the axe to fall: "But to my surprise, Mr. Mayer's manner was paternal. 'There seems to be a problem,' he said, 'tell me about it.' I told him that the director had shouted at me and frightened me. Nobody had warned me that Mayer was a better actor than any of us, and I was unprepared for what happened next. He staged an alarming outburst, screaming at me, calling me a fool and a coward, accusing me of throwing away my career because I couldn't get on with a director. It worked. I became tearful, but obstinate. 'I'll show you!' I said to him. 'You'll see!' Delighted, Mayer resumed the paternal act. 'That's what I wanted to hear', he said, smiling."[22] Returning to the set, Shearer plunged into an emotional scene. "I took that scene lock, stock, and barrel, fur, fins and feathers",[23] she remembered, earning her the respect of her director and her studio. As a reward, Thalberg cast her in six films in eight months. The apprenticeship served Shearer well. On April 26, 1924, Louis B. Mayer Pictures was merged with Metro Pictures and the Samuel Goldwyn Company to form Metro-Goldwyn-Mayer. Shearer was cast with Lon Chaney and John Gilbert in the studio's first official production, He Who Gets Slapped. The film was a conspicuous success and contributed to the meteoric rise of the new company, and to Shearer's visibility. By late 1925, she was carrying her own films, and was one of MGM's biggest attractions, a bona fide star. She signed a new contract; it paid $1,000 a week and would rise to $5,000 over the next five years. She bought a house for herself and Edith at 2004 Vine Street, which was located under the Hollywoodland sign. Irving and Norma Shearer and Irving Thalberg outside the White House, 1929 Having become a star, Shearer's new challenge was to remain one. Many other talented actresses were at the studio, and she realized she would have to fight hard to stay ahead of the pack. Seeing that sensational newcomer Greta Garbo was one of a kind, she went to Thalberg and "demanded recognition as one of another kind". It was just one of the many visits she paid to his office, always to plead for better material, better parts. Thalberg would listen patiently, then invariably advise her to keep toeing the line, that MGM knew best, and that the movies she complained about had made her a popular actress. Occasionally, Shearer would burst into tears, but this seemed to make "no more impression than rain on a raincoat".[24] Privately, Thalberg was very impressed by Shearer. In a story conference, when her name was suggested to him for the part of a girl threatened with rape, Thalberg shook his head, and, with a wry smile, he said, "She looks too well able to take care of herself."[25] Thalberg's appeal was not primarily sexual. What attracted Shearer was his commanding presence and steely grace, the impression he gave that wherever he sat was always the head of the table. In spite of his youth – he was only 26 – Thalberg became a father figure to the 23-year-old actress. At the end of a working day in July 1925, Shearer received a phone call from Thalberg's secretary, asking if she would like to accompany Thalberg to the premiere of Chaplin's The Gold Rush. That night, they made their first appearance as a couple. A few weeks later, Shearer went to Montreal to visit her father. While there, she had a reunion with an old school friend, who remembered: "At the end of lunch, over coffee, Norma leant in across the table. 'I'm madly in love', she whispered. 'Who with?' I asked. 'With Irving Thalberg', she replied, smiling. I asked how Thalberg felt. 'I hope to marry him', Norma said, and then, with the flash of the assurance I remembered so well, 'I believe I will.'"[26] Over the next two years, both Shearer and Irving saw other people. Louise Brooks remembered: "I held a dinner party sometime in 1926. All the place cards at the dinner table were books. In front of Thalberg's place was Dreiser's Genius, and in front of Norma's place, I put The Difficulty of Getting Married. It was so funny because Irving walked right in and saw Genius, and sat right down, but Norma kept walking around. She wouldn't sit down in front of The Difficulty of Getting Married – no way!"[27] Shearer and Thalberg on their wedding day, 1927 By 1927, Shearer had made a total of 13 silent films for MGM. Each had been produced for under $200,000, and had, without fail, been a substantial box-office hit, often making a $200,000+ profit for the studio.[28] She was rewarded for this consistent success by being cast in Ernst Lubitsch's The Student Prince in Old Heidelberg, her first prestige production, with a budget over $1,000,000. While she was finishing The Student Prince, Shearer received a call summoning her to Thalberg's office. She entered to find Thalberg sitting at his desk before a tray of diamond engagement rings. He granted her the option to choose her own ring; she picked out the biggest. After weeks of rumors, provoked by wearing the ring, it was announced in August 1927 that they were to wed.[29] On September 29, 1927, they were married in the Hollywood wedding of the year. Shearer had two children with Thalberg – Irving Thalberg, Jr. (1930–1987), and Katherine (1935–2006). Before they were married, Shearer converted to Judaism so she could marry Thalberg.[30] Transition to sound One week after the marriage, The Jazz Singer was released. The first feature-length motion picture with sound, it effectively changed the cinematic landscape overnight and signaled the end of the silent motion-picture era. It also spelled the end of many silent careers, and Shearer was determined hers would not be one of them. Her brother, Douglas Shearer, was instrumental in the development of sound at MGM, and every care was taken to prepare her for the microphone. Her first talkie, The Trial of Mary Dugan (1929), turned out to be a tremendous success. Shearer's "medium-pitched, fluent, flexible Canadian accent, not quite American, but not at all foreign",[31] was critically applauded, and thereafter widely imitated by other actresses, nervous about succeeding in talkies. Despite the popularity of her subsequent early talking films, The Last of Mrs. Cheyney and Their Own Desire (both 1929), Shearer feared the public would soon tire of her "good girl" image, and took the advice of friend and co-star Ramón Novarro to visit an unknown photographer named George Hurrell.[32] There, she took a series of sensual portraits that convinced her husband that she could play the lead in MGM's racy new film, The Divorcee (1930). Pre-Code Shearer won an Academy Award for Best Actress for her role in The Divorcee,[33] and a series of highly successful pre-Code films followed, including Let Us Be Gay (1930), Strangers May Kiss (1931), A Free Soul (1931) with Leslie Howard and Clark Gable, Private Lives (1931), and Strange Interlude (1932). All of these were box-office hits, placing Shearer in competition with Joan Crawford, Greta Garbo, and Jean Harlow as MGM's top actress through the remainder of the decade.[34] Shearer's marriage to Thalberg gave her a degree of power in Hollywood that was resented by rivals such as Crawford, who complained that Shearer would always be offered the best roles and best conditions: "How can I compete with Norma when she's sleeping with the boss?"[35] Shearer's pre-Code films included period dramas and theatrical adaptations. Smilin' Through (1932), which co-starred Fredric March, was one of the most successful films of the period.[36] An adaptation of Eugene O'Neill's four-hour experimental Strange Interlude (1932), which also starred Clark Gable, was a disappointing adaptation of O'Neill, but a showcase for Shearer, thus a major hit.[37] The First Lady of MGM Fredric March and Shearer in The Barretts of Wimpole Street (1934) The enforcement of the Production Code in 1934 forced Shearer to drop her celebrated "free soul" image, and move exclusively into period dramas and "prestige" pictures. Of these, The Barretts of Wimpole Street (1934) proved her most successful at the box office, making a profit of $668,000, in part because the film contained elements that slipped by the newly instituted Production Code. In that film, she played a role made famous by Katharine Cornell. Shearer also took on another play popularized by Cornell in Romeo and Juliet (1936) (her first film of the 1930s to lose money), and Marie Antoinette (1938) (a budget of almost $2,500,000 was too great for the studio to expect a profit), though their elaborate sets and costumes helped make the films immensely popular with audiences.[38] Shearer was nominated for an Academy Award for Best Actress on six occasions, winning only for The Divorcee in 1930. She was nominated the same year for Their Own Desire, for A Free Soul in 1931, The Barretts of Wimpole Street in 1934, Romeo and Juliet in 1936, and Marie Antoinette in 1938. Marion Davies later recalled that Shearer came to a party at San Simeon in her Marie Antoinette costume; Davies said she was not about to remove the door so Shearer could enter, so Norma made her grand entrance through wider doors leading from another room. Four chairs were arranged so she could sit at the table in her voluminous skirts. George Cukor, who directed Shearer in Romeo and Juliet, offered this character sketch of the actress: “I found that Norma Shearer, when I made Romeo and Juliet, is a nervous, highly self-critical woman who has schooled herself to give an impression of self-confidence. If one had accepted that impression, one would have gone far astray in working with her. She needed sympathy and reassurance. Another way in which Miss Shearer might mislead a—I am sure she continually misleads herself—is in the matter of physical resources and sheer stamina. She becomes so engrossed in her work, so keyed up with a kind of taut, nervous energy, that she is apt to overtax her strength. She will play a long, exhausting scene over and over again without appearing to lose an atom of her freshness and verve. When it is over she will tell you she feels fine—and believe it. Then she will go to her dressing room and collapse. If one worked her as hard as she seems to want to work, she would be worn out before the film was half finished. With her, the director has to reverse the normal process of inspiring his star to greater efforts. He has to persuade her to spare herself. The greatest joy of working with Miss Shearer comes from her complete lack of vanity. Far from bridling at minor criticisms as many actresses do, she will criticize herself with a penetrating, almost unfeminine, impersonal judgment. When she sees the unedited versions of the previous days footage [“rushes”] she seems to cease to be an actress and to look at her own work on the screen with the shrewd and critical mind of a producer.”[39] Marie Antoinette (1938)]] In 1939, she attempted an unusual role in the dark comedy Idiot's Delight, adapted from the 1936 Robert E. Sherwood play. It was the last of Shearer's three films with Clark Gable, after A Free Soul (1931) and Strange Interlude (1932). The Women (1939) followed, with an entirely female cast of more than 130 speaking roles. Shearer was also one of the many actresses considered for the role of Scarlett O'Hara in Gone With The Wind (1939). However, she expressed no interest, joking, "Scarlett is a thankless role. The one I'd really like to play is Rhett!"[40] Critics praised the suspenseful atmosphere in her next film, Escape (1940), where she played the lover of a Nazi general who helps an American free his mother from a concentration camp. With increasing interest in the war in Europe, the film performed well at the box office, but Shearer passed up roles in highly successful films Now, Voyager and Mrs. Miniver, to star in We Were Dancing and Her Cardboard Lover (1942), which both failed at the box office. In 1942, Shearer unofficially retired from acting. Retirement Lionel Barrymore's 61st birthday in 1939, standing: Mickey Rooney, Robert Montgomery, Clark Gable, Louis B. Mayer, William Powell, Robert Taylor, seated: Norma Shearer, Lionel Barrymore, and Rosalind Russell After Thalberg's unexpected death on September 14, 1936, Shearer retained a lawyer to ensure that Thalberg's percentages of films on which he had worked were still paid to his estate, which was contested by MGM. When she took the story to gossip columnist Louella Parsons, the studio was forced to give in and granted all the profits from MGM movies made and released from 1924 to 1938, meaning the estate eventually received over $1.5 million in percentage payments. Nevertheless, Shearer's contract was renewed for six films at $150,000 each.[41] During this time, she embarked on a brief romance with the younger actor James Stewart,[42] and then with the married actor George Raft.[43] Raft (who had separated from his wife years earlier, soon after they married) stated publicly that he wanted to marry Shearer. However, his wife's refusal to allow a divorce and the disapproval of MGM studio head Louis B. Mayer caused Shearer to end the affair.[44][45] Following her retirement in 1942, she married Martin Arrougé (March 23, 1914 – August 8, 1999),[46] a World War II Navy aviator,[47] a former ski instructor to her children, 11 years her junior.[48] Despite often attending public events in her later life, Shearer gradually withdrew from the Hollywood social scene. In 1960, her secretary stated: "Miss Shearer does not want any publicity. She doesn't talk to anyone. But I can tell you that she has refused many requests to appear in motion pictures and TV shows."[49] Arrougé and Shearer remained married until her death. Death Shearer's crypt in the Great Mausoleum, Forest Lawn Glendale On June 12, 1983, Shearer died of bronchial pneumonia at the Motion Picture Country Home in Woodland Hills, California, where she had been living since 1980.[50] She is entombed in the Great Mausoleum at Forest Lawn Memorial Park in Glendale, California, in a crypt marked Norma Arrouge, along with her first husband, Irving Thalberg. Legacy Shearer's fame declined after her retirement in 1942.[51] She was rediscovered in the late 1950s, when her films were sold to television, and in the 1970s, when her films enjoyed theatrical revivals. By the time of her death in 1983, she was best known for her "noble" roles in Marie Antoinette and The Women. A Shearer revival began in 1988, when Turner Network Television began broadcasting the entire Metro-Goldwyn-Mayer film library. In 1994, Turner Classic Movies began showcasing her films, most of which had not been seen since the reconstitution of the Production Code in 1934. Shearer's work was seen anew, and the critical focus shifted from her "noble" roles to her pre-Code roles. Even for a pampered star, her output in the sound era is strikingly meager. And yet this was part of her undeniable aura – that she did not make movies lightly and frivolously, but with great care, sincerity and conviction. —Andrew Sarris, from "You Ain't Heard Nothin' Yet": The American Talking Film History & Memory, 1927–1949.[52] Shearer's work gained more attention in the 1990s through the publication of a series of books. The first was a biography by Gavin Lambert.[53] Next came Complicated Women: Sex and Power in Pre-Code Hollywood by Mick LaSalle, film critic at the San Francisco Chronicle.[54] Mark A. Vieira published three books on subjects closely related to Shearer: a biography of her husband, producer Irving Thalberg;[55] and two biographies of photographer George Hurrell.[56][57] Shearer was noted not only for the control she exercised over her work, but also for her patronage of Hurrell[58] and Adrian,[59] and for discovering actress Janet Leigh[60] and actor-producer Robert Evans.[61] For her contribution to the motion-picture industry, Shearer has a star on the Hollywood Walk of Fame, at 6636 Hollywood Boulevard.[62][63] On June 30, 2008, Canada Post issued a postage stamp in its "Canadians in Hollywood" series to honour Norma Shearer, along with others for Raymond Burr, Marie Dressler, and Chief Dan George.[64] Shearer and Thalberg are reportedly the models for Stella and Miles, the hosts of the Hollywood party in the short story "Crazy Sunday" (1932) by F. Scott Fitzgerald.[65] Most of Shearer's MGM films are broadcast on Turner Classic Movies, and many of them are also available on DVD from Warner Home Video. In 2008, she was inducted into Canada's Walk of Fame. In 2015, a number of Shearer films became available in high-definition format, authored by Warner Home Video, in most cases, from the nitrate camera negatives: A Free Soul, Romeo and Juliet, Marie Antoinette, and The Women.[66] Shearer is portrayed in director David Fincher’s film Mank by actress Jessie Cohen. Awards and nominations Shearer was the first person to receive five Academy Award nominations for acting.[7] Her brother Douglas Shearer and she are the first Oscar-winning siblings.[67] Year Award Film Result 1930 Academy Award for Best Actress Their Own Desire Nominated The Divorcee Won 1931 A Free Soul Nominated 1934 The Barretts of Wimpole Street Nominated 1936 Romeo and Juliet Nominated 1936 New York Film Critics Circle Award for Best Actress (3rd) Nominated 1938 Academy Award for Best Actress Marie Antoinette Nominated 1938 Venice Film Festival – Volpi Cup for Best Actress Won Filmography ******* Tyrone Edmund Power III[2][3] (May 5, 1914 – November 15, 1958) was an American actor. From the 1930s to the 1950s, Power appeared in dozens of films, often in swashbuckler roles or romantic leads. His better-known films include Jesse James, The Mark of Zorro, Marie Antoinette, Blood and Sand, The Black Swan, Prince of Foxes, Witness for the Prosecution, The Black Rose, and Captain from Castile. Power's own favorite film among those in which he starred was Nightmare Alley.[4] Though largely a matinee idol in the 1930s and early 1940s and known for his striking good looks, Power starred in films in a number of genres, from drama to light comedy. In the 1950s he began placing limits on the number of films he would make in order to devote more time to theater productions. He received his biggest accolades as a stage actor in John Brown's Body and Mister Roberts. Power died from a heart attack at the age of 44.[5][6] Family background and early life Power was born in Cincinnati, Ohio, in 1914, the son of Helen Emma "Patia" (née Reaume) and the English-born American stage and screen actor Tyrone Power Sr., often known by his first name "Fred". Power was descended from a long Irish theatrical line going back to his great-grandfather, the Irish actor and comedian Tyrone Power (1797–1841). Tyrone Power's sister, Ann Power,[7] was born in 1915, after the family moved to California. His mother was Roman Catholic, and her ancestry included the French-Canadian Reaume family and French from Alsace-Lorraine.[8][9][10] Through his paternal great-grandmother, Anne Gilbert, Power was related to the actor Laurence Olivier; through his paternal grandmother, stage actress Ethel Lavenu, he was related by marriage to author Evelyn Waugh; and through his father's first cousin, Norah Emily Gorman Power, he was related to the theatrical director Sir (William) Tyrone Guthrie, the first Director of the Stratford Festival in Canada; and the Guthrie Theater in Minneapolis, Minnesota.[11] Power went to Cincinnati-area Catholic schools and graduated from Purcell High School in 1931. Upon his graduation, he opted to join his father to learn what he could about acting from one of the stage's most respected actors. Early career 1930s Madeleine Carroll with Power in his first leading role, Lloyd's of London (1936) Power joined his father for the summer of 1931, after being separated from him for some years due to his parents' divorce. His father suffered a heart attack in December 1931, dying in his son's arms, while preparing to perform in The Miracle Man. Tyrone Power Jr., as he was then known, decided to continue pursuing an acting career. He tried to find work as an actor, and, while many contacts knew his father well, they offered praise for his father but no work for his son. He appeared in a bit part in 1932 in Tom Brown of Culver, a movie starring actor Tom Brown. Power's experience in that movie did not open any other doors, however, and, except for what amounted to little more than a job as an extra in Flirtation Walk, he found himself frozen out of the movies but making some appearances in community theater. Discouraged, he took the advice of a friend, Arthur Caesar, to go to New York to gain experience as a stage actor. Among the Broadway plays in which he was cast are Flowers of the Forest, Saint Joan, and Romeo and Juliet. Power went to Hollywood in 1936. The director Henry King was impressed with his looks and poise, and he insisted that Power be tested for the lead role in Lloyd's of London, a role thought already to belong to Don Ameche. Despite his own reservations, Darryl F. Zanuck decided to give Power the role, once King and Fox film editor Barbara McLean convinced him that Power had a greater screen presence than Ameche. Power was billed fourth in the movie but he had by far the most screen time of any member of the cast. He walked into the premiere of the movie an unknown and he walked out a star, which he remained the rest of his career. Trailer for Marie Antoinette (1938) Power racked up hit after hit from 1936 until 1943, when his career was interrupted by military service. In these years he starred in romantic comedies such as Thin Ice and Day-Time Wife, in dramas such as Suez, Blood and Sand, Son of Fury: The Story of Benjamin Blake, The Rains Came and In Old Chicago; in musicals Alexander's Ragtime Band, Second Fiddle, and Rose of Washington Square; in the westerns Jesse James (1939) and Brigham Young; in the war films A Yank in the R.A.F. and This Above All; and the swashbucklers The Mark of Zorro and The Black Swan. Jesse James was a very big hit at the box office, but it did receive some criticism for fictionalizing and glamorizing the famous outlaw. The movie was shot in and around Pineville, Missouri, and was Power's first location shoot and his first Technicolor movie. (Before his career was over, he had filmed a total of 16 movies in color, including the movie he was filming when he died.) He was loaned out once, to MGM for Marie Antoinette (1938). Darryl F. Zanuck was angry that MGM used Fox's biggest star in what was, despite billing, a supporting role, and he vowed to never again loan him out, though Power's services were requested for the roles of Ashley Wilkes in Gone with the Wind, Joe Bonaparte in Golden Boy,[12] and Parris in Kings Row; roles in several films produced by Harry Cohn;[13] and the role of Monroe Stahr in a planned production by Norma Shearer of The Last Tycoon.[14] Power was named the second biggest box-office draw in 1939, surpassed only by Mickey Rooney.[15] His box office numbers are some of the best of all time.[16] 1940–1943 Lobby card, 1940 Power and Basil Rathbone in their duelling scene from The Mark of Zorro (1940) (note: the movie was shot in black and white; this is the colorized version) In 1940, the direction of Power's career took a dramatic turn when his movie The Mark of Zorro was released. Power played the role of Don Diego Vega/Zorro, a fop by day, a bandit hero by night. The role had been performed by Douglas Fairbanks in the 1920 movie of the same title. The film was a hit, and 20th Century-Fox often cast Power in other swashbucklers in the years that followed. Power was a talented swordsman in real life, and the dueling scene in The Mark of Zorro is highly regarded. The great Hollywood swordsman, Basil Rathbone, who starred with him in The Mark of Zorro, commented, "Power was the most agile man with a sword I've ever faced before a camera. Tyrone could have fenced Errol Flynn into a cocked hat."[17] Power's career was interrupted in 1943 by military service. He reported to the United States Marine Corps for training in late 1942, but was sent back, at the request of 20th Century-Fox, to complete one more film, Crash Dive, a patriotic war movie released in 1943. He was credited in the movie as Tyrone Power, U.S.M.C.R., and the movie served as a recruiting film. Military service In August 1942, Power enlisted in the United States Marine Corps. He attended boot camp at Marine Corps Recruit Depot San Diego, then Officer's Candidate School at Marine Corps Base Quantico, where he was commissioned a second lieutenant on June 2, 1943. As he had already logged 180 solo hours as a pilot before enlisting, he was able to do a short, intense flight training program at Naval Air Station Corpus Christi, Texas. The pass earned him his wings and a promotion to first lieutenant. The Marine Corps considered Power over the age limit for active combat flying, so he volunteered for piloting cargo planes that he felt would get him into active combat zones.[18] In July 1944, Power was assigned to Marine Transport Squadron (VMR)-352 as a R5C (Navy version of Army Curtiss Commando C-46) transport co-pilot at Marine Corps Air Station Cherry Point, North Carolina. The squadron moved to Marine Corps Air Station El Centro in California in December 1944. Power was later reassigned to VMR-353, joining them on Kwajalein Atoll in the Marshall Islands in February 1945. From there, he flew missions carrying cargo in and wounded Marines out during the Battles of Iwo Jima (Feb-Mar 1945) and Okinawa (Apr-Jun 1945). For his services in the Pacific War, Power was awarded the American Campaign Medal, the Asiatic-Pacific Campaign Medal with two bronze stars, and the World War II Victory Medal.[19] Power returned to the United States in November 1945 and was released from active duty in January 1946. He was promoted to the rank of captain in the reserves on May 8, 1951.[20] He remained in the reserves the rest of his life and reached the rank of major in 1957.[21] In the June 2001 Marine Air Transporter newsletter, Jerry Taylor, a retired Marine Corps flight instructor, recalled training Power as a Marine pilot, saying, "He was an excellent student, never forgot a procedure I showed him or anything I told him." Others who served with him have also commented on how well Power was respected by those with whom he served.[22] Following the war, 20th Century-Fox provided Power with a surplus DC-3 that he named The Geek [23] that he frequently piloted.[24] When Power died suddenly at age 44, he was buried with full military honors.[21] Post-war career Late 1940s Frame from trailer for The Black Swan (1942) Gene Tierney and Power in The Razor's Edge (1946) Other than re-releases of his films, Power was not seen on screen again after his entry into the Marines until 1946, when he co-starred with Gene Tierney, John Payne and Anne Baxter in The Razor's Edge, an adaptation of W. Somerset Maugham's novel of the same title. Next up for release was a movie that Power had to fight hard to make, the film noir Nightmare Alley (1947). Darryl F. Zanuck was reluctant for Power to make the movie because his handsome appearance and charming manner had been marketable assets for the studio for many years. Zanuck feared that the dark role might damage Power's image. Zanuck eventually agreed, giving Power A-list production values for what normally would be a B film. The movie was directed by Edmund Goulding, and though it was a failure at the box-office, it was one of Power's favorite roles for which he received some of the best reviews of his career. However, Zanuck continued to disapprove of his "darling boy" being seen in such a film with a downward spiral. So, he did not publicize it and removed it from release after only a few weeks insisting that it was a flop. The film was released on DVD in 2005 after years of legal issues. Zanuck quickly released another costume-clad movie, Captain from Castile (also 1947), directed by Henry King, who directed Power in eleven movies. After making a couple of light romantic comedies reuniting him with two actresses under contract to 20th Century-Fox, That Wonderful Urge with Gene Tierney and The Luck of the Irish (both 1948) with Anne Baxter. After these films, Power once again found himself in two swashbucklers, Prince of Foxes (1949) and The Black Rose (1950). 1950s Power was becoming increasingly dissatisfied with his costume roles, and he struggled between being a star and becoming a great actor. He was forced to take on assignments he found unappealing, such movies as American Guerrilla in the Philippines (1950) and Pony Soldier (1952). In 1950, he traveled to England to play the title role in Mister Roberts on stage at the London Coliseum, bringing in sellout crowds for twenty-three weeks. Protesting being cast in one costume film after another, Power refused to star in Lydia Bailey with his role going to Dale Robertson; Power was placed under suspension.[25] Power next appeared in Diplomatic Courier (1952), a cold war spy drama directed by Henry Hathaway which received very modest reviews. It took its place among several other American spy movies, released previously, with similar material. Power's movies had been highly profitable for Fox in the past, and as an enticement to renew his contract a third time, Fox offered him the lead role in The Robe (1953). He turned it down (Richard Burton was cast instead) and on 1 November 1952, he left on a ten-week national tour with John Brown's Body, a three-person dramatic reading of Stephen Vincent Benét's narrative poem, adapted and directed by Charles Laughton, featuring Power, Judith Anderson and Raymond Massey. The tour culminated in a run of 65 shows between February and April 1953 at the New Century Theatre on Broadway. A second national tour with the show began in October 1953, this time for four months, and with Raymond Massey and Anne Baxter. In the same year, Power filmed King of The Khyber Rifles, a depiction of India in 1857, with Terry Moore and Michael Rennie. Fox now gave Power permission to seek his own roles outside the studio, on the understanding that he would fulfill his fourteen-film commitment to them in between his other projects. He made The Mississippi Gambler (1953) for Universal-International, negotiating a deal entitling him to a percentage of the profits. He earned a million dollars from the movie. Also in 1953, actress and producer Katharine Cornell cast Power as her love interest in the play The Dark is Light Enough, a verse drama by British dramatist Christopher Fry set in Austria in 1848. Between November 1954 and April 1955, Power toured the United States and Canada in the role, ending with 12 weeks at the ANTA Theater, New York, and two weeks at the Colonial Theater, Boston. His performance in Julian Claman's A Quiet Place, staged at the National Theater, Washington, at the end of 1955 was warmly received by the critics. Power as the accused murderer in the 1957 adaptation of Agatha Christie's Witness for the Prosecution Untamed (1955) was Tyrone Power's last movie made under his contract with 20th Century-Fox. The same year saw the release of The Long Gray Line, a John Ford film for Columbia Pictures. In 1956, the year Columbia released The Eddy Duchin Story, another great success for the star, he returned to England to play the rake Dick Dudgeon in a revival of Shaw's The Devil's Disciple for one week at the Opera House in Manchester, and nineteen weeks at the Winter Garden, London. Darryl F. Zanuck, persuaded him to play the lead role in The Sun Also Rises (1957), adapted from the Hemingway novel, with Ava Gardner and Errol Flynn. This was his final film with Fox. Released that same year were Seven Waves Away (US: Abandon Ship!), shot in Great Britain, and John Ford's Rising of the Moon (narrator only), which was filmed in Ireland, both for Copa Productions. For Power's last completed film role he was cast against type as the accused murderer Leonard Vole in the first film version of Agatha Christie's Witness for the Prosecution (1957), directed by Billy Wilder. The film was a critically well-received box-office success. Writing for the National Post in 2002, Robert Fulford commented on Power's "superb performance" as "the seedy, stop-at-nothing exploiter of women".[26] Power returned to the stage in March 1958, to play the lead in Arnold Moss's adaptation of Shaw's 1921 play, Back to Methuselah. Personal life This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (March 2010) (Learn how and when to remove this template message) Portrait of Power by photographer Yousuf Karsh, 1946 Power was one of Hollywood's most eligible bachelors until he married French actress Annabella (born Suzanne Georgette Charpentier) on July 14, 1939. Power and Annabella met on the 20th Century-Fox lot around the time they starred together in the movie Suez. Previously, he had involvements with Sonja Henie,[27] Claire Trevor,[28] Joan Woodbury,[29] and Evie Abbott.[30] In a A&E biography, Annabella said that Zanuck "could not stop Tyrone's love for me, or my love for Tyrone." To move her out of Tyrone’s life, Zanuck offered Annabella films in Europe. She refused to leave. At this point, he blacklisted her.[31] J. Watson Webb, close friend and an editor at 20th Century-Fox, maintained in the A&E Biography that one of the reasons the marriage fell apart was Annabella's inability to give Power a son, yet, Webb said, there was no bitterness between the couple. In a March 1947 issue of Photoplay, Power was interviewed and said that he wanted a home and children, especially a son to carry on his acting legacy. Annabella shed some light on the situation in an interview published in Movieland magazine in 1948. She said, "Our troubles began because the war started earlier for me, a French-born woman, than it did for Americans." She explained that the war clouds over Europe made her unhappy and irritable, and to get her mind off her troubles, she began accepting stage work, which often took her away from home. “It is always difficult to put one's finger exactly on the place and time where a marriage starts to break up", she said "but I think it began then. We were terribly sad about it, both of us, but we knew we were drifting apart. I didn't think then—and I don't think now—that it was his fault, or mine.” The couple tried to make their marriage work when Power returned from military service, but they were unable to do so. However, Power adopted Annabella's daughter, Anne, before he left for the service.[32] Power with Annabella, 1946. They were married in 1939 and divorced in 1948. Following his separation from Annabella, Power entered into a love affair with Lana Turner that lasted for a couple of years. In her 1982 autobiography, Turner claimed that she became pregnant with Power's child in 1948, but chose to have an abortion.[33] In 1946, Power and friend Cesar Romero, accompanied by former test pilot and fellow war veteran John Jefferies as navigator, embarked on a goodwill tour throughout South America where they met, among others, Juan and Evita Perón in Argentina.[34][35][36] On September 1, 1947, Power set out on another goodwill trip around the world, piloting his own plane, "The Geek".[37] He flew with Bob Buck, another experienced pilot and war veteran. Buck stated in his autobiography[38] that Power had a photographic mind, was an excellent pilot, and genuinely liked people.” They flew with a crew to various locations in Europe and South Africa, often mobbed by fans when they hit the ground. In 1948, when "The Geek" reached Rome, Power met and fell in love with Mexican actress Linda Christian. Turner claimed that the story of her dining out with Power's friend Frank Sinatra was leaked to Power and that Power became very upset that she was "dating" another man in his absence. Turner also claimed that it could not have been a coincidence that Linda Christian was at the same hotel as Tyrone Power and implied that Christian had obtained Power's itinerary from 20th Century-Fox.[33] Power and Christian were married in Rome on January 27, 1949, in the Church of Santa Francesca Romana, with an estimated 8,000 to 10,000 screaming fans outside. Christian miscarried three times before giving birth to a baby girl, Romina Francesca Power, on October 2, 1951. A second daughter, Taryn Stephanie Power, was born on September 13, 1953. Around the time of Taryn's birth, the marriage was becoming rocky. In her autobiography, Christian blamed the breakup of her marriage on her husband's extramarital affairs, including a long involvement with Anita Ekberg,[39] but she acknowledged that she had an affair with Edmund Purdom, which created great tension between Christian and her husband. They divorced in 1955.[40][13] After his divorce from Christian, Power had a long-lasting love affair with Mai Zetterling, whom he had met on the set of Abandon Ship!.[41] The two lived together, though Power vowed that he would never marry again, because he had been twice burned financially by his previous marriages. He also entered into an affair with a Vogue editor, Mary Roblee,[42] and British actress Thelma Ruby.[43] In 1957, he met the former Deborah Jean Smith (sometimes incorrectly referred to as Deborah Ann Montgomery), who went by her former married name, Debbie Minardos.[44] They were married on May 7, 1958, and she became pregnant soon after with Tyrone Power Jr., the son he had always wanted.[45] Death This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. Find sources: "Tyrone Power" – news · newspapers · books · scholar · JSTOR (January 2022) (Learn how and when to remove this template message) In September 1958, Power and his wife Deborah traveled to Madrid and Valdespartera, Spain, to film the epic Solomon and Sheba, directed by King Vidor and costarring Gina Lollobrigida. Probably affected by hereditary heart disease, and a chain smoker who smoked three to four packs a day,[46] Power had filmed about 75% of his scenes when he was stricken by a massive heart attack while filming a dueling scene with his frequent costar and friend George Sanders. A doctor diagnosed the cause of Power's death as "fulminant angina pectoris".[47] Power died while being transported to the hospital in Madrid on November 15, 1958, at the age of 44.[5][6] Grave of Tyrone Power at Hollywood Forever Power was interred at Hollywood Forever Cemetery (then known as Hollywood Cemetery) in a military service on November 21.[48] Henry King flew over the service; almost 20 years before, Power had flown in King's plane to the set of Jesse James in Missouri, Power's first experience with flying. Aviation became an important part of Power's life, both in the U.S. Marines and as a civilian. In the foreword to Dennis Belafonte's The Films of Tyrone Power, King wrote: "Knowing his love for flying and feeling that I had started it, I flew over his funeral procession and memorial park during his burial, and felt that he was with me."[49] Power was interred beside a small lake. His grave is marked with a gravestone in the form of a marble bench containing the masks of comedy and tragedy with the inscription "Good night, sweet prince." At Power's grave, Laurence Olivier read the poem "High Flight".[50] Power's will, filed on December 8, 1958, contained a then-unusual provision that his eyes be donated to the Estelle Doheny Eye Foundation for corneal transplantation or retinal study.[citation needed] Deborah Power gave birth to a son on January 22, 1959, two months after her husband's death.[citation needed] She remarried within the year to producer Arthur Loew Jr.[citation needed] Honors For Power's contribution to motion pictures, he was honored in 1960 with a star on the Hollywood Walk of Fame that can be found at 6747 Hollywood Blvd. On the 50th anniversary of his death, Power was honored by American Cinematheque with a weekend of films and remembrances by co-stars and family as well as a memorabilia display at the Egyptian Theatre in Los Angeles from November 14–16, 2008.[51] Also on display were the two known surviving panels from a large painted glass mural which Power and his wife had commissioned for their home, celebrating highlights of their lives and special moments in Power's career,[52] The December 2, 1952, issue of Look Magazine had also featured this mural in a four-page spread titled "The Tyrone Powers Pose For Their Portraits".[53] Power is shown on the cover of The Beatles' album Sgt. Pepper's Lonely Hearts Club Band in the third row. In 2018, Power was ranked the 21st-most-popular male film star in history.[54] ******* .   ebay6304/217