0:00:16 > 0:00:19Handsome heroes, gorgeous heroines.
0:00:19 > 0:00:21Since the very beginning,
0:00:21 > 0:00:24cinema has had its sex symbols.
0:00:24 > 0:00:29They are the stars that have set the audiences' pulses racing fastest,
0:00:29 > 0:00:33the men and women who the camera just seemed to love that little bit
0:00:33 > 0:00:35more than most.
0:00:36 > 0:00:40In this programme, we will be hearing from some of the pin-ups
0:00:40 > 0:00:44and bombshells who found themselves labelled sex symbols,
0:00:44 > 0:00:47and finding out what it meant to them.
0:00:47 > 0:00:53We start our good-looking line-up with one of Hollywood's greats,
0:00:53 > 0:00:56Gary Cooper. A man whose rugged elegance and style
0:00:56 > 0:01:00made him one of the major heart-throbs of his time.
0:01:02 > 0:01:03When I was a schoolgirl,
0:01:03 > 0:01:08Mr Cooper, your picture was always pinned up inside my desk.
0:01:08 > 0:01:09Thank you.
0:01:09 > 0:01:12Now, if I was a schoolgirl today, would you still expect me
0:01:12 > 0:01:17still to write for your picture and your autograph, or do you regard the
0:01:17 > 0:01:22majority of your feminine fans as belonging to the older age groups?
0:01:23 > 0:01:25Well, um, I don't know.
0:01:25 > 0:01:28The motion picture business is a very satisfying business
0:01:28 > 0:01:32in many ways, and one of them which, may pertain to your question,
0:01:32 > 0:01:35it does happen once in a while, um, very young girls, children,
0:01:35 > 0:01:40and speaking now of you... you being a girl.
0:01:40 > 0:01:43Young girls still come up to you in the street, do they?
0:01:43 > 0:01:45They come up to me and say, "I'd like your autograph".
0:01:45 > 0:01:48And "I like your picture, so and so, and so on."
0:01:48 > 0:01:50And they also sometimes say, "And my mother likes you very much."
0:01:50 > 0:01:52And they also say sometimes,
0:01:52 > 0:01:54"My grandmother likes you very much(!)
0:01:54 > 0:01:55"She saw your first picture."
0:01:55 > 0:02:00Now, you and Mr Clark Gable, who is also in London at the moment,
0:02:00 > 0:02:01he arrived today.
0:02:01 > 0:02:02I didn't know that.
0:02:02 > 0:02:04You're both the same age, 58.
0:02:04 > 0:02:06Well, he's older than I am!
0:02:06 > 0:02:09- LAUGHTER - A few months. Perhaps.
0:02:09 > 0:02:12- He's three or four months older than me.- Does it show?
0:02:13 > 0:02:15No, I think he looks in better shape than me.
0:02:15 > 0:02:18Well, the two of you must be two of the longest lasting
0:02:18 > 0:02:21heart-throbs on screen.
0:02:21 > 0:02:25And I wondered if you could explain to me what the attraction is,
0:02:25 > 0:02:27that you think you both have
0:02:27 > 0:02:30that gives you this perpetual appeal to women?
0:02:33 > 0:02:38Well, I... it's nice of you to ask me that question because
0:02:38 > 0:02:40the idea must be going through your mind,
0:02:40 > 0:02:42but I really don't know that that's true.
0:02:42 > 0:02:45I think, perhaps, it is with Gable.
0:02:45 > 0:02:49I think Mr Gable has always been a sort of a heart-throb fellow.
0:02:49 > 0:02:52I started out in pictures fully intending to become a heavy.
0:02:52 > 0:02:57After I found I could get a job in pictures. That's the fellow
0:02:57 > 0:03:01who really does all the dirty work and is the nasty person.
0:03:01 > 0:03:04- Anyway...- You never got around to playing it, though?
0:03:04 > 0:03:07Well, I did, when I first started out I played a few heavies because
0:03:07 > 0:03:12they involved fights and that was money in the pocket in those days.
0:03:13 > 0:03:17For good fight scenes and stunts we made extra dough.
0:03:17 > 0:03:25But, I don't think I have ever been a heart-throb type on screen.
0:03:25 > 0:03:29I think, um, this has been asked me
0:03:29 > 0:03:34so many times, and I've just sort of concluded that the only reason
0:03:34 > 0:03:38I got along in pictures was because I'm an average looking fellow.
0:03:41 > 0:03:45And I've been mistaken for, coming in a strange town,
0:03:45 > 0:03:50as the fellow somebody knew back in Podunk or any other town.
0:03:50 > 0:03:52I look like the average guy next door...
0:03:52 > 0:03:54If some of the average men looked like you, I must say(!)
0:03:54 > 0:03:55No, I really mean that.
0:03:55 > 0:03:59I think I look like the fellow next door or round the block, and stuff.
0:03:59 > 0:04:03You know, there's nothing spectacular about it.
0:04:06 > 0:04:10Gary Cooper ranked among the biggest male stars of the 1940s.
0:04:10 > 0:04:15One of the biggest female stars was Jane Russell,
0:04:15 > 0:04:20thanks to the most controversial film of the period, The Outlaw,
0:04:20 > 0:04:22directed by Howard Hughes.
0:04:23 > 0:04:26The film was shot in 1941.
0:04:26 > 0:04:29But censors found Russell's performance
0:04:29 > 0:04:33so overtly sexual that it took two years of arguing before
0:04:33 > 0:04:37they finally agreed the American public was ready to see it.
0:04:39 > 0:04:42They called her the queen of the motionless pictures,
0:04:42 > 0:04:45all because of a movie that nobody had seen.
0:04:45 > 0:04:46This movie.
0:04:49 > 0:04:52What are you waiting for? Go ahead.
0:04:52 > 0:04:55Say, that sounds real nice.
0:04:55 > 0:04:57I like to hear you ask for it.
0:04:57 > 0:04:58Keep it up.
0:04:58 > 0:04:59Beg some more.
0:05:08 > 0:05:10What would you like me to say?
0:05:11 > 0:05:13Well, you might say "Please", very sweetly.
0:05:15 > 0:05:16Please.
0:05:21 > 0:05:23Will you keep your eyes open?
0:05:23 > 0:05:25Yes.
0:05:25 > 0:05:27When you look right at me while I do it?
0:05:27 > 0:05:30AUDIENCE LAUGH NERVOUSLY
0:05:37 > 0:05:40AUDIENCE LAUGHTER AND APPLAUSE
0:05:40 > 0:05:41The movie was The Outlaw,
0:05:41 > 0:05:44the lady went on to become one of Hollywood's biggest and most
0:05:44 > 0:05:47glamorous stars, we are delighted to welcome her, Jane Russell.
0:05:47 > 0:05:48APPLAUSE
0:06:02 > 0:06:06- And looking marvellous, looking wonderfully glamorous.- Thank you.
0:06:06 > 0:06:08I saw, somewhere in the paper over the weekend,
0:06:08 > 0:06:12that you're sick to death of talking about that film, The Outlaw.
0:06:12 > 0:06:14Certainly am!
0:06:14 > 0:06:17Lord, let's see, 45 years or some horrible thing,
0:06:17 > 0:06:19wouldn't you be sick of it?
0:06:19 > 0:06:21Yes. But, of course, it was the beginning, wasn't it?
0:06:21 > 0:06:24And, indeed, in your book, there is a still, really, from The Outlaw,
0:06:24 > 0:06:26isn't there as well? So you...
0:06:26 > 0:06:29Well, my publisher got around me, you see.
0:06:29 > 0:06:31Yes. Would you like to forget all about it now?
0:06:31 > 0:06:32Yeah!
0:06:33 > 0:06:36And Howard Hughes, and all that kind of thing?
0:06:36 > 0:06:38Oh, no, I don't want to forget Howard Hughes.
0:06:38 > 0:06:41- Yeah, but you're asked about him quite a lot, aren't you?- Yes.
0:06:41 > 0:06:43What kind of... can we take you back there?
0:06:43 > 0:06:44Because it is interesting for us.
0:06:44 > 0:06:48What kind of a furore at the time did Outlaw create?
0:06:48 > 0:06:52Were you part of it? Or were you divorced from it?
0:06:52 > 0:06:55No, I was pretty much divorced from it.
0:06:55 > 0:06:58But, it was all going around, and then it would filter back to me.
0:06:58 > 0:07:00Yeah.
0:07:00 > 0:07:02And they told me that I was... we were being preached about
0:07:02 > 0:07:05out of the pulpits, and people were being thrown out
0:07:05 > 0:07:07of the Catholic Church if they went to it, you know.
0:07:07 > 0:07:11Yeah. Excommunicated for watching the movie.
0:07:11 > 0:07:15But it was... it was... I think it's a very tame movie, myself.
0:07:15 > 0:07:18Well, in retrospect, looking back with the standards of today,
0:07:18 > 0:07:21it is, isn't it? Did it bring you instant fame?
0:07:21 > 0:07:24It brought you instant fame, did it bring you instant riches?
0:07:24 > 0:07:26Ah, yeah(!) 50 a week, I was making.
0:07:26 > 0:07:28LAUGHTER
0:07:28 > 0:07:31- As much as that(!)- That's all. That's it.
0:07:31 > 0:07:34That was for about two or three years, before they actually released
0:07:34 > 0:07:35- the movie, wasn't it?- Yeah.
0:07:35 > 0:07:37And what did you do during that time?
0:07:37 > 0:07:40Did you feel that you had been used by the publicity machine?
0:07:40 > 0:07:44I was just doing publicity from, you know, 9 o'clock, we'd go out
0:07:44 > 0:07:48and work until the light turned yellow which is about five o'clock.
0:07:48 > 0:07:50I did that five days a week.
0:07:50 > 0:07:53Rather like you're doing, promoting your book at the moment.
0:07:53 > 0:07:55Yeah, well, I had been a model before, Terry,
0:07:55 > 0:08:00so I just went on modelling, as far as I was concerned.
0:08:00 > 0:08:02Now, what about the great day when the premiere came,
0:08:02 > 0:08:04was that a great relief for you?
0:08:04 > 0:08:07Had you almost forgotten you made the movie by then?
0:08:07 > 0:08:10Well, as a matter of fact, we'd never seen it.
0:08:10 > 0:08:13And Jack and I got on the stage with the comedian,
0:08:13 > 0:08:16we were the straight men, and he was the comedian in the middle, and,
0:08:16 > 0:08:22er, we had to sneak out and go up in the balcony and sit on the steps
0:08:22 > 0:08:26because we couldn't find a seat to see the movie for the first time.
0:08:26 > 0:08:30- After all that time.- We thought it was very slow and boring!
0:08:30 > 0:08:32LAUGHTER
0:08:32 > 0:08:34What about the various heart-throbs that you worked with,
0:08:34 > 0:08:38did you ever feel nervous about working with people like Mitchum?
0:08:38 > 0:08:40- Oh, I just fell in love with all of them!- Did you?
0:08:40 > 0:08:41Yeah!
0:08:41 > 0:08:44Did you ever tell them that you'd fall in love with them?
0:08:44 > 0:08:45Oh, they knew!
0:08:45 > 0:08:46LAUGHTER
0:08:46 > 0:08:47It was mutual!
0:08:47 > 0:08:49LAUGHTER
0:08:49 > 0:08:51That was my next question. Whether it was reciprocated?
0:08:51 > 0:08:55In those days of Hollywood, was it fairly free and easy,
0:08:55 > 0:08:58that life that the stars led?
0:08:59 > 0:09:01Were they under the producers' thumbs
0:09:01 > 0:09:04as far as their behaviour was concerned?
0:09:04 > 0:09:07Oh, well, the producers tried.
0:09:07 > 0:09:09But, goodness, you've heard about Errol Flynn, haven't you?
0:09:09 > 0:09:12Poor Jack Warner almost tore all his hair out, you know.
0:09:15 > 0:09:17It was a very family kind of affair.
0:09:19 > 0:09:24It was, um, that was your home lot, and you knew everybody there.
0:09:24 > 0:09:28There was...there were the bad boys, the kids that got out of line,
0:09:28 > 0:09:31and they'd get hauled back and their wrists slapped.
0:09:31 > 0:09:34- Were you a good girl, or a bad girl? - No, I was pretty good.
0:09:34 > 0:09:35- LAUGHTER - Yeah.
0:09:37 > 0:09:41Ten years after the release of The Outlaw came one of cinema's
0:09:41 > 0:09:47all-time great love scenes, in 1953's From Here To Eternity.
0:09:47 > 0:09:51Shocking at the time, the famous passionate
0:09:51 > 0:09:55encounter on the beach featured Burt Lancaster and Deborah Kerr,
0:09:56 > 0:09:59usually known for playing an English rose,
0:09:59 > 0:10:02and here cast very much against type.
0:10:05 > 0:10:06What sort of intrigues me,
0:10:06 > 0:10:09is how you got the part in From Here To Eternity, if you're
0:10:09 > 0:10:12looking round for someone to play the part you played in that...
0:10:12 > 0:10:15- You wouldn't have thought of me. - ..the sort of sex starved woman.
0:10:15 > 0:10:18You wouldn't have thought of you. So, how did you get it?
0:10:18 > 0:10:21Well, it, I, er... that too was sort of, rather,
0:10:21 > 0:10:23not too long story, don't get worried!
0:10:23 > 0:10:26I'm not worried at all! I've got all night.
0:10:26 > 0:10:28Oh, good. Well, they...
0:10:28 > 0:10:30LAUGHTER
0:10:30 > 0:10:31I like the way you said that.
0:10:31 > 0:10:35Yeah, I thought it was a pretty good reading(!)
0:10:35 > 0:10:38- No, I...- You were going to tell me about From Here To Eternity?
0:10:38 > 0:10:41I'd done all these movies that were, as you say, a little ladylike,
0:10:41 > 0:10:44and I thought, "Oh, I've got to find something..."
0:10:44 > 0:10:48And I had just, at the time, I'd changed agents, and I went
0:10:48 > 0:10:52to a very marvellous man, who is dead now, called Bert Allenberg.
0:10:52 > 0:10:54And within, I mean, two weeks of my being
0:10:54 > 0:10:58what's known as under his banner, he called me up one day
0:10:58 > 0:11:01and he said, "You know they are going to make From Here To
0:11:01 > 0:11:04"Eternity at Columbia?" and I said, "Yes.2
0:11:04 > 0:11:05He said, 'Have you read it?'
0:11:05 > 0:11:07So I said, "Of course", so he said,
0:11:07 > 0:11:09"How about playing the part of Karen?"
0:11:09 > 0:11:10and I said, "Oh, come on,
0:11:10 > 0:11:13"they're never going to think of me for that."
0:11:13 > 0:11:15And he said, "Well, I can try."
0:11:15 > 0:11:17So, I waited all day
0:11:17 > 0:11:20for him to phone me in the evening because he'd gone to see
0:11:20 > 0:11:24Harry Cohn, this frightening monster of Colombia.
0:11:24 > 0:11:27And, er, the phone rang in the evening,
0:11:27 > 0:11:31I picked it up and it was Bert, and he said... I said, "Well, what?"
0:11:31 > 0:11:34And he said, "You're right, they kicked me out of the office."
0:11:34 > 0:11:36I said, "I told you not to go in there and make a fool of me",
0:11:36 > 0:11:38da, da, da, da... you see.
0:11:38 > 0:11:40But he was a very clever man, all he did was go in there,
0:11:40 > 0:11:43make the suggestion and leave.
0:11:43 > 0:11:46And Harry Cohn screamed, "You've got to be crazy, blah, blah,
0:11:46 > 0:11:47"blah", you know.
0:11:47 > 0:11:53The germ had been sown in his mind, and the next day, it worked.
0:11:53 > 0:11:55He called in his producer,
0:11:55 > 0:11:59he called in Fred Zinnemann, who was the director, and said,
0:11:59 > 0:12:02"That crazy Allenberg has got a suggestion for who to play Karen,
0:12:02 > 0:12:04"Deborah Kerr."
0:12:04 > 0:12:06And they both kind of went, like that, and said,
0:12:06 > 0:12:08"Well, of course."
0:12:08 > 0:12:10- And that's literally how that happened.- Amazing.
0:12:10 > 0:12:13And there is one sequence in that film which I'm going to show
0:12:13 > 0:12:15- now, one clip.- Oh, no, not that one!
0:12:15 > 0:12:17Yes, indeed, the famous one, which...
0:12:17 > 0:12:20..which, I mean, really broke the mould.
0:12:20 > 0:12:23And, it's one of the most famous scenes in that,
0:12:23 > 0:12:25and many other movies, I suppose.
0:12:25 > 0:12:27It's the beach scene. Let's have a look at it now.
0:13:01 > 0:13:03I never knew it could be like this.
0:13:03 > 0:13:06Nobody ever kissed me the way you do.
0:13:06 > 0:13:09- Nobody?- No. Nobody.
0:13:09 > 0:13:12Not even one?
0:13:12 > 0:13:14Out of all the men you've been kissed by?
0:13:14 > 0:13:17That would take some figuring.
0:13:17 > 0:13:19How many men do you think there've been?
0:13:19 > 0:13:21I wouldn't know. Can't you give me a rough estimate?
0:13:21 > 0:13:23Not without an adding machine.
0:13:23 > 0:13:25Do you have the adding machine with you?
0:13:25 > 0:13:27I forgot to bring it.
0:13:27 > 0:13:29Then I guess you won't find out, will you?
0:13:31 > 0:13:32Maybe I already know.
0:13:38 > 0:13:39APPLAUSE
0:13:39 > 0:13:42Did you... you've got goose pimples, have you?
0:13:42 > 0:13:46- Yes, slightly. It's a long time since I've seen it.- Is it?- Yes.
0:13:46 > 0:13:48It all looks so comfortable on-screen.
0:13:48 > 0:13:49- Wasn't it?- No(!)
0:13:49 > 0:13:51LAUGHTER
0:13:51 > 0:13:53It was sandy(!)
0:13:55 > 0:13:57Did you realise at the time, when you were doing that
0:13:57 > 0:14:01particular scene, that it was going to be such a crucial one,
0:14:01 > 0:14:03in a way, I mean, I only say crucial because a lot of people would
0:14:03 > 0:14:07say that, that one scene is one of the landmarks in cinema,
0:14:07 > 0:14:09because the whole permissive sex movement in movies
0:14:09 > 0:14:10started from there.
0:14:10 > 0:14:14Yes. I suppose it did, in a way, because now when one sees it,
0:14:14 > 0:14:19it looks so absolutely, I mean, too normal, you know, practically.
0:14:19 > 0:14:23It's funny, isn't it to think of how,
0:14:23 > 0:14:26really, how startling the scene was?
0:14:28 > 0:14:33Deborah Kerr's versatility meant she was never defined by that one
0:14:33 > 0:14:35fantastic role.
0:14:35 > 0:14:39Over the years other stars have come to be seen almost
0:14:39 > 0:14:41exclusively in terms of their sex appeal,
0:14:41 > 0:14:45and some, like Jayne Mansfield, just embraced it.
0:14:47 > 0:14:50She won a Golden Globe at one point in her career,
0:14:50 > 0:14:53but her acting was overshadowed by the sex bomb image.
0:14:55 > 0:15:02At times, that meant interviews which included subjects like the not
0:15:02 > 0:15:04very sexy sounding Chiswick flyover...
0:15:06 > 0:15:08Well, the first thing I'd better say is this,
0:15:08 > 0:15:11that Miss Mansfield isn't in that bed because she is ailing,
0:15:11 > 0:15:12I'm not sitting here because I'm a doctor.
0:15:12 > 0:15:15She's in bed because in a minute she's going to be made love to
0:15:15 > 0:15:17by an actor, in a film called The Challenge.
0:15:17 > 0:15:19I know that publicity in general doesn't frighten you,
0:15:19 > 0:15:22Miss Mansfield, because hardly a day goes by that you aren't
0:15:22 > 0:15:24cooperating with the publicists.
0:15:24 > 0:15:26But, I wonder how much this publicity
0:15:26 > 0:15:29overshadows your actual acting?
0:15:29 > 0:15:32I don't think it has anything to do with acting.
0:15:32 > 0:15:34Because I'm certainly not acting...
0:15:34 > 0:15:37I mean the time spent, I mean you're in front of the public,
0:15:37 > 0:15:41perhaps, as often in pictures in newspapers as you are in films.
0:15:41 > 0:15:42I tell you, Robert,
0:15:42 > 0:15:46there are two important things in the life of an actress.
0:15:46 > 0:15:51The most important is to be a good actress, to be a very fine star.
0:15:51 > 0:15:53That is tremendously important.
0:15:53 > 0:15:56The other important thing is to be known,
0:15:56 > 0:15:59because if you're a Bernhardt or a Shakespeare, if no-one
0:15:59 > 0:16:03knows about it then you may as well, just kind of, act in your own home,
0:16:03 > 0:16:07which doesn't do too much good if you want to be a successful star.
0:16:07 > 0:16:10So, I feel that the right balance of acting, the right
0:16:10 > 0:16:13balance of publicity, coupled with talent brings forth a giant star,
0:16:13 > 0:16:17that cannot be toppled over.
0:16:17 > 0:16:19Have you ever refused to do a publicity stunt?
0:16:19 > 0:16:22I mean is there a kind of publicity you try and avoid?
0:16:22 > 0:16:26I've never done a publicity stunt in my entire life, and I never will.
0:16:26 > 0:16:29If the time ever comes when I will do a publicity stunt,
0:16:29 > 0:16:32then I'll be 150 years old.
0:16:32 > 0:16:34I think I'm probably using the word in a different
0:16:34 > 0:16:36sense from the way you're understanding it.
0:16:36 > 0:16:40What about the Chiswick flyover? In my opinion that was a stunt.
0:16:40 > 0:16:45It wasn't in mine, it wasn't in the opinion of the people who asked me.
0:16:45 > 0:16:48They built a very beautiful freeway, or flyover,
0:16:48 > 0:16:50as it's called over here,
0:16:50 > 0:16:54and I was quite honoured to have been asked to open this because
0:16:54 > 0:16:58it was a great sign of progress, and I very happily did that.
0:16:59 > 0:17:06I think it's... I think it's... any time that a country, or city,
0:17:06 > 0:17:10or group of people make that much progress, civic wise, I think
0:17:10 > 0:17:14it's wonderful to make sure that the event gets the deserved publicity.
0:17:14 > 0:17:16I'm sure that's why I was asked.
0:17:16 > 0:17:18But do you think you were an apt choice?
0:17:18 > 0:17:21I mean, I imagine that you know very little about flyovers?
0:17:21 > 0:17:24You're a terribly well-known person,
0:17:24 > 0:17:27but you aren't actually associated with flyovers.
0:17:27 > 0:17:28Is anyone?
0:17:28 > 0:17:31I suppose not, perhaps, outside of a borough surveyor.
0:17:31 > 0:17:34You're presented as a symbol of sex appeal, now,
0:17:34 > 0:17:38I wonder if you care to define that phrase, sex appeal?
0:17:38 > 0:17:43Sex appeal is a wonderful, warm, womanly, healthy feeling.
0:17:43 > 0:17:46If you're a woman, it's womanly, if you're not its manly.
0:17:46 > 0:17:48Does it come from inside, Miss Mansfield?
0:17:48 > 0:17:51It comes only from inside.
0:17:51 > 0:17:53It's nothing that's manufactured,
0:17:53 > 0:17:57it has nothing to do with measurements or lipstick colour.
0:17:57 > 0:18:00To me, it's cleanliness and use
0:18:00 > 0:18:05and an effervescent desire to enjoy life.
0:18:06 > 0:18:08That's what sex appeal is to me.
0:18:08 > 0:18:12The sort of vibrancy that you find present in a young kitten.
0:18:12 > 0:18:15I think you're a romantic even in your business interests,
0:18:15 > 0:18:16Miss Mansfield,
0:18:16 > 0:18:21because I understand you market a Jayne Mansfield hot water bottle?
0:18:21 > 0:18:23- Yes, I do. - Is it selling well?
0:18:23 > 0:18:24It selling fantastically.
0:18:24 > 0:18:28I didn't know the demand would be so great.
0:18:28 > 0:18:31But, I suppose I am somewhat of a romanticist
0:18:31 > 0:18:34when it comes to good business deals.
0:18:34 > 0:18:37What do you mean, a romanticist in business deals?
0:18:37 > 0:18:41- I mean I like to be successful in business.- I see!
0:18:41 > 0:18:44I hear you've got fountains in your living room,
0:18:44 > 0:18:47and a very large dining table with a marble top,
0:18:47 > 0:18:51capable of seating 40 people, and fur on the walls in the
0:18:51 > 0:18:54bathroom. Now apart from the fur on the walls in the bathroom...
0:18:54 > 0:18:55Which bathroom?
0:18:55 > 0:18:56- Oh...- I have 13.
0:18:56 > 0:19:00- I see. Have they all got fur on them?- Only one.
0:19:01 > 0:19:05It was a furry bikini rather than a bathroom that helped turn
0:19:05 > 0:19:08Raquel Welch into a sex symbol.
0:19:08 > 0:19:13The 1966 film One Million Years BC was sold on the image of her
0:19:13 > 0:19:19dressed in animal skins, and from that moment on, and throughout the
0:19:19 > 0:19:23'70s her name was synonymous with sex appeal.
0:19:23 > 0:19:27Here she is talking to Michael Parkinson in 1972.
0:19:28 > 0:19:31Were you from the beginning... were you an attractive child?
0:19:31 > 0:19:33Were you a good-looking kid?
0:19:33 > 0:19:35I don't really think I was, I think
0:19:35 > 0:19:36I had, like, hair parted
0:19:36 > 0:19:38in the middle and braids, and my dad
0:19:38 > 0:19:41always said that I should be...
0:19:41 > 0:19:43I don't know...neat in appearance.
0:19:43 > 0:19:45I wasn't allowed to wear ruffles or bright colours or
0:19:45 > 0:19:46have my hair in curls
0:19:46 > 0:19:49like a lot of girls had who went to school with me.
0:19:49 > 0:19:51I never thought of myself as pretty, pretty.
0:19:51 > 0:19:54But, when I, er, got a little bit older
0:19:54 > 0:19:58and the equipment arrived, the, er...
0:19:58 > 0:20:01AUDIENCE LAUGHTER
0:20:04 > 0:20:06Well, then I thought, "Gee, this is pretty terrific,
0:20:06 > 0:20:08"maybe I ought to try it out a little more."
0:20:08 > 0:20:12And I'd sort of strut my stuff around, and...
0:20:12 > 0:20:15see how it all worked. It worked pretty good.
0:20:15 > 0:20:16There you were, you arrived in Hollywood
0:20:16 > 0:20:19with all the equipment, as you, yourself, said.
0:20:19 > 0:20:21With thousands and millions of other girls,
0:20:21 > 0:20:23even walking down the street, much much better...
0:20:23 > 0:20:26Who are now petrol pump attendants and this sort of thing.
0:20:26 > 0:20:27Oh, I don't think so.
0:20:27 > 0:20:30Well, you know, they are certainly not starring in movies.
0:20:30 > 0:20:32But, I mean, what was it...
0:20:32 > 0:20:35Was it a difficult thing to be treated seriously?
0:20:35 > 0:20:38I was thinking about the casting couch business of Hollywood?
0:20:38 > 0:20:40Did you get chased around the table?
0:20:42 > 0:20:45Well, I don't know. That's kind of an X-rated item.
0:20:45 > 0:20:47- Go on, tell me the truth.- Um...
0:20:47 > 0:20:49- LAUGHTER - Not really, no.
0:20:49 > 0:20:51There were a few times when people disappointed me a bit,
0:20:51 > 0:20:52but it wasn't really...
0:20:52 > 0:20:55LAUGHTER
0:20:55 > 0:20:58Oh, help, somebody help!
0:20:58 > 0:21:05No! I... Did I? Yes, I did. I said what I thought I said.
0:21:05 > 0:21:09No, it's not like The Carpetbaggers, which my mother had given me
0:21:09 > 0:21:10recently to read and said,
0:21:10 > 0:21:12"That is what Hollywood is all about."
0:21:12 > 0:21:14It wasn't like that, no. There are a few wolves,
0:21:14 > 0:21:19but there's wolves in any nightclub, discotheque, restaurant.
0:21:19 > 0:21:22- Yeah.- I mean, it's not loaded with those type of people.
0:21:22 > 0:21:24Do you find that there's more of them now around,
0:21:24 > 0:21:28the wolves around, than there were before? More apparent?
0:21:28 > 0:21:31Here you are. Do you find that because you are, who you are men
0:21:31 > 0:21:35are either more pushy towards you, or perhaps frightened off you?
0:21:35 > 0:21:37Well, sometimes I think they're a little frightened.
0:21:37 > 0:21:41First of all, I think they think I'm a whole lot bigger than I am.
0:21:41 > 0:21:43LAUGHTER
0:21:43 > 0:21:45I remember one time... I remember one time,
0:21:45 > 0:21:46there was this guard at this gate
0:21:46 > 0:21:50and I came in to see screening of a film of mine
0:21:50 > 0:21:52and I walked by and he said, "Hello."
0:21:52 > 0:21:55Then later I walked by and he said, "Are you Raquel Welch?"
0:21:55 > 0:21:57I said, "Yeah."
0:21:57 > 0:21:59"Are you Raquel Welch?" I said, "Yeah."
0:21:59 > 0:22:01He said, "Ah, I thought..."
0:22:01 > 0:22:03I said, "I know, you thought I was..."
0:22:03 > 0:22:06And it's true, I mean, I'm OK, but, I'm really,
0:22:06 > 0:22:07I guess you could say petite.
0:22:07 > 0:22:10I don't know if I'm really petite but I'm only 5'6,
0:22:10 > 0:22:13and I've got very small bones, can you see?
0:22:13 > 0:22:19- Yes.- I've got small bones, and I'm not, sort of an Amazon.
0:22:19 > 0:22:21I'm not going to break anybody in half, and I...
0:22:21 > 0:22:23- I wish you would! - LAUGHTER
0:22:23 > 0:22:26Oh, are you one of those hit me again types(?)
0:22:27 > 0:22:29AUDIENCE LAUGH AND APPLAUD
0:22:32 > 0:22:35Have you ever thought, when you are in this business,
0:22:35 > 0:22:38have you ever tried to define what sex appeal is?
0:22:38 > 0:22:41Golly, no, I can think of a lot of men that I know, that I think
0:22:41 > 0:22:44are sexy, but I don't know if I can really describe what it is.
0:22:44 > 0:22:46Who are the men you think are sexy?
0:22:46 > 0:22:48Oh, you want a whole list?
0:22:49 > 0:22:53Oh, I don't know, I mean there are a lot.
0:22:53 > 0:22:55Well, my boyfriend I think is sexy.
0:22:55 > 0:22:57He looks a lot like Errol Flynn.
0:22:57 > 0:23:02- Really?- Yeah. And, um, let me see, I guess... um...
0:23:02 > 0:23:04Frank Sinatra.
0:23:05 > 0:23:07- Is sexy?- Oh, yes. Because he's a man.
0:23:07 > 0:23:10LAUGHTER
0:23:10 > 0:23:11No, but, I mean, you feel he's a man.
0:23:11 > 0:23:15I mean, he just has a great, sort of, strength.
0:23:15 > 0:23:18And I, erm, oh, think Joe Namath is terrifically sexy.
0:23:18 > 0:23:21I like sports figures,
0:23:21 > 0:23:24Um, let me see... who else?
0:23:24 > 0:23:26Lauren Bacall said on the programme the other day that she
0:23:26 > 0:23:30thought looking around, there weren't many strong man left.
0:23:30 > 0:23:31Well, Paul Newman?
0:23:31 > 0:23:35- What's the matter with Paul Newman? - I don't know, ask Lauren Bacall!
0:23:35 > 0:23:36Paul Newman is all right(!)
0:23:38 > 0:23:45Paul Newman certainly was all right, cool, terrifically handsome,
0:23:45 > 0:23:48and amongst a handful of men who were,
0:23:48 > 0:23:54especially in the '60s and '70s, considered the ultimate heart-throbs.
0:23:54 > 0:23:59Robert Redford, Sean Connery, Warren Beatty, as we shall see in this
0:23:59 > 0:24:02next sequence of interviews, all of them struggled
0:24:02 > 0:24:05with this sex symbol status.
0:24:05 > 0:24:06Do you sign autographs?
0:24:09 > 0:24:11No. I don't sign autographs.
0:24:15 > 0:24:17There's no sense telling you why,
0:24:17 > 0:24:18but I'll tell you
0:24:18 > 0:24:20when I stopped signing them.
0:24:20 > 0:24:22I was standing at a urinal,
0:24:22 > 0:24:24and a guy came through the door with a pencil
0:24:24 > 0:24:27and a piece of paper in his hands, and I said, "Never again."
0:24:27 > 0:24:29That is the terminal insult.
0:24:32 > 0:24:35But, it's a cleft stick, you can't have one without the other,
0:24:35 > 0:24:40- you can't be an international movie star and be unrecognisable?- No, no.
0:24:40 > 0:24:43I understand it comes with a territory,
0:24:45 > 0:24:47but, autographs are something else.
0:24:52 > 0:24:54I remember many occasions in the old days,
0:24:54 > 0:24:56when Joanne and I were having a romantic dinner,
0:24:56 > 0:25:00or we were having dinner with the kids, or walking down Fifth Avenue,
0:25:00 > 0:25:04and there was some unwritten law that anyone could stop
0:25:04 > 0:25:06you from doing whatever you were doing,
0:25:06 > 0:25:09and you had to put your name on this piece of paper.
0:25:11 > 0:25:13I wasn't around to vote when that rule was made.
0:25:16 > 0:25:19And, er, I think the only obligation that I have to
0:25:19 > 0:25:23an audience is to do the best I possibly can,
0:25:23 > 0:25:27to prepare myself, to not cheat them on the screen.
0:25:30 > 0:25:34And, um, I don't know if anything else is really required.
0:25:34 > 0:25:36There is something of a command in that.
0:25:36 > 0:25:38Smile, take off your glasses,
0:25:38 > 0:25:41I'm sorry, my pants will drop off.
0:25:43 > 0:25:45It makes me uncomfortable.
0:25:46 > 0:25:51Robert Redford also struggled with the superstar status that came
0:25:51 > 0:25:53with his good looks.
0:25:53 > 0:25:57It's not pleasant, that's the whole double edged sword, that.
0:25:58 > 0:26:00Because you're naive at the time,
0:26:00 > 0:26:02you're just playing a role.
0:26:02 > 0:26:04And you've started in the business,
0:26:04 > 0:26:05if you started as I did,
0:26:05 > 0:26:07as an actor who like to think
0:26:07 > 0:26:10he came from the legitimate stage.
0:26:10 > 0:26:12Which I did, in New York.
0:26:12 > 0:26:15You think of yourself first of all as an actor.
0:26:15 > 0:26:18And, then, suddenly you're playing a variety of different roles,
0:26:18 > 0:26:21no-one is really making too much about it.
0:26:21 > 0:26:24Suddenly you're in a particular production that's
0:26:24 > 0:26:28very successful, and then the next thing you know you're labelled.
0:26:28 > 0:26:32And as you stretch to a different role, the acceptance is less,
0:26:32 > 0:26:35the credibility of being able to stretch is less.
0:26:37 > 0:26:42- And that's bothersome.- And people don't want you to stretch, do they?
0:26:42 > 0:26:44Well, I think you're right.
0:26:44 > 0:26:46I suspect people don't.
0:26:46 > 0:26:48I'm beginning to think more and more,
0:26:49 > 0:26:52that people tend to want to restrict
0:26:52 > 0:26:54you to a certain slot.
0:26:54 > 0:26:57And if they've been pleased by performance in that slot
0:26:57 > 0:26:59they'd just as soon have you stay there.
0:26:59 > 0:27:01For me, that's for television.
0:27:01 > 0:27:04That's for television series, and I don't think it's bad,
0:27:04 > 0:27:06it's perfectly fine, but it's not for me.
0:27:08 > 0:27:13Now Sean Connery, who found elements of being Bond a bit of a bind.
0:27:16 > 0:27:19How has being James Bond affected your life?
0:27:21 > 0:27:24Well, this is the sort of outcome of one of the facets,
0:27:24 > 0:27:27that's the, erm, I live in Acton.
0:27:27 > 0:27:29We have a marvellous house in Acton.
0:27:29 > 0:27:32A wonderful situation. Unfortunately, it's too accessible.
0:27:32 > 0:27:36People can come, you know, right up to the front gate and get in.
0:27:36 > 0:27:40It's the only house in the street. It's a cul-de-sac right by a park.
0:27:40 > 0:27:43It's the perfect situation, but, they just come up sit on top of the
0:27:43 > 0:27:46cars, or come in the gates, knock the door, it's too easy, you know.
0:27:48 > 0:27:51It's to do with the invasion of one's privacy, I don't believe
0:27:51 > 0:27:55any of the rubbish about the price of fame or all that sort of jazz.
0:27:55 > 0:27:58I don't go for that at all.
0:27:58 > 0:28:01Have they been an unpleasant? Are people and pleasant?
0:28:01 > 0:28:04As a rule, no, but you get some real head cases that come around
0:28:04 > 0:28:08and have the most absurd requests like, it would be marvellous
0:28:08 > 0:28:11if we could have tea, or can we come and take some photographs?
0:28:11 > 0:28:18Can I sign on your wall, or you know? Juvenile, insane ideas.
0:28:18 > 0:28:21There's only one way to solve it, it's impractical,
0:28:21 > 0:28:23and that is not to be there.
0:28:27 > 0:28:29And here's Warren Beatty who, of course,
0:28:29 > 0:28:34had a reputation as one of Hollywood's greatest lotharios.
0:28:36 > 0:28:40I was thinking, really, about the difficulties of a young man,
0:28:40 > 0:28:42suddenly with success thrust on
0:28:42 > 0:28:45him, and there certainly must have been things you couldn't handle.
0:28:45 > 0:28:48Looking through the press cuttings of that period,
0:28:48 > 0:28:50there were a lot of unfavourable comments...
0:28:50 > 0:28:54Well, the press, that's another matter. There's something,
0:28:55 > 0:28:58in the entire meat grinding
0:28:58 > 0:29:02snowball of the economics
0:29:02 > 0:29:04of the movie business,
0:29:04 > 0:29:05that require a new,
0:29:05 > 0:29:07young commodity to be
0:29:07 > 0:29:08interesting in some way.
0:29:08 > 0:29:11I think, probably, it's not so easy
0:29:11 > 0:29:13to make someone so interesting,
0:29:13 > 0:29:19and to make them famous, to develop grist for that mill,
0:29:19 > 0:29:22certain choices have to be made.
0:29:22 > 0:29:25Usually, with a young man, it's that he's very rebellious,
0:29:25 > 0:29:27and an enfant terribles, et cetera,
0:29:27 > 0:29:32and just to get it out of the way, sometimes you comply.
0:29:32 > 0:29:37You know, it's just, well, I'll give you what you want and, erm...
0:29:39 > 0:29:45but the level of boredom between the show business press
0:29:45 > 0:29:47and the young actor who needs to be exploited, I think, is
0:29:47 > 0:29:51exceeded by almost nothing I can think of offhand.
0:29:53 > 0:29:57So, that makes what you call bad press clippings,
0:29:57 > 0:30:00but then they all go into the morgue,
0:30:00 > 0:30:05where all the clippings go, and the most ridiculous things...
0:30:07 > 0:30:08..are there.
0:30:10 > 0:30:13Among Warren Beatty's famous conquests,
0:30:13 > 0:30:18was a woman considered to be one of Europe's greatest ever sex symbols,
0:30:18 > 0:30:22the French actress, Bridget Bardot,
0:30:22 > 0:30:27here we find BB on the BBC in 1956, having a curious
0:30:27 > 0:30:33conversation with an interviewer who seems mainly interested in her pets.
0:30:35 > 0:30:37You're 22, Miss Bardot, and you're one of the highest-paid
0:30:37 > 0:30:42actresses in France, what do you think your success is due to?
0:30:42 > 0:30:43I... I don't know.
0:30:43 > 0:30:46You don't think it's got something to do with the sexy parts
0:30:46 > 0:30:48you play in your films?
0:30:48 > 0:30:50Yes. Maybe, yes.
0:30:50 > 0:30:53Do you really enjoy making this kind of film or do you want to
0:30:53 > 0:30:55be a serious actress?
0:30:55 > 0:30:57Oh, no. I prefer this kind of film.
0:30:57 > 0:31:01I will be a serious actress when I will be older.
0:31:01 > 0:31:04I see. I've heard that dogs are the most important thing in your life.
0:31:04 > 0:31:06Dogs?
0:31:06 > 0:31:09Yes, I think I prefer love.
0:31:09 > 0:31:11- But you have some dogs?- Ah, yes, and I love dogs.
0:31:11 > 0:31:13What kind of dog have you got?
0:31:13 > 0:31:14I have a
0:31:14 > 0:31:18little black spaniel cocker.
0:31:18 > 0:31:19Any other animals?
0:31:20 > 0:31:23For my birthday, one month ago,
0:31:23 > 0:31:25a friend of me gave to me
0:31:25 > 0:31:27a little monkey.
0:31:27 > 0:31:28It was very, very funny.
0:31:28 > 0:31:30And I was very surprised
0:31:30 > 0:31:32when I saw the monkey.
0:31:32 > 0:31:34And it was impossible for me
0:31:34 > 0:31:35to keep it at home
0:31:35 > 0:31:37because he was doing
0:31:37 > 0:31:39pee-pee all the time(!)
0:31:39 > 0:31:40Now, Miss Bardot,
0:31:40 > 0:31:42you work very hard,
0:31:42 > 0:31:43I'm told that you've made 15 films
0:31:43 > 0:31:45in the last three years.
0:31:45 > 0:31:47When you get some time off what do
0:31:47 > 0:31:49you like to do the most?
0:31:49 > 0:31:50I have a rest.
0:31:50 > 0:31:53Because I am very lazy.
0:31:53 > 0:31:56Anything else?
0:31:56 > 0:31:59I like listen records,
0:31:59 > 0:32:05- and go and see shows. Shows?- Aha.
0:32:05 > 0:32:09And go for a walk with my dog.
0:32:09 > 0:32:12You say you like listening to records,
0:32:12 > 0:32:14what kind of records do you like the most?
0:32:14 > 0:32:17Oh, classical, and rock and roll,
0:32:17 > 0:32:20and jazz. Everything.
0:32:21 > 0:32:23I like all the records.
0:32:23 > 0:32:25Well, now that you make so much money, I think
0:32:25 > 0:32:30it's about £12,000 a film, something like that, what are your ambitions?
0:32:30 > 0:32:32To get more.
0:32:32 > 0:32:34Do you ever want to go to Hollywood?
0:32:35 > 0:32:37No, I'm very well in Europe.
0:32:38 > 0:32:40Well, thank you very much indeed,
0:32:40 > 0:32:42Miss Bardot.
0:32:44 > 0:32:50While Bridget Bardot is France's sensual sex kitten,
0:32:50 > 0:32:57Catherine Deneuve is its ice cool icon of aloof, sophisticated beauty.
0:32:57 > 0:32:59One of Europe's acting greats,
0:32:59 > 0:33:02she was interviewed by Terry Wogan in 1989.
0:33:04 > 0:33:06Whoever it was that gave you
0:33:06 > 0:33:08the title of the most beautiful
0:33:08 > 0:33:09woman in the world, did you
0:33:09 > 0:33:10thank them for that,
0:33:10 > 0:33:12or did you find that a very
0:33:12 > 0:33:13difficult thing?
0:33:13 > 0:33:14Well, by the time I was told, you know,
0:33:14 > 0:33:17to be a very good-looking woman I thought it was very nice
0:33:17 > 0:33:21because it's something you take as a compliment. It is a compliment.
0:33:21 > 0:33:22Of course.
0:33:22 > 0:33:25But, with years passing by you find the compliment a very heavy
0:33:25 > 0:33:27crown to carry.
0:33:28 > 0:33:30And sometimes I find it difficult,
0:33:30 > 0:33:33but you cannot always have the good side of everything.
0:33:33 > 0:33:36Anyway, I think it's a nice challenge to have,
0:33:36 > 0:33:38and also, being an actress it's not something
0:33:38 > 0:33:45I live all the time with, because acting, you forget about the look.
0:33:45 > 0:33:46You can never forget completely,
0:33:46 > 0:33:50but most of the time when you're working you can forget sometimes.
0:33:50 > 0:33:53Someone as beautiful as you,
0:33:53 > 0:33:55do you welcome a settled ageing
0:33:55 > 0:33:58process, do you like the idea of getting older?
0:33:58 > 0:34:00No, no.
0:34:00 > 0:34:03That the most honest answer I've had from an actress, ever.
0:34:03 > 0:34:08No, I don't. Not only because I'm an actress... I think it's difficult
0:34:08 > 0:34:12for an actress because you have to face the idea that you will
0:34:12 > 0:34:15do other kind of films and parts,
0:34:15 > 0:34:18and it's true that for a woman it's much more difficult than for men.
0:34:18 > 0:34:21But, as a person, you know, I have...
0:34:21 > 0:34:24I don't like the idea that I will have less energy.
0:34:24 > 0:34:26I'm a very energetic woman
0:34:26 > 0:34:28and the idea that it's going to slow down, I don't like that idea.
0:34:28 > 0:34:34- So... I really...- Will the loss of your looks worry you?
0:34:34 > 0:34:37- The what?- The loss of your looks. Your appearance.
0:34:37 > 0:34:40Well, actresses, you know, they worry every day about their looks.
0:34:40 > 0:34:42When you have to go on television,
0:34:42 > 0:34:44when you have to do still pictures, when you have to do
0:34:44 > 0:34:47things like that, but then you worry the time you look in the mirror,
0:34:47 > 0:34:50and then after that you are worrying with other things are good enough.
0:34:50 > 0:34:55The look it's only when you're getting ready and being prepared,
0:34:55 > 0:34:58and after that you have the troubles or the problems.
0:35:01 > 0:35:06Catherine Deneuve there touched on the matter of the sex symbol
0:35:06 > 0:35:11ageing, but for the most enduring sex symbol of them all, sadly,
0:35:11 > 0:35:12that wasn't an issue.
0:35:13 > 0:35:17Marilyn Monroe had been a sensation since the early 1950s
0:35:17 > 0:35:23but her death in 1962, aged just 36,
0:35:23 > 0:35:28saw her elevated to the status of an American cultural icon.
0:35:32 > 0:35:35Marilyn never did a sit down interview with the BBC,
0:35:35 > 0:35:39but the fascination with her has meant that anyone who ever
0:35:39 > 0:35:44worked with her would inevitably end up discussing their experiences.
0:35:45 > 0:35:48She was an extremely complicated creature.
0:35:48 > 0:35:51She was intelligent, she was unhappy,
0:35:51 > 0:35:54she... you couldn't get very close to her.
0:35:54 > 0:35:56And she was very nervous, well,
0:35:56 > 0:36:00the proof of it is that the poor darling killed herself.
0:36:00 > 0:36:06Er, so, she was... She didn't really trust her talent.
0:36:06 > 0:36:07She was very gifted.
0:36:08 > 0:36:10She played, comedy very well,
0:36:10 > 0:36:14she would do all kinds of studying which she needn't have studied.
0:36:14 > 0:36:18Not that studying isn't right, but she was so much more skilful
0:36:18 > 0:36:21than anybody could possibly teach her.
0:36:21 > 0:36:24She was a natural actress, and had enormous individuality,
0:36:24 > 0:36:26and she knew what she was doing.
0:36:26 > 0:36:28I will say that,
0:36:28 > 0:36:32in the case of Marilyn Monroe, I was caught by an indefinable something.
0:36:33 > 0:36:38I have a memo in which I write to Zanuck that
0:36:38 > 0:36:41"I don't think she can act, I don't think she can dance,
0:36:41 > 0:36:45"I don't think she can walk, and I'm sure she can't talk.
0:36:45 > 0:36:47"But, there is nothing that either of us can do to keep
0:36:47 > 0:36:50"her from becoming a star."
0:36:50 > 0:36:52And you had that feeling about Marilyn.
0:36:54 > 0:36:55The camera liked Marilyn Monroe.
0:36:58 > 0:37:03She'd sit on the set, kind of down and you'd get her out there,
0:37:03 > 0:37:05say 'Camera', and her head would come up like this,
0:37:05 > 0:37:09and all of a sudden she became sexy.
0:37:09 > 0:37:11In real life nobody'd take her out.
0:37:12 > 0:37:13But she had a strange...
0:37:15 > 0:37:17HE SIGHS
0:37:17 > 0:37:20..thing that made her sexy to millions of people.
0:37:22 > 0:37:26So, that, in order for that to happen the camera has to like you.
0:37:27 > 0:37:31Her personal madnesses were so, so, er,
0:37:31 > 0:37:33destructive that it made her unhappy
0:37:33 > 0:37:36and anyone that surrounded her.
0:37:36 > 0:37:38Consequently, it cost her her life.
0:37:38 > 0:37:39It had nothing to do with
0:37:39 > 0:37:40the picture business.
0:37:40 > 0:37:42- You think not?- Not at all.
0:37:42 > 0:37:44You think no matter what she'd have done
0:37:44 > 0:37:46she would have destroyed herself?
0:37:46 > 0:37:48Billy Wilder, who directed Some Like It Hot,
0:37:48 > 0:37:51said she was a mean seven-year-old girl.
0:37:51 > 0:37:54And I've got a feeling that's about as good
0:37:54 > 0:37:56a description of Marilyn as any, you know.
0:37:56 > 0:37:58I directed Marilyn in her first
0:37:58 > 0:38:00role of any consequence,
0:38:00 > 0:38:03The Asphalt Jungle,
0:38:03 > 0:38:05and her last picture, The Misfits.
0:38:07 > 0:38:08A number of those who were close to
0:38:08 > 0:38:10her during the making of The Misfits
0:38:10 > 0:38:11thought it would be only
0:38:11 > 0:38:13a few short years before she died or
0:38:13 > 0:38:14went into an institution.
0:38:16 > 0:38:19Her great enemy was sleeplessness,
0:38:19 > 0:38:22only God knows why she feared it so much.
0:38:23 > 0:38:27Perhaps it was simply that not to sleep meant losing her beauty?
0:38:27 > 0:38:30I'm inclined to think that there was more to it than that.
0:38:32 > 0:38:37In any case, she fought her enemy, consciousness, with sedatives.
0:38:38 > 0:38:41Until she had achieved not only sleeplessness,
0:38:41 > 0:38:42sleep, but insensibility.
0:38:43 > 0:38:46Then, stimulants would be employed to awaken her.
0:38:48 > 0:38:51This vicious circle played such havoc with her body that she
0:38:51 > 0:38:55had to be hospitalised for ten days in the middle of the picture.
0:38:56 > 0:39:00An overdose of sleeping tablets has become synonymous with suicide.
0:39:02 > 0:39:03In Marilyn's case, I think
0:39:03 > 0:39:06it was simply an overdose of sleeping tablets.
0:39:08 > 0:39:12It's a terrible pity that so much beauty has been lost to us.
0:39:17 > 0:39:21Will there ever be a sex symbol to rival Marilyn Monroe?
0:39:21 > 0:39:23It's highly unlikely.
0:39:23 > 0:39:26And although every new generation of actors includes a fresh
0:39:26 > 0:39:30line-up of heartbreaking heroes and heroines,
0:39:30 > 0:39:37when it comes to long-lasting appeal, very few can rival the sexy,
0:39:37 > 0:39:42seductive stars of cinema's golden and most gorgeous years.