Christmas with Robert Taylor and His Family

Merry Christmas and Happy Hannukah from Judith’s blog.

The following excerpt is from …but I have promises to keep, My Life Before, With & After Robert Taylor, by Ursula Thiess, Xlibris Corporation, 2007, pages 154 & 155.

Christmas-Tree-German
German Christmas Tree

My German heritage of celebrating Christmas rather dominated my family, and my husband was beginning to see it through my eyes.  Until the introduction of what this season really meant to me, he had looked at it as commercialism rather than a holiday to be enjoyed. But once he appointed himself Santa Claus to his children, his whole attitude changed.

Beatrice Nebraska airport in front of his Beechcraft plane.(Gage County Historical Society)
Robert and Ursula Taylor and Ruth Brugh (his mother) ca. 1953.

As was my tradition, in the early evening of the 24th, we had our big Christmas dinner, usually surrounded by family and close friends, which was sometimes enhanced by neighborhood caroling.  This whole, loving procedure of Santa-deception was carefully rehearsed and orchestrated.  With the full support of our guests, we imagined the sound of tiny hooves and Santa’s happy face smiling down at us.  The Christmas tree was always put up the day before and stayed behind locked doors until our meal was finished and Mr. Claus appeared.

1961 Wyoming
Terry, Robert, Tessa and Ursula Taylor in 1961.

I don’t know long it took our two, smaller children before they started why Daddy excused himself and disappeared just before dessert each year. Santa Robert would run down to the gate, a considerable distance from the house, ring the bell, and, through the intercom, deliver his first “ho-ho-ho” message.  He then had conversations concerning general behavior with his young audience, who seemed slightly intimidated by the rumbly voice on the other end.  This meant happy entertainment for the rest of the diners, which always included some of our friends, Art and Barbara, and sometimes Bob’s mother and mine when she was visiting from Germany during the holidays.  Even though our two mothers spoke different languages, there was definite communication between them, as we observed them laughing quite a lot.

Robert and Ursula Taylor in 1954, the year they married.
Robert and Ursula Taylor in 1954, the year they married.

Michael and Manuela were great Christmas-boosters for their smaller siblings–but also the first to tell Terry that Santa was fake.  He had a hard time dealing with that initially, but once he came to terms with the disappointment of having lost out to cold realism, he effectively guided his younger sister through that period with imagination and suspense.

While we all sat down to visit our dessert, Dad returned, usually rubbing his hands, saying, “It’s cold here. Do you think it’s snowing outside? Maybe Santa is due for a visit.”

a mid-seventies shotof Bob's family: Manuela, Tessa, Ursula and Terry; courtesy of Terry Taylor
Manuela Thiess, Tessa, Ursula and Terry Taylor in the mid 1970s. (Photo property of Terry Taylor).

“Oh, no,” the children would excitedly tell him, “you missed him again, Daddy.  He was already here! He talked to us and he said he put a sack of toys by the door.  Can we go now and see?  With great effort, they pulled the fragrant sack (courtesy of the horse grain company) into the living room and came face-to-face for the first time with the glittering tree.

Our giant, fieldstone fireplace threw out waves of warmth and comfort.  Holiday songs were heard throughout the house and the small of fresh pine was everywhere.  It was a time of magic and hopefully will be remembered by my children as such.

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When Ladies Meet, 1941, Is Playing on TCM on November 13 (USA)

When Ladies Meet, 1941, is playing on Turner Classic Movies on Monday, November 13 at 10 a.m. est.

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Joan Crawford, Robert Taylor and Greer Garson in “When Ladies Meet,” 1941.

It is the story of a married couple, a lady author and a charming single journalist. Joan Crawford, the author, considers herself a “modern woman” freed from tiresome conventions and moral imperatives. Despite the movie’s 1941 date, the author’s relativistic attitude toward marriage and fidelity would be right at home in today’s left-wing intellectual circles. Her gradual evolution towards a different attitude is the meat of the movie. Mirroring the situation in her book is the situation of the married couple, Greer Garson and Herbert Marshall. The fourth member of the group is Robert Taylor as a journalist whose surface gaiety hides a serious moral foundation.The four actors make the movie much better than the script. Garson and Crawford strike sparks off each other in every scene they share. Herbert Marshall is suitably smooth and sleazy. But it’s Robert Taylor in a role involving physical comedy whose work is the most impressive. As it turns out, he is the person most grounded in reality–and the hidden hand behind everything.

Everything has the expected MGM gloss–extravagant costumes, beautiful sets, excellent photography. Highly recommended.  Review by me.

Here’s a few photos:


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Personal Property, 1937, Is Playing on TCM on October 24 at 4:30 a.m. (USA)

Personal Property, 1937, is playing on Turner Classic Movies on Tuesday, October 24 at 4:30 a.m.

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Robert Taylor, Jean Harlow and Reginald Owen

I’m a sucker for this movie. I’ve watched it many times and never fail to enjoy the excellent visuals, the superior acting and just the general silliness of it all. Robert Taylor is wearing much too much makeup but looks great anyway, especially in the bathtub scene!  Harlow’s cough is real and is a sad reminder of her fatal disease. The hat “business” with the bailiff is truly charming as is Raymond’s reaction to the news that the bailiff is expecting a baby that night. The centerpiece is, of course, the dinner party. The superb timing by all the actors pulls off a series of sight gags (pepper in the cocktail, the over-filled wine glass, the missing dinner, the dressing). I especially like the interaction between Raymond and his mother. It seems so natural. Highly recommended.  Review I wrote for Amazon.com.

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Jean Harlow and Robert Taylor

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Westward the Women, 1951, Is Playing on TCM on October 14 (USA)

Westward the Women (1951) is playing on Turner Classic Movies on Saturday, October 14 at 3:45 p.m.

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Robert Taylor and John McIntire interview the women who want to go west.

John McIntire approaches wagonmaster Robert Taylor with an interesting job and challenge. He wants to bring brides west to the settlement he’s founded in [California]. Taylor hires on a bunch of hands to escort the women and issues a no fraternization policy. When one of them tries to rape [a woman], [Taylor] shoots him out of hand. It’s the unsettled frontier and as wagonmaster he’s the law on that train as much as a captain on a ship at sea. Of course the hands mutiny and strand Taylor, McIntire, cook Henry Nakamura and the women.

This was a perfect western film for the post Rosie the Riveter generation. No reason at all why women couldn’t deal with the rigors of a wagon train. Of course it helped to have the formidable Hope Emerson along.

Of course men and women will be men and women and Taylor breaks his own no fraternization policy with Denise Darcel. Of course this is away from the train when Darcel runs off.

William Wellman delivers us a no frills unsentimental western with gritty performances by Robert Taylor and the rest of the cast. In a bow to his colleague John Ford, Wellman does have a courtship dance at the settlement. I liked the use of the fiddle music playing “Believe Me With All Those Endearing Young Charms” and “Drink to Me Only With Thine Eyes.”: Ford couldn’t have staged it better.

Henry Nakamura had made a big hit in MGM’s “Go For Broke” about the Nisei division in Italy. He was a funny little guy, I’m not sure he was even five feet tall. I loved the scene when he and Taylor find a stash of buried liquor and proceed [to go] on a toot. This was his last film though, roles for Oriental players were hard to come by. I wonder whatever happened to him.

If you like traditional cowboy films, this one ain’t for you, but given the constraints of 19th century society for the role of woman Westward the Women is quite a revelation. Review by bkoganbing from Buffalo, New York for the IMDb..

Some behind-the-scenes photos:


Polly Burrows and Robert Taylor; Mr. Taylor with sound technician Voss.

Voss sound technician
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Camille, 1936, Is Playing on TCM on September 18th (USA)

Camille, 1936, is playing on Turner Classic Movies on Monday, September 18th at 2:30 p.m. est.

This is the love story of all love stories and shouldn’t be missed.

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This film further proves that the assembly-line system of Hollywood studios back then should also be taken seriously in terms of artistry. Just because movies were produced run-of-the-mill doesn’t mean that they weren’t paid critical attention to by their makers. The usual impression on studio-era Hollywood is: take a formulaic narrative style, maybe adapt a stage play for the screen, blend in a handful of stars from the stable and the films rake in the profit at the box office. Not quite, that’s the easy perception. George Cukor, another of those versatile directors, made it apparent with Camille that filmmaking as an art may still flourish despite (and even within) certain parameters. Camille is beautiful, in so many respects. And it’s not just because of Greta Garbo.

Sure, the acting is amazing, the casting is perfect. Garbo is luminous, mysterious, cruel, and weak at the same time. Robert Taylor surrenders himself to be the heartbreakingly young and vulnerable Armand. Henry Daniell’s coldness and sadism is utterly human and familiar. The others are just plain wonderful. The writing contains so much wit and humor, devotion and pain – but it never overstates anything. The rapport and tensions between lovers, friends, and enemies are palpable and consistent. The actions flow so naturally, just like every scene, that checking for historical inconsistencies seem far beside the point.

There is so much that I love about Camille that it’s hard to enumerate them all, but with every little discovery comes the realization that this is “but” a studio production, so it makes the experience more exquisite. Camille is a gentle, poignant romantic movie that, like Garbo, takes its place delicately and self-effacingly in the history of American cinema, but makes itself indelible in the heart and mind of the lovelorn individual viewer. Review by tsarevna for the IMDb

Behind the scenes photos from Camille: The heavy set man in several pictures is Director George Cukor.

He also plays baseball-in costume on the set.
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1936

Making Marguerite’s dresses:

1936: A dressmaker working on one of Greta Garbo’s dresses for the MGM film ‘Camille’ which were designed by Adrian. (Photo by Hulton Archive/Getty Images)
circa 1936: Seamstresses at work cutting and sewing a dress to be worn by actress Greta Garbo in the film ‘Camille’. (Photo by Hulton Archive/Getty Images)
circa 1936: Seamstresses working on a dress to be worn by Greta Garbo in the MGM film ‘Camille’. (Photo by Hulton Archive/Getty Images)
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