Saturday, March 11, 2017

Celebrating Betty Hutton's Heart

By Mary Claire Kendall

Betty Hutton Annie Get Your Gun.jpg
Publicity photo of  Betty Hutton for Annie Get Your Gun

Now, like never before, America needs individuals of mettle and resolve.

Ten years ago today, one such person left this world. She played the brassy, gun-toting Annie Oakley in Annie Get Your Gun (1950), airing on TCM this coming Wednesday. Her name is Betty Hutton. And, while she is little known, her story is very relatable. 

She hit rock bottom when she became addicted to prescription pills while making The Greatest Show on Earth (1952) . She was dealing with multiple stresses: the dissolution of her marriage, work on this very challenging film and the need to lose weight given that “the skimpy circus costumes revealed everything,” as she wrote in her autobiography Backstage You Can Have

Dexamil increased her energy level while reducing her desire to eat. “An amphetamine, later known as street speed (it) was given out freely” at that time, she wrote. Unaware of the side effects, she rushed to the doctor to get a prescription for this “simple pep-me-up” that would also “control my weight” and increase self-esteem, making her, she wrote, “more sociable and quite self-confident.” But, the side effects were crippling.

Next up was Dexadrine, which the Air Force was giving its pilots to stay alert and focused on long missions. “If it was good for our men in uniform, it had to be right for me!” she wrote.  

Not. She had the delicate and sensitive constitution that enabled great performances, but was ill-equipped to roll with the pharmacological punches. And, so she fell down, down, down, after tearing up her Paramount contract in 1952 in a fit of pique. Then, one day, 20 years later, she looked up in the rehab center where she was recovering—having entered skin-and-bones, wanting to die. She saw this saintly priest checking in his bombed cook. And, she said, “He’s going to save my life.” So he did.

Her story was first told to me by the late A.C. Lyles, who was Ronald Reagan’s best friend, starting at Paramount Pictures. A.C. had made his way to Hollywood at age 18, and landed a job as Adolph Zukor’s office boy, rising fast, because he was good. Later, he was the first one to tell “Ronnie” he thought he would be president one day, but he ought to run for Governor of California first! Soon Reagan was changing his registration to the GOP, when a woman at a local gathering told him he sounded like a Republican. And, he asked A.C. to follow suit. The rest, as they say, is history. 

A.C. told me about how Betty prepped for the role of Holly, the trapeze artist

“Cecil B. DeMille was going to make a picture, The Greatest Show on Earth, about the Ringling Bros. and Barnum & Bailey Circus and the lead lady not only had to be a good actress but she had to be a good aerialist,” he said. (Sadly, Ringling Bros. is closing this year.) Betty was the former not the latter. “So she went to Stage 5 and talked to friends at Paramount and they did a rigging for her and she went there every day for 8, 10 hours, even down on weekends and she brought in… one of the premier aerialists of the world. Betty was there for weeks without anyone knowing because they locked the stage doors.” When she was ready to perform for DeMille, “She sent a big wreath of flowers… (about 8 feet tall),” said A.C. “And, she said, come to Stage 5, I have surprise. And DeMille went over to see” her act, which was “tremendous. She was actually a professional and he was just not only amazed but intrigued.”  

“So he gave her the lead,” said A.C. “And she got top billing above Charleton Heston and so many big, big stars and the picture won Cecil B. DeMille the Oscar.” (DeMille beat out High Noon and The Quiet Man, starring Gary Cooper and John Wayne, respectively.) “And, Betty was just great in it. She not only acted but she did all of those aerial stunts herself… which made it great for her role in the camera because you can actually see her performing.”

Today we celebrate Betty Hutton’s heart.  The kind of heart that will save our country.

***

Mary Claire Kendall is the author of Oasis: Conversion Stories of Hollywood Legends. She will appear on Rita Cosby’s show on WABC on Sunday, March 12, to talk about the stars she writes about in Oasis, which include Alfred Hitchcock, Gary Cooper, Bob Hope, Mary Astor, John Wayne, Ann Sothern, Jane Wyman, Susan Hayward, Lana Turner, Betty Hutton, Ann Miller and Patricia Neal. 


Sunday, February 26, 2017

Betty Hutton's Miraculous Recovery


Betty Hutton as Annie Oakley (Photo Credit: Betty Hutton Estate)

By Mary Claire Kendall
Child, never forget this moment—this happiness—not even if they’ve broken your heart and you’re trying to put the pieces back together again… you’ve a brave heart, child. And brave hearts, like all rare and fine things, are easily broken. 
—Miss Gibbs (Constance Collier) to Pearl White (Betty Hutton), The Perils of Pauline, Paramount Pictures, 1947 

Betty Hutton, glittering Hollywood star of the 40s, was born 96 years ago today, and died ten years ago this March 11. Hers would have been a tragic ending—like so many in Hollywood—but for a miraculous intervention.
All Heart
TCM host Robert Osbourne opened up his “Private Screenings” interview with Betty Hutton in April 2000, noting she was someone who wore her heart on her sleeve, to which she replied: “I like to make people happy. It does something to my soul.”
She was all heart—and, as a consequence, totally vulnerable.  It was the secret of her success—and her suffering.  This vulnerability—and strength—was revealed in a conversation, recounted for Osbourne, that she had with Al Jolson in 1936, when she was 15, visiting New York: “‘Mr. Jolson, I am so scared.’ And, he said, ‘Good, kid.  I throw up before each show.’ He said, ‘Betty, if you lose that, you’re through.’”
A Star Is Born
Betty got her first break closer to home in Detroit  with Vince Lopez’s Orchestra as lead vocalist.  But, she was soon back in New York at Billy Rosa’s Casa Manana, dazzling audiences—including Buddy DeSylva, who tapped her for Cole Porter’s Panama Hattie on Broadway starring Ethel Merman.  When Merman cut Hutton’s number, DeSylva confided to Betty he was slated to head Paramount production and promised to make her a star—if she would stick with the show.  She had film experience having made a couple of Warner Bros. shorts with Lopez in 1939 in which she was dubbed “America’s No. 1 Jitterbug” for her mugging and wild gestures.
In 1940, Hutton arrived in Hollywood, then a relatively small orange-tree-scented town, and signed a contract with Paramount the following year. Her trademark exuberant performance in 1942’s The Fleet’s In wrapped in bundles of talent and energy—“a vitamin pill with legs,” Bob Hope quipped—made her Paramount’s top female star almost overnight.
As her good friend the late A.C. Lyles, an 85-year Paramount veteran told me, her “Arthur Murray Taught Me Dancing in a Hurry” number “just exploded on the screen and… from there she just became one of the most important stars we’ve ever had at Paramount and made picture after picture after picture”—a dozen by 1950 including The Miracle of Morgan’s Creek (1943) and The Perils of Pauline (1947).
Along the way she became a hit recording artist with such chart toppers as Hoagy Carmichael’s “Doctor, Lawyer, Indian Chief”—one of the “great songwriters” who worked with her—and a popular live performer, as well.
“I just performed with all my heart,” is how she described her approach to Osbourne.
She epitomized the fresh, innocent American spirit: can do—“Oh, I couldn’t sing good, but, boy, I sure sang loud,” was one of her famous lines—and completely unselfconscious—“Gosh, Mom, isn’t that a lucky break” was her constant refrain.
It was, in fact, her mother Mabel’s unlucky breaks that sparked her entry into show business.
Betty with her mother and older sister
(Photo Credit: Betty Hutton Estate) 

Hardscrabble Early Life

Born Betty June Thornburg in Battle Creek, Michigan on Feb. 26, 1921, Hutton never knew her father; he had skipped town when Betty was two.
Her earliest memory—“like it was yesterday”—dated back to when, at age three, she spontaneously broke into song to distract a drunken man threatening to beat up her mother at the “Blind Pig” she ran during Prohibition. Soon, little Betty, joined by sister Marion, began belting out such favorites as “Black Bottom” at her mother’s Speakeasy—in constantly changing venues two steps ahead of the police.
In 1929, the family moved to Detroit to look for greener pastures.  But, life was hard and Mabel was hard drinking—forcing Betty to sing on street corners for “nickels and dimes.”
Her mother discovered Betty had real talent at age 9 when she sang in a school production—her first public performance.  As a result, according to reports, she started taking Betty around Detroit to perform for any group that would listen. Or, as Hutton told it, “I quit school when I was nine years old and starting singing on street corners because my mother was an alcoholic.”  Later, when her mother took her to see a Charlie Chaplin silent film, she thought, “I’m gonna be a star and my mother will stop drinking.”
Hutton reminisced for Osbourne that when they returned to Michigan for the Let’s Dance opening, her mother, seeing the extremely heavy police presence protecting Hutton, now “a big star,” humorously assessed their changed fortunes by quipping, “at least this time they’re in front of us.”
In 1950, Betty Hutton got the starring role and role of a lifetime in Annie Get Your Gun when Judy Garland was too exhausted to continue filming.

From Pinnacle of Success to Rock Bottom
Her 1950 success in this film version of George Gershwin’s hit musical about Annie Oakley should have paved the way for much greater success. But, as Hutton summed it up, Annie Get Your Gun “killed the performer in me.”  The whole experience, she said, “was the heartbreak of my life.”  While none of her pain was evident on screen—she projects a confident actress at the peak of her career—the cast and crew, she revealed for the first time in the Osbourne interview, were “terrible” to her.  MGM did not even invite her to Opening Night in New York.
Not coincidentally, De Sylva, who had firmly managed her career—the only one to do so—died of a stroke that same year and, in 1952, Hutton walked out of her Paramount contract. “Paramount was Betty’s security blanket,” said Lyles.  “And, when she left Paramount, she left a lot of her strength and a lot of her support.”  “She never really recovered from that in many ways,” he added. “Her career didn’t recover from it and she had all kinds of difficulties, which is sad—sad.”
In Paramount’s place were many gigs and hoped-for comebacks along with the painkillers she began taking after injuring her arm while filming Cecil B. DeMille’s Oscar-winning Greatest Show on Earth.
By 1971, two years after Garland, who had become a good friend on the Vegas circuit, died of a drug overdose at age 47, Betty Hutton—age 50, surveying four shattered marriages and a wrecked career—was on track for the same fate.
“I almost didn’t care anymore. I didn’t want to go on,” she told Osbourne.
Her mother had died in 1967 in a fire the same year Hutton declared bankruptcy. Soon Hutton found herself on the street in between living in seedy hotels, until one hotel, kicking her out, took her to this minister who agreed to care for her until she got stronger.
“All she had was a shopping bag with a few things in it,” said Carl Bruno, executor of her estate. “I’ll never forget it. She was in one of those leather coats that the women wore in the 70s with the fur collar.  And, it was all crinkled and peeling.  I mean it was really very sad. And, I had no idea who she was.” Worth $10 million in the 50s and early 60s, she had lost all her money.
Over five years, she regained much of her strength—and singing voice—and then got a gig performing Annie Get Your Gun at a dinner theater outside of Boston.  But, one night, while performing, she collapsed on stageher 20-year addiction to prescription drugs and hellish private life, conspiring against her with frightening finality in a seeming replay of Garland’s fatal downward spiral three years earlier.
Miraculous Intervention
“I was on so many uppers and downers there weren’t enough pills to put me up or bring me down,” Hutton said.  “I wanted to die.”  When she entered a Boston rehab hospital, the 5’4” star recalled for the Herald News, “I weighed only 85 pounds and looked more dead than alive.”
Then, something miraculous happened.
Ironically, it was 25 years after she had played silent screen heroine Pearl White in The Perils of Pauline, whose death defying feats were directed by George McGuire.  
On the verge of giving up, she looked out the window and was struck when she saw this priest calmly showing his ailing employee such affection and respect. And, she thought, “I’m going to meet that man. He’s going to save my life.”
The priest’s name was Fr. Peter McGuire. He was the pastor at St. Anthony’s Church in Portsmouth, Rhode Island. He had come to Boston to the same rehab facility, where he was checking in his cook, Pearl.
“He was a wonderful man,” said Professor James Hersh, Salve Regina University’s Philosophy Chair, who knew Hutton well. “I can see why she was so drawn to him…”
Fr. Maguire initially had no idea he had made any particular impression on Hutton.  He didn’t even know who she was.  But, the minute Pearl was well enough to converse, she asked about him and learned he was a saint who helped everyone.
Hutton knew salvation when she saw it and soon decamped to Newport—as far from the Hollywood limelight as anyplace.  As she said on Good Morning America in August 1978:
… if I hadn’t gotten (to Newport), I wouldn’t have made it.  They didn’t expect me to be super great here.  These people… took me in their homes, their little homes, and held me in their arms and kissed me and hugged me back to life.  And, that’s New England, boy.
(Photo Credit: Betty Hutton Estate)

“Thank God,” said Lyles, “for Fr. Maguire because he probably saved her life…  And, that was a period of hardship and work for her but it was a period that really, I think, saved her.”
Hutton, whose father abandoned the family when she was two, told Osbourne, “I never found me until Fr. Maguire…  I (was) the product,” she said, “like hamburgers, hotdogs…  Father said, ‘Betty, you’re just a hurt child.  Let’s start from the word go.’”
She lived at the rectory during her five-year long recovery—cooking, washing dishes, making beds, cleaning, and enduring this lowly role by pretending she was playing The Song of Bernadette.  In the process, she discovered “Christ is my heart” and converted to Catholicism.
In the early 80s, Hutton settled into a beautiful estate overlooking Newport Harbor and, for once in her life, enjoyed just being “Betty.”
“Her private life,” Hersh explained, “had been the source of so much pain that she was sort of setting it right. And, Newport was the place to undergo that transformation (and)… recapture who she was not on stage.”
The process was painful.
As Hersh tells it, one day in his Philosophy of Imagination course, they were discussing what Swiss psychologist Carl Jung calls “the shadow” where “right under the surface of the unconscious is an archetypal figure that everybody has that represents what he called our ‘inferior character traits’—everything that we work as individuals to overcome.”
“Boy,” said Hersh, “that hit home with Betty.”
For her class presentation, she disappeared and came back in tights with top hat and cane and “did a little soft shoe” singing “Me and My Shadow” a cappella.  “It was so tender,” he said, “because she was singing with tears just streaming down her cheeks.” The students, he said, were confounded. “But, I knew who she was and I knew what she had been through and seen her films and then to see her in this situation was an extraordinary experience.” 
Hutton described for him the “wall between her show biz experience (where she found happiness on stage) and the real world.”  It was obvious, he said, “she was looking for a father.”
“People loved her,” said Hersh.  “They really appreciated what she was as herself.”
One friend, who has remained anonymous, said “Betty loved the coming and going; the yachts, conjuring up images of her Hollywood days; the Canadian geese; the serenity of the water; and Newport Bridge in the distance, especially since it was designed by a woman.” And, she loved whipping up marvelous dishes from the Time-Life Good Cook series for dinner parties with close friends.
Fr. McGuire’s Tutelage
“Fr. Maguire,” Betty told Osbourne, “had the heart to understand me… he knew all the background of the alcohol.”  And, for the first time in her life, she said, she didn’t have to pretend she wasn’t upset.
“Father said, ‘Betty, you’re just a hurt child.  Let’s start from the word go.’”  As she recovered, Fr. McGuire led her to God. “He loved me, Bob.” He had “Christ’s love—it totally surrounds you… like… the wonderful men… Jesus said in the Bible he was going to leave… (whom) I had never met…” The Catholic faith gave her great peace and serenity. “I don’t move anywhere without the rosary because… I’m scared inside…  I’m never secure.  And, that’s the way you have to be, Jolson said.  You can’t give ‘em your heart if it’s not there, Betty.’”
Once she recovered, Hutton performed for Catholic gatherings and began to study under Fr. Maguire’s tutelage to master the grade and high school subjects she never learned as a consequence of leaving school as a child to sing.  “(He) taught me from the 9th grade (her highest grade) to the 12th grade.”’

New Roles
“In Newport,” Hutton told Osbourne, “with Father I began to work with all troubled people… If I can take a soul that nobody wants any part of and pull them up by their bootstraps; that is a joy.” Amazingly, she would have worked with residents of the old Paramount Theatre at 77 Broadway across from City Hall—alive with her films decades earlier, now converted into low-income housing and a Salvation Army Thrift Shop.
In September 1980, she returned to Broadway for the musical Annie, playing Miss Hannigan for two weeks.  Her grandchildren came to see her, which was “one of the great thrills” of her life, she told the Providence Journal-Bulletin.
Two years later, she performed at Capitol Records’ 40th Anniversary tribute, where she was the “emotional highlight,” the New York Times reported.  The following March, she starred in PBS’s Juke Box Saturday Night clutching the rosary Father Maguire had given her.
“God’s plan,” she told the New York Times, would determine her showbiz future.
God had other plans.
Fr. McGuire, she told Osbourne, had “put all these books in my hands and when I felt I was ready I said, Father, I want to go to college.  He said, ‘you’re ready now.’”
In September 1983, at age 62, Hutton enrolled as a student at Salve Regina University.  Just like in her films, Hersh said, Hutton had “huge childlike energy” and “loved learning… and threw herself into it.”
The following September, she was awarded an honorary doctorate, and graduated from Salve cum laude with a Masters Degree in Liberal Studies in May 1986.
(Photo Credit: Associated Press)

The day she graduated, May 18, 1986, she was “visibly nervous,” as she waited in the front row, the Providence Journal reported.  But once “at center stage, a beaming Hutton opened her arms, blew one smooth, small kiss and bowed to her wildly applauding classmates… Grasping the diploma with both hands, she kept her left hand clenched around a strand of green ceramic rosary beads (the ones Fr. McGuire gave her.) Before descending to take her seat, she lifted the diploma heavenward and raised her eyes in a silent gesture of thanks.”
After graduating, Betty taught drama at Salve, which she said, “was a neat job because then I could begin to give Betty to them—not just the commodity, the hotdog.”  She also taught at Boston’s Emerson College.
“Practically all the stars are in trouble,” she told priests she met in Rhode Island, as reported by AP.  “You happen to see me talking honestly to you. It’s a nightmare out there! It hurts what we do in our private lives.”
On July 8, 1996, Father Maguire—the father she never had—died, after battling diabetes and heart disease for years.  After his death, Hutton could not handle the pain of his absence. So, in March 1997, she moved to Palm Springs, where she lived until her death on March 11, 2007.
“The next time… there’s… thunder and lightning, that’s Betty raising hell with God,” about the movie she wants to make in heaven with Bing and the gang said Lyles at her memorial service.
A fitting image. For God, Lyles agreed, was always her best manager.
***
Originally published in Forbes on March 11, 2013, with first paragraph of this version, published February 26, 2017, appropriately edited. A much shorter version of this article, “Being Beautiful Betty,” was published in Newport Life Magazine in May 2009.  Additionally, the author wrote about Betty Hutton for Our Sunday Visitor and National Catholic Register in 2007 and 2011, respectively.  Betty’s story was included in “Oasis: Conversion Stories of Hollywood Legends,” by Mary Claire Kendall, published by Franciscan Media in 2015, and republished by Ediciones Rialp in Madrid in late 2016 under the title, “También Dios pasa por Hollywood.”

Friday, February 24, 2017

Oasis on York Street at Logos Bookstore

Front window, Logos Bookstore, 1575 York Street, New York, NY

Last night’s event at Logos Bookstore on York Street, Upper East Side of Manhattan, featuring Mary Claire Kendall, author of Oasis: Conversion Stories of Hollywood Legends, did not disappoint. 

Maria Cooper Janis at Logos Bookstore
After some brief introductory remarks (text shown below), Mary Claire turned the floor over to special guest, Maria Cooper Janis, daughter of Hollywood icon, Gary Cooper. (Mary Claire writes about Cooper, along with eleven other legends of Hollywood, in her book.)  
Mary Claire Kendall at
Logos Bookstore


Maria graced the audience with her elegant and captivating presentation in which she shared poignant stories and observations about her father and his journey of faith, especially in later years when it enabled him to become closer to “his girls” and to give back for all life’s blessings. And, she commended Mary Claire’s book.   

As Mary Claire writes in Oasis, in the words of Ma York, “Coop” realized “a little religion wouldn’t do him no hurt.” And, in fact, it did him and his family great good.  

Coincidentally, as Maria pointed out, the street on which the event was being held, was named after the title character in the film Sergeant York (1941), for which Cooper won his first Best Actor Oscar 75 years ago, almost to the day, as Mary Claire noted in her remarks and in her recent Catholic New York article 


Maria Cooper Janis with Fr. Bill Damroth

Attendees included, among many others, David J. Smith, Executive Director of  The Leo House, who recounted Mother Dolores Hart’s visit there, noting she will be coming again for an event on May 15. (Mother Dolores wrote the foreword to Oasis.) Also in attendance was Fr. Bill Damroth of St. Francis of Assisi Church in Newburgh, New York, who traveled some 90 minutes into the city just to come to this event and lend support to the author, expressing hope she would keep writing these stories of healing and recovery among Hollywoods stars. Interestingly, Fr. Bills great grandmother was a cousin of Thomas Mitchell, known for Gone with the Wind (1939), It’s A Wonderful Life (1946), High Noon (1952), for which Coop won his second Best Actor Oscar, and Stagecoach (1939), for which Mitchell won the Best Supporting Actor Oscar. 

Mary Claire Kendall flanked by Harris Healy III,
owner of Logos Bookstore (right), and his friend and
former classmate W. Douglas Dechert
from their days at St. George's in Newport, Rhode Isl
and
Mary Claire Kendall
with Fr. Bill Damroth

Mary Claire read from Oasis, including the entire Gary Cooper chapter and portions of the Mary Astor chapter. Then, she answered questions for about 20 minutes, noting that Oasis had recently been published in Madrid under the titleTambién Dios pasa por HollywoodLater, while meeting and greeting the author who signed numerous copies of Oasis and posed for photos, guests enjoyed delicious riesling and chardonnay wine from Lakewood Vineyards on Seneca Lake in Watkins Glen, New York, donated by Mary Claire’s father, Paul. (He grew up in nearby Cayuta, some four hours north of New York City, and a world away.)  

Mary Claire Kendall with Jeannine McCauley


Text of Pre-delivery Remarks preceding reading 
from Gary Cooper and Mary Astor chapters of
Oasis: Conversion Stories of Hollywood Legends
and introducing Maria Cooper Janis
By Author, Mary Claire Kendall
February 23, 2017, 7 PM

Three days before the Oscars we gather here in New York City at lovely Logos Book Store at the kind invitation of Harris Healy. (Thank you, Harris.)

Not exactly sunny California! The sun does still shine in California, doesn’t it?

Three years ago when I covered the Oscars, like now, it was raining cats and dogs, on and off, right up until 2 PM exactly, on Oscar Sunday, just as they opened up the red carpet to the stars at Dolby Theatre on Hollywood Boulevard.

God was surely smiling down on the stars that day. Say what you want, He hasn’t given up on them.  That’s a main theme in my book, Oasis: Conversion Stories of Hollywood Legends.

Mary Claire Kendall
Ten years ago, almost to the day, I started down this road.  In February 2007, I reached out to Betty Hutton. But she was not long for this world.  That summer, after Newport Life Magazine greenlit an article about the now deceased Betty Hutton, I reached out to her friend, A.C. Lyles. He was a legend at Paramount, having worked there since 1936—and before that at the Paramount Theater in Jacksonville, starting in 1928 at age 10! A.C. knew all the stars. Betty. Gary Cooper, who had helped A.C. get out to Hollywood. James Cagney, who, along with Ronald Reagan, were his best friends in Hollywood. And, Spencer Tracy. (A.C. said my next article should be about Spence and his son John. It was!)

And, before long, A.C. introduced me to Maria Cooper Janis, Gary Cooper’s daughter, who is here with us tonight, and to whom I so grateful for all she has done to help me on this journey.

There are so many to thank. At the top of the list is my late mother Claire who was the first one to suggest the idea for Oasis. (Ironically, today is the anniversary of her mother’s death two weeks before FDR was inaugurated!) So bittersweet. Though, as Mother Dolores Hart, who wrote the foreword to Oasis—sending bouquets of gratitude her way!—told me, she is HERE.

And, Gary Cooper is HERE. And, all the other eleven stars in Oasis—Mary Astor, Bob Hope, and the rest are HERE.

Relevant as ever.

You see, film is art and these stars were the masters of the medium.

This year is the seventy-fifth anniversary—almost to the day that Cooper won his Oscar for playing the title role in Sergeant York (1941). On February 26, 1942, Second Lt. Jimmy Stewart, dressed in his Army Air Corps Blues, presented his good friend “Coop” with the golden statuette for his moving performance in this classic film that mirrored America’s own indecision about whether or not to enter World War II. Stewart had won the year before for The Philadelphia Story (1940).

This year is also the 75th anniversary of Mary Astor winning the Best Supporting Actress Oscar for The Great Lie (1940).

First I’ll read from the Gary Cooper chapter and then after that a bit from the Mary Astor chapter.  

Friday, February 3, 2017

Three days before the 89th Annual Academy Awards

Don’t miss
Mary Claire Kendall’s
Book Reading and Signing of

Oasis: Conversion Stories 
of Hollywood Legends

1575 York Avenue, New York, NY 10028



Thursday, February 23 at 7 PM

Mary Claire will be reading from her chapters on 
Gary Cooper and Mary Astor, who both won Oscars 
75 years ago at the 14th Annual Academy Awards in 1942, 
for Sergeant York (Best Actor) and 
The Great Lie (Best Supporting Actress), respectively.


Special Guest:
Maria Cooper Janis

Oasis was published in Madrid just before Christmas 2016 under the title También Dios pasa por HollywoodIf you would like to purchase the Spanish version, please contact Logos in advance at 212.517.7292.  Thank you.




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