My mission: figure out (finally) who this spectacularly costumed actress was from Madam Satan (1930), Cecil B. DeMille’s legendary and jawdroppingly bizarre sci-fi cheesefest. It’s a tough job, but, well…you know… (Thread) This particular character appeared in Madam Satan’s wild and weird production number “Ballet Mécanique”where dozens of dancers strut, writhe and leap as robotic generators and turbines, decked out in angular Deco costumes.

Jean Arthur and a Benda mask from an unusual photo session with Eugene Robert Richee, 1929. (Thread) Jean posing with another Benda mask from the Richee shoot for Paramount most likely in studio publicity for her role in The Mysterious Dr. Fu Manchu (1929) and The Return of Dr. Fu Manchu (1930).

Louise poses with “Dismal Desmond (the Doleful Dalmatian)” and “Bonzo” in 1928. Both stuffed toy canines were modeled on popular cartoon characters of the era. Photo by Eugene Robert Richee. (Thread) “Dismal Desmond” premiered as a short in 1926 which spawned its own foxtrot number. The name also became British slang for a miserable person.

Louise and Adolphe Menjou in a Swedish poster for A Social Celebrity (1926). (Thread) Louise, Menjou and Chester Conklin (R) in a French poster for A Social Celebrity (1926). Illustration by Maurice Toussaint.

Louise — in heels, of course — poses with Sally Blane (L) and Nancy Phillips (R) on the SoCal beach, 1927. (Thread) The three worked together on the lost college-themed film Rolled Stockings (1927) with Louise getting star billing and Sally (who also happened to be Loretta Young’s sister) receiving a credited role. Nancy went uncredited and never made another film.

Louise poses in costume with the visiting Iris Gray from the Paramount Picture School. The pic was taken on the Astoria studio set of The American Venus (1926). (Thread) Iris cuts the rug to the accompaniment of Marion Harris and Charles “Buddy” Rogers in a still from Fascinating Youth (1926). The trio were a few of the sixteen budding actors from The Paramount Picture School, a short lived strategy the studio used to find young, new talent.

Norma Shearer by George Hurrell, 1930. (Thread) More Norma by Hurrell for Let Us Be Gay (1930). The film came on the heels of Norma’s breakout (and Oscar-winning) performance in The Divorcée (1930). When Norma found she was pregnant just prior to the shoot, the film wrapped in just 26 days. She certainly looks radiant:

Kay Francis by George Hurrell for Passion Flower (1930). (Thread) Another lovely take of Kay by Hurrell. The monogram “DM” is for the name of her Passion Flower (1930) character, Dulce Morado.

“The Twistum Toy is the latest fad among the stars of Hollywood. Here is Myrna Loy, of the Warner studio, with one of the new pets.” — Myrna #botd, in an early publicity photo, 1926. (Thread) Myrna not only did publicity photos for the wooden Twistum Toy company — presumably at the behest of Warner Brothers — she also appeared in the Oakland, California company’s print advertising:

Marjorie Brandon appears to be looking for divine guidance upon realizing that her costume for Hips Hips Hooray (1934) might prove to be something of a challenge. (A Saturday Night Thread) Marjorie finds strategic use of her matching leopard skin purse in photos for the very pre-Code Hips Hips Hooray (1934). At least they gave her a belt in one photo (L):

Dancer-turned-actress Eleanore Whitney in a Paramount publicity photo shortly after she signed with the studio in 1935. Saturday mood. (Thread) Trivia: Eleanore’s uncle was Adolph Zukor, founder of Paramount, and the connection no doubt got her a Hollywood contract. But she never rose above minor roles or star turns in fluffy B-movies. Here she shows her impressive tap skills in 1936:

Fay Wray “dancing the pounds away” in a publicity photo by Eugene Robert Richee, 1930. (Thread) “American leading lady Fay Wray demonstrating one of the types of dance popular with Hollwood actresses which help produce a slender figure and keep fit, also improving balance and poise.” — Paramount publicity copy

Detail of Louise posing in the altogether (except for heels, of course) in this provocative early 1925 photo by Ziegfeld Follies photographer Alfred Cheney Johnston. Even when wearing nothing, it’s Louise’s posing of her hands that always provides an intriguing focal point. Full image. “I am not playing the hypocrite...I am not the least bit ashamed of my chorus girl days...(But) since I have changed my profession I must change my standards of modesty.” — Louise in a 1926 interview about her “artistic” photos after she had signed with Paramount