A bored socialite experiences the redemptive power of love when she meets a doomed wanderer. Designed to look like a series of surrealist canvases, Pandora is played by the Exquisite Tarheel, Ava Gardner. The Ava Gardner Museum will display a selection of photos, lobby cards and other artifacts before the screening.
Pandora was directed by an unusual man, Albert Lewin, Harvard graduate, Ph.D candidate (all but dissertation), an expert on art history and a friend of surrealists Man Ray and Max Ernst. He arrived in Hollywood as a script reader and rose to be Irving Thalberg's assistant at MGM. He was working there in 1930 when Luis Buñel arrived in Hollywood to work for the studio. Someone there saw L’Age D’Or and thought the leading actress, Lya Lys might become another Garbo. She didn’t. Buñel was invited because the studio assumed he was her lover, and put him to work on the Spanish language versions they made of their hits at the dawn of the talkie era. What experiences did Lewin and Buñel share? Since one spoke only English, and the other only Spanish, it may have been a missed opportunity for kindred souls.
Lewin was a maverick at MGM. But he was allowed to make a few very personal films, influenced by classic literature. One was The Picture of Dorian Gray, in which the portrait, itself, by Ivan Albright, is in the collection of the Chicago Art Institute. Pandora was Lewin’s first original screenplay, portraying his “consuming obsessions, myth, magic, beauty, sexual obsession, decadence, the nature of art and the cruelty of love” (Server 191). His script referenced surrealist André Breton’s philosophy of irrational storytelling, and the blurring of the real and unreal. He needed an actress kin to a goddess for the leading role, and first thought of Greta Garbo. But, eventually he decided on Ava Gardner. In the script, Pandora was described as “’Complex, moody, restless with the discontent of a romantic soul which has not yet found the true object of her desires’ Ava said, ‘It is almost me.’” (Server 192).
Lewin was a collector of surrealist canvases, and consciously tried to evoke the atmosphere of surrealism. “It was therefore, for me, natural to try to make a deliberately surrealist film. This desire took form in Pandora. The surrealist habit of juxtaposing old and new images, which is particularly noticeable in the work of Giorgio de Chirico and Paul Delvaux, has always disturbed me. I found in the character of the Flying Dutchman, who was condemned to live for several centuries, a symbol of this juxtaposition of periods.” (Matthews 45). The surrealists would have approved, especially since even the posed stills from the film evoked surrealist canvases.
Ava posing for Man Ray, the painting was never used in the film.
Surrealists were obsessed with how the proximity of unlike objects created new realities. The paintings of Paul Delveax explored this irrational juxtaposition, much like the more familiar canvasses of Rene Magritte. Delvaux landscapes often incorporate the figure of a woman with illogical intrusions. Perhaps a locomotive steams towards the bedroom. These questions are meant to make the viewer laugh, perhaps, but also to think.
The whole film grew out of one image, that of a fire-ball moving quickly in front of a statue of a Greek goddess standing in the sand. Lewin insisted on retaining this de Chirico-like image in spite of his backers’ protest. The scene of the men in evening dress dancing with girls in bathing suits to “You’re Driving Me Crazy” in a tableau he considered “erotically arranged” amongst the statuary contributes strongly to the surrealist mood of the film. The surrealists believed in the redemptive power of love, also strongly evoked in the film.
Posing as if in a Giorgio Di Chirico canvas.
Ava Gardner arrived in London for wardrobe and camera tests, with the great Jack Cardiff, who photographed Black Narcissus and The Red Shoes. She instantly fell in love with the city she would one day make her home. Soon she would travel to Spain, and to the fishing village of Tossa de Mar on the Costa Brava, 80 miles north of Barcelona. Today, a busy resort, in the 1950s the picturesque town resembled an untouched paradise. The deep blue Mediterranean, pale sand beaches, and lovely houses seemed as if they were designed for the film, but it is all real. There were actual Roman ruins in the village and on the grounds of the mansion rented for filming. Marc Chagall was fond of the town, and it was near Salvador Dali’s birthplace; the artistic atmosphere pleased Lewin’s aesthetic sense.
Spain cast an even greater spell over Ava than London had. She loved the passionate romanticism of the flamenco, the music, the food and wine, and especially the bullfights and bullfighters. Lewin was infatuated with Ava’s beauty. Jack Cardiff remembered, “Lewin thought Ava was a goddess. He thought she was the most beautiful woman in the world, and he used to just gaze and gaze at her. And we would shoot her, and he would say, ‘I want to do another close-up. Closer’ And we would do that. And then would say, ‘Let’s do another one. Different angle.’ Then one more, ‘Closer’ And on and on like that. It became that all we were doing was close ups of Ava Gardner’s face. He couldn’t stop himself’” (Server 197).
Lewin and Gardner on location.
Sheila Sim, who plays Janet in the film, said, “As an actress, she was rather nervous. She did not have great faith in her talent, actually. And, I think she was a much better actress than she was given credit for, but I think she had a problem in that he beauty was so distracting to people you couldn’t concentrate on her performance. I have never known anyone so beautiful. A totally beautiful figure and face, whatever she was doing, or whatever clothes she was wearing, totally, absolutely lovely. And, she moved so beautifully, had an instinctive gracefulness, fascinating to watch. She was very talented in many ways” (Server 197).
Ava insisted on doing her own swimming in the nude in the icy Mediterranean. Although American censorship would not permit the sight of her naked form, Ava found the scene intriguing from a surrealist point of view, as well encouraging as her contrary streak, as the scene challenged the Production Code.
This fan magazine photo is from a movie star scrapbook dated in the first few years of the 1950s--almost exclusively of female stars.
Cardiff recalled that working with Lewin was challenging. He had very specific compositions visualized for the film, homages to surrealist masters. But, filming on location, rather than in the studio’s controlled atmosphere meant there were many technical challenges, and the film began to run over schedule.
The filming days were long, and Ava enjoyed the evenings to the fullest. In the gypsy cafes, the drinking and dancing went on all night, and much to the frustration of the rest of the cast, Ava always looked perfect in front of the camera the next morning. She was in the middle of a fiery romance with Frank Sinatra, and back in the States, he pined for her, frustrated with the rudimentary communication in Catalonia. Ava had a fling with Mario Cabre, the bullfighter hired to play the matador in the film, even though she spoke no Spanish, and he no English. His flamboyant style in the ring made him a popular performer, with his pick of the local beauties. He was infatuated with Ava, serenaded beneath her window on the guitar and wrote indelicate poetry about their relationship, which he did not hesitate to share with the press. The word travelled across the seas, and shortly afterwards, Frank Sinatra arrived in Tossa del Mar.
Ava, hastily separated from Mario, insisted that they were just making a movie together. Set dresser John Hawksworth, had been sharing a room with the torero. “My bullfighter had no sense of humor whatsoever, and he was crazy for Ava, thought I think it was completely one sided. He as in a fury over Sinatra coming all the way from Hollywood to see her. And he said, --we spoke French to each other—‘when I see him…I am going to kill him.’ He was very serious sounding. And, the man had swords and knives all over the room. So, I went to Al (Lewin) and told him, I said, ‘We better be careful Al, because we could have a lot of trouble. This bullfighter is passionately in love with Ava, he means business.’ And Al said, ‘You’re right, it would not be good for one of our actors to murder Frank Sinatra.’” Out of town rehearsals for the bullfighting sequences commenced immediately. Sinatra stayed while shooting was suspended for rain, and he and Ava drank, fought and made up, and then he went back to the States, convinced that he and Ava were still a couple.
The bullfighting sequences were filmed at a ring in Gerona, Spain. The set dresser was dispatched to buy bulls, and bought the wrong kind, with long horns making the fight sequences particularly dangerous for Cabre. Because he had to fight without having the darts speared in the bulls back to weaken him, due to British censorship, which would not permit this portion of the fight to be shown, and because they had to lengthen the time he fought the bulls for as long as possible to get coverage for their shots, the match was exceptionally dangerous. Cabre said, “Perhaps today I am going to die for Ava Gardner” (Server 209). Afterwards, shooting was moved back to London for some interior scenes.
Critical reception was mixed, either it was a masterpiece, or a folly, with its evocation of de Chirico, Dali, Man Ray and Delveaux. A French critic admired Ava and a fit companion for Lya Lys of the Bunuel-Dali L’Age D’Or calling her “the greatest surrealist woman in the history of film” (Server 214).
Gardner and Mason between takes.
Sources include: Surrealism and Film by J H Matthews, Ava Gardner: Love is Nothing by Lee Server, Ava: A Biography by Roland Flamini http://www.oddthingsiveseen.com/2011/08/picture-of-dorian-gray.html Photos in black and white from Server: Lewin Collection USC Cinema Television Library.