It’s wonderful to see Ann Sothern in a genuine glamor photograph, and who better to do it than George Hurrell, the wonder of the glamor lens at MGM?
The lighting on Sothern is quite complex. A key light comes from her left and divides her face in two. Then another light comes from her right but higher up, highlighting her bosom. There is no accent light from above and behind her to give her hair some separation from the background, and this seems to me a mistake. In addition, dividing her face in two to create mystery may have been a goal of Hurrell’s, but this serves only to make her expression look hard. Then there is the representation of a zebra on the wall behind her. It makes the overall composition seem overly busy. And the highlighted side of her face seems to be in the wrong register, not quite light enough to be in key with the highlighting of her arms. The pose is very sexy but then there is the problem of that dark sash about her waist. It seems stolen from the wardrobe department to add a last minute something-or-other effect. It doesn’t work. Who did this? Ann? Hurrell? A costumer? The dress designer? ‘Tis a puzzle.
Despite these missteps, however, Ann commands your attention and convinces you of her allure and beauty. Where did you come across this one, John? It’s great to see such Hollywood artifacts. Thanks.
thanks again for the wonderfully descriptive comment. When I first saw this photo I must admit I was taken back since I was only familar with Southern from a sit-com she did many years ago called “Private Secretary”with character actor Don Porter. The show I believe was on in the early to mid 1950′s though I only remember seeing it in syndication in the 1960”s. Hurrell’s photograph shows a completely different side of the lovely lady,
It’s wonderful to see Ann Sothern in a genuine glamor photograph, and who better to do it than George Hurrell, the wonder of the glamor lens at MGM?
The lighting on Sothern is quite complex. A key light comes from her left and divides her face in two. Then another light comes from her right but higher up, highlighting her bosom. There is no accent light from above and behind her to give her hair some separation from the background, and this seems to me a mistake. In addition, dividing her face in two to create mystery may have been a goal of Hurrell’s, but this serves only to make her expression look hard. Then there is the representation of a zebra on the wall behind her. It makes the overall composition seem overly busy. And the highlighted side of her face seems to be in the wrong register, not quite light enough to be in key with the highlighting of her arms. The pose is very sexy but then there is the problem of that dark sash about her waist. It seems stolen from the wardrobe department to add a last minute something-or-other effect. It doesn’t work. Who did this? Ann? Hurrell? A costumer? The dress designer? ‘Tis a puzzle.
Despite these missteps, however, Ann commands your attention and convinces you of her allure and beauty. Where did you come across this one, John? It’s great to see such Hollywood artifacts. Thanks.
David,
thanks again for the wonderfully descriptive comment. When I first saw this photo I must admit I was taken back since I was only familar with Southern from a sit-com she did many years ago called “Private Secretary”with character actor Don Porter. The show I believe was on in the early to mid 1950′s though I only remember seeing it in syndication in the 1960”s. Hurrell’s photograph shows a completely different side of the lovely lady,
Well, John, she’s certainly jogged the blood pressure of many over the years, and Hurrell is an artist par excellence.
Agree with you 100% and she could be funny too! Thanks again!