Edie Adams

[The Unknown Libertarian]

This one was taken a few seconds after the previous one.

[johnbear]

[johnbear]

[johnbear]

[cuzzyman927]

[The Unknown Libertarian]

Here's an improved version of one of the images from the previous post.

[johnbear]

https://www.imagebam.com/view/GA5ZBT

[Findcandor]

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From THE HONEY POT

Member "The Unknown Libertarian" wrote in his Post #19 from 2016: "It's a Mad, Mad, Mad, Mad World is my favorite movie, but I can barely concentrate on the action when Edie Adams is on the screen because she is so mesmerizing." When I watched that film (one of my favorites, too) as a kid, I fell in love with Edie Adams. What a beauty, indeed. Then I discovered there was more to her than her looks (in Mad World, there wasn't much for her to do, as she basically played straight man for her screen husband, Sid Caesar); she was a bundle of talent, excelling in comedy, impersonations, and singing.



One thing is for sure; that Ernie Kovacs (pictured with Edie Adams, above), whom Edie was hitched to from 1954 until he died in 1962, and of whom Edie felt, "I don't know what this is, but it's for me," was one lucky sunuvabyatch.


This was the photo Edie picked for her
Twitter account, still up and evidently
still maintained. Her site is also still up:
edieadams.com. She died in 2008, aged 81.

It was not my intention to prepare a post for Edie, but I had dug up Lover Come Back (1961) for reference in reference to another VEF post, and I planned on putting up the photos of this snazzy woman. Then I ventured by this VEF thread of hers, and noticed the film had been covered pretty nicely, first by Member "Womwam" in his Post #7 from 2013, and then even more extensively by Member "Rlg118" in two posts, Post #14 and Post #15. Although I had in mind to snip frames that I'm noticing haven't been covered, there are two I had already snipped that luckily were not covered. Let's get these out of the way:

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Now if I may share observations from the thread...

Originally Posted by bub3

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I was very pleasantly surprised to learn from Bub3's 2015 post that Edie had appeared as the sexy Daisy Mae from the stage production of L'il Abner, and that first shot (see above) he presented is a marvelous one. The two supplementary photos are from Member "Cuzzyman927"'s Post #25, seen three posts up. (EDIT: Replaced the "lying down" middle photo with another variation found on the web.)



As I wasn't sure which production these unidentified photos came from and wanted to learn, I discovered these further views (only to later notice Cuzzy had presented two in his post; at least I reworked the middle one). (EDIT: Ditched both, and am presenting other views, with thanks to this site. The third photo below shows the two leading actors' recording session for the cast album.):


According to this very informative blog, Edie first appeared in this Broadway play in 1956, lasting almost 700
performances until 1958, and then the team went on tour until 1959. Edie won a Tony Award for her
performance. Fellow playing Abner was quite a specimen of manhood, named Peter Palmer. He would get
the part in the 1959 film version, Palmer's first screen role, although worried that Rock Hudson would be
cast. That famous stick-in-the-mud, sexy Tina Louise, did not wish to be cast in her role of the lady
(Appassionata Von Climax) whom Abner leaves Daisy for, which turned out to be a boon for Stella Stevens,
in her first role that garnered her attention. Jerry Lewis, who played a cameo, was smitten by Stevens,
and she would go on to appear in his classic film, The Nutty Professor. Both Edie Adams and Charlotte Rae
(from The Facts of Life TV show; she played Mammy Yokum) were not into reprising their roles for the film
(and they were pregnant besides), so an actress named Leslie Parrish ended up as Daisy Mae. The film also
featured Julie Newmar as Stupefyin' Jones, and Julie indeed managed to render men into stupid idiots.

Also of interest was a record album cover that Cuzzyman927 found, and was later reworked by The Unknown Libertarian in the next post (two posts above). I found this other (and sharp) image, followed by the songs printed on the album:



This vinyl record was released in the still somewhat repressed year of 1959. Can you imagine? The photo of Edie that was used on the cover made no secret of advertising Edie's feminine charms in a most blatant fashion. This was undoubtedly a decision by the executives, but I can't help giving Edie Adams credit for her coolness, anyway.


The image seen below (from Beutelwolf, flattening the viewer with such impressive cleavage, was — as no one could dare argue — extremely stirring. It was identified as having originated from a men's magazine, although curiously, VEF's famous paludicolous paravant had presented a variation of the same photo two posts earlier, that you may see as the second image below.

Originally Posted by beutelwolf

..........
Men Only, May 1967

Upon looking up "venedig sehen und erben" (which translates as "see and inherit Venice"), this image turned out to be from The Honey Pot (1967). Although I haven't seen this film, I'm picking up that it was very witty and otherwise well done, although it did not succeed at the box office (perhaps because murder mysteries were not in vogue at that time).



Starring Rex Harrison (nicknamed "Sexy Rexy" although I don't see why he would have merited that distinction, and why he and fellow Briton David Niven kept getting cast in debonair parts where they were irresistible to women, particularly in their later years), as well as the wonderful Capucine, playing a princess, and Susan Hayward (with secretary Maggie Smith), who along with Edie Adams as a movie star, are tricked by "Rexy" to a reading of his will, not knowing that the assets were bequeathed to a struggling actor (Cliff Robertson) who has been hired to pose as the butler, so that Rex may enjoy a good laugh at the expense of these three lovers from his past.



Then there is a murder. I dug up these views from the trailer for the film:




Regarding second row's first two photos, an IMDb commenter opined: "I enjoyed the movie, in particular one moment that was rare to see in any film of that period. Harrison has invited his three would-be heirs to come to dinner. Hayward (accompanied by her secretary Smith) comes in first. While they are talking to Harrison and Robertson, both Adams and Capucine show up at the doorway. Neither is willing to let the other go in first. They end up pushing into each other through the door frame into the dining room, thoroughly uncomfortable — but at least neither was forced to wait for the other to make the first move."





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[Findcandor]

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Presenting "Li'l Abner" views for the respective threads of Julie Newmar and Tina Louise (who both appeared in the 1956-58 Broadway production; only Julie would go on to reprise her role in the 1959 movie) led to the digital archives of the New York Public Library, which uncovered some of these further images of Edie Adams as Daisy Mae.


Daisy Mae, from the comic strip, Li'l Abner, and Edie's rendition.



The other performers in the second photo are William Lanteau and Charlotte Rae.




(Charlotte Rae, who appeared as the den mother in the 1979-86 TV sitcom The Facts of Life, played Mammy Yokum in the play... some three decades earlier.)




EDIT:
After reviewing my post half-a-day later, it struck me. The producers of the play and the movie went out of their way to be true to the original iconic characters. This degree of devotion and respect was obvious already, but seeing the photo (second one, third row above) of Mammy Yokum beside Daisy Mae made this point especially clear. In the comic strip, Mammy was short. The ones behind the casting made sure to assign the role to Charlotte Rae, not just because she was a performer with quirky abilities (Mammy was, shall we say, an eccentric) but because she was five feet tall. Edie Adams was half-a-foot taller, besides being blond and beautiful, as the Daisy Mae character required for her to be.

This devotion to be true to iconic characters is completely out-the-window, these days. Old-school Sam Raimi, as a fan of the comic, did an excellent job of selecting actors to resemble the characters (both externally and internally) in the first three Spider-Man movies. (His greatest coup was in the casting of Gwen Stacy, the spitting image of her design from the comics.) Studio interference and the peculiar ideas of the "suits" reportedly forced Mr. Raimi to bow out.


Here is a silly article from Cosmopolitan magazine responding
to the height difference between Tom Holland and Zendaya.
Their angle was that stressing so was "misogynistic." No one
was saying a tall woman can't be matched with a shorter man
(and such a point would have instead been "misandristic,"
since the man would be at fault for not being tall enough, as
society requires men to be). The point is that Mary Jane is not
supposed to be taller than Spider-Man.

The idiots who took over the franchise then had to show how "creative" they could be. They cast, first, the lovely Sally Field, and then the sexy and spunky Marisa Tomei, as ancient and frail and kindly Aunt May. In the latest variation (with Tom Holland as Peter Parker, who at least wasn't ruined too much; yet Spider-Man, famously a lone wolf, was ruined once made to play second fiddle to the Avengers), big blond bully Flash Thompson became a short Indian (I thought from India, but looking him up now, the actor is of Guatemalan descent. Since "ethnic," Flash's character could no longer be as mean), and redhead Mary Jane, whose character was spirited ("go get 'em, tiger") and of average height became the gloomy and multi-racial outcast, played by the towering (at 5'10") Zendaya. Don't get me started on the villains. The worst was Rhino (luckily featured briefly) as a machine, operated by Paul Giametti.

If you want to make a movie about a tough Black woman as a secret agent, that's great. Just don't name her "007."







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[womwam]

Lover Come Back


Muriel Cigars


Des O'Connor