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Tuesday night we had a dinner at ‘21’ and on the way to see he did kiss me—and I don’t think either of us remember much what the show was about. We p… - Mary Astor
" "Tuesday night we had a dinner at ‘21’ and on the way to see he did kiss me—and I don’t think either of us remember much what the show was about. We played kneesies during the first two acts, my hand wasn’t in my own lap during the third. It’s been years since I’ve felt up a man in public, but I just got carried away. Afterwards we had a drink someplace and then went to a little flat in 73rd Street where we could be alone, and it was all very thrilling and beautiful. Once George lays down his glasses, he is quite a different man. His powers of recuperation are amazing, and we made love all night long. It all worked perfectly, and we shared our fourth climax at dawn. I didn’t see much of anybody else the rest of the time—we saw every show in town, had grand fun together and went frequently to 73rd Street where he fucked the living daylights out of me.”
English
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About Mary Astor
Mary Astor (born Lucile Vasconcellos Langhanke; May 3, 1906 – September 25, 1987) was an American actress. Her career spanned several decades and include her performance as Brigid O'Shaughnessy in The Maltese Falcon (1941). TOC
Also Known As
Birth Name:
Lucile Vasconcellos Langhanke
Alternative Names:
Lucile Langhanke
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Astor
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Mary Del Campo
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Mary Hawks
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Mary Thorpe
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Mary Wheelock
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Additional quotes by Mary Astor
My father often used to rebuke me by saying, "You're almost nine years old" (and then "ten," and then "eleven," and "twelve") "and you haven't learned a thing!" Well, here I was, fifty years old and I still hadn't learned a thing! My father's rebuke had always seemed to imply a promise that years, the very accumulation of years, would bring experience and understanding. So, at whatever age I was, I wished I were older. At seventeen I longed to be twenty-five. At twenty I wanted to be a woman of the world of thirty. At thirty I read that the French thought a woman did not reach full maturity of beauty and attractiveness until she was forty. Finally, at forty-five, I decided that the whole thing was a pack of lies. Where was the "serenity" that the years were to bring? Where was :"the cooling of passion's blood?" I realized that I, who leaned on so many people and things, had been leaning even on the abstraction of time.
As far as acting was concerned, I simply did what I was told. This I was good at. For too many years I had searched for cues as to my father's disposition and desires. And this ability called forth praise of "How beautifully she takes direction!" You bet I did! In silents the direction went on during the action: after the camera turned, I'd hear, "Now look at him, Mary—that's it—you can't believe it! Tears come to your eyes—reach out and touch his arm—gently, gently." The more experienced actors would refuse anything but the minimum of offstage cueing, like perhaps, "You hear the door slam," but I wouldn't have been able to carry a whole scene without help. Not because I'd forget what we had done in rehearsal, but because I was afraid I'd do it wrong. You see, I was "stupid"—I really thought I was—and that was the role I played in life. It was very safe.
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