GlamisCastle, one of the most hauntedcastles in GreatBritain, was the talk of Europe during the second half of the 19thcentury. The castle was connected with tales involving secret passages, hidden prisoners, initiation rites, and shadowyfigures seen on the ramparts late at night. The secret was apparently so extraordinary that only three people were ever allowed to know it at one time: The Earl, the Earl’s heir (after he reached his 21st birthday), and the estate manager, known as a factor. Many suspect that the mystery died with the 14th Earl; however, visitors cannot deny the chilling atmosphere felt in the Castle, especially in the lonely hours past midnight. The first ghost that was said to haunt the castle corridors was that of LadyJanetDouglas. Caught up in regional politics, Lady Janet was accused of poisoning her husband (the 6thLordofGlamis) and ultimately was convicted ofwitchcraftin 1537. She was burned at the stake in Edinburgh. The spirit of Lady Janet is said to favor the castle’s clock tower. Yet the most famous legend of GlamisCastle is that of an unknown prisoner, often referred to as a monster, held in a secret hidden chamber . The MonsterofGlamis has been described as deformed, hairy, ‘a human toad,’ and always terrifying to behold. Some witnesses claim to have seen the strange creature’s shadow as he prowled the battlements late at night. One story tells how a castle workman unexpectedly found a door that led to a long, unfamiliar passageway. Walking along in eerie silence, the man is said to have seen ‘something’ at the far end of the passage. He fled and immediately reported his encounter to the factor. He was promptly urged to emigrate to Australia.
Both had modest beginnings. Norma Jean Mortenson was the product of a broken and dysfunctional family in working class Los Angeles. The Corvette borrowed its frame, suspension, brakes, engine and Powerglide automatic from a 1953 Chevy sedan. Its “Blue Flame” six cylinder engine was an evolution of Chevy’s first six that was probably conceived about the same time as Norma Jean was.
Both hampered by expedient but damaging early choices: the Corvette’s feeble six teamed with the Powerglide and Marilyn’s nude pictures; youthful making-do with their given assets, innocent of their latent potential. But Americans are a forgiving folk, and in 1953, Marilyn finally found the right vehicle as well as a new on-screen persona for success in Gentlemen Prefer Blondes, her first big hit.
And in 1955, the Corvette finally found its ability to seduce gentlemen who prefer V8s, thanks to Chevy’sbrilliant new small block. One learned to act, the other to fly; both now hit their stride, right into the hearts and pants of mid-fifties America.
The Corvette and Marilyn both first entered my life on the very same day: August 29, 1960, just two days after we arrived from Austria. I was completely innocent of the existence of either of them prior to that fateful day. I first laid eyes on the Corvette while on a sightseeing tour of Manhattan, which already had my senses buzzing. An Ermine White ’57 was tooling down Park Avenue with its top down, alluring and seductive, and for the first time I experienced feelings that a car had never induced before. Up to then, my passion for cars had been strictly platonic. That very evening, Marilyn gave me an encore of that feeling, with that inimitable seductive look of hers emanating from the pages of a Look magazine. I felt myself sucked into a vortex of a foreign world I didn’t yet understand, but wanted to, badly. While the rest of my family struggled with the strange surroundings, a foreign language and jet lag, I was already head over heels in love with all things American, thanks to those two. America’s unlimited possibilities grabbed me by the balls I barely knew I had.
The Corvettecreated its legend thanks to its most obvious assets: sexy looks and a red-hot V8. That engine’s full potential was unleashed by its new performance coach Zora Arkus Duntov and his magic camshaft. In 1957, when the new 283 cubic inch engine was blessed with fuel injection, its 283 horses feeding through a new four-speed transmission and the right rear axle numbers vaulted the fiberglasstic ‘Vette to untouchable performance: Zero to sixty in 5.7 seconds, and the quarter mile in 14.3 seconds at over 90 mph. Unbelievable numbers for a streetable and affordable production car; it would be a decade and another hundred cubic inches before they were bettered. The Corvette went racing, racking up an impressive record against the exotic semi-production European sports-racing cars. Once the Corvette was given the right parts, it became a credible and world-class competitor.
Marilyn discovered the Actor’s Studio the same year that the‘Vette found its V8, and she broke through to new levels in her performances thanks to acting coach Paula Strasberg. They unleashed new levels in her performances, earning her a nomination for a Golden Globe that year for Bus Stop. Once dismissed as lightweights by Hollywood and the racing world, both were now firing on all their cylinders, thanks to the right parts and proper coaching.
Although darlings of the moment, they both couldn’t fully escape their intrinsic limitations. As stylish as the Corvette’s cockpit may have been on the Motorama stands in 1952, when it came to actually living with one, its ergonomic shortcomings were all too obvious. That delicious big wheel was practically in your face, the instruments were more about looks than being intelligible, and the Corvette’s ride, braking and real-world handling were anything but effortless. Their shortcomings demanded unconditional love and devotion.
Marilyn’s temperament, insecurities and complexities were hardly the stuff of smooth rides and easy handling for the men in her life. Joe DiMaggio lasted a year before the bumps became unbearable; but he never quite got over her either. She got under men’s skin, in both definitions of those words.
Although the Corvette was capable of winning races with the right parts and preparation, that’s not to suggest that it was a world class sports car. Its crude underpinnings were hard to hide, even with that veneer of plastic fantastic. I spoke to a guy recently who bought a new Corvette in 1962, like this one, on a whim. He was heading to California from NY for a new job, and he figured he would treat himself for the drive cross the country,and recreate the Route 66 tv showwith him in the leading role.
He said it was faster than stink, but he sold it as soon as he arrived in LA; the harsh ride, primitive handling, crappy brakes, and lack of creature comforts just didn’t wear well with him. It was a short, intense, but exhausting fling, and he traded it in on…damn; I can’t remember, but it was something from Europe, and it had a proper suspension, brakes and comfortable seats. Maybe even a Peugeot. But his eyes lit up as he remembered that wild trip in his Corvette.
It didn’t take long for Marilyn to find a new hubby, Arthur Miller. Although it lasted longer, Marilyn’s exhausting unpredictability, fits and intense mood swings made their marriage anything but a smooth ride. The Corvette and Marilyn extracted plenty of pain in exchange for their pleasures.
I was innocent of the Corvette’s crude underpinnings when I first fell for it in 1960. A cart-axle rear end suspended from a pair of leaf springs and rum brakes were looking mighty primitive compared to the complex IRS rear ends that Mercedes and Jaguar were showing off under their skirts. Never mind their disc brakes and OHC engines.
My eyes began to wander; innocence is so easily lost. By 1962, it was impossible to deny that the Corvette was past its prime.
Bill Mitchell, that master plastic surgeon, gave the Corvette’s drooping buttocks one of the finest lifts ever seen: a delightfully crisp new ass for 1961, borrowed from one of his shark-inspired concepts. It may have distracted the eyes from what was hidden beneath it, but that was the extent of it. despite the years, Marilyn’s own rear was aging better, even without intervention.
That’s not say everything was hunky-dory with Marilyn, by any stretch. A troubled beginning is hard to shake off, and she was much more intelligent, complex, and idealistic than her carefully-cultivated public persona might suggest. She was praised by actors and directors alike for her talents and comic genius. Marilyn was not the blond bimbo she played so perfectly. But she was trapped by her creation and the public’s expectations.
Her last movie, “The Misfits”, is a true gem, and in it she finally breaks out of her typecast to a considerable degree, and embodies the forces of social change that were just starting to swirl about. Marilyn and the Corvette were now parting ways. Her Misfits co-star,Clarke Gable, also in his last role, embodies the dying era of the rugged cowboy individualist, not unlike the rough and ready C1 Corvette.
The Misfits is about the great change that was in the air, the end of the era still associated with cowboys, hunting and male patriarchy. Marilyn represented the future: idealistic, humanitarian, environmentally aware, and…feminine.
TheC1 Corvette was nearing the end of its run, but at least it was injected with a burst of final-year energy, in the form of the brilliant new 327 small block. Now the Corvette had the best all-round performance engine in the world, and European exotic car manufacturers were lining up to buy it to power their Iso Grifos, Bizzarinis, and the like. But the original Corvette’s time had run out, and in the fall of 1962 the new1963 Sting Rayinherited the ’62 Vette’s tidy tail and the 327 but little else, to finally take its place among the world-class sports cars of the day.
By all accounts, the upcoming sequel to “Top Gun” will serve up an unprecedented thrill ride courtesy of innovative cinematography and acting performed under perhaps the most extreme conditions — while pulling Gs.
Director Joseph Kosinski’s (“Oblivion,” “Only the Brave”) decision to put IMAX cameras in the cockpit of a Super Hornet showcase CGI-free in-flight sequences featuring actors physically in the aircraft bolting through frames of stunning terrain and low altitude.
Trained pilots, of course, were at the helm (off-camera).
“I said to the studio, ‘You don’t know how hard this movie’s going to be,” Cruise told Empire. “No-one’s ever done this before. There’s never been an aerial sequence shot this way. I don’t know if there ever will be again, to be honest.”
But before the actors could climb into the cockpit of one of the world’s premier fighter aircraft, they had to prepare for the physical stress of what the job would entail. Putting the actors of the original Top Gun in the cockpit of an F-14 didn’t work very well, Bruckheimer said.
“They all threw up. It’s hysterical to see their eyes roll back in their heads…everything was done on a gimbal.”
So, Cruise, who has piloting experience and “can do just about anything in an airplane,” according to Bruckheimer, designed a bootcamp-style training regimen to get co-stars like Miles Teller and Glen Powell ready.
“When you’re pulling heavy Gs, it compresses your spine, your skull, it makes some people delirious,” Cruise told Empire.
“Some people can’t handle it. So I had to get them up to being able to sustain high Gs, because they have to act in the plane. I can’t have them sick the whole time.”
Cruise requested to pilot an F-18, Empire reported, but the Navy objected, perhaps cognizant that an actor at the controls of a Super Hornet could be the very danger zone Kenny Loggins always warned of.