Betty Grable was featured in a Maybelline Ad in the Sunday Paper doing a Before and After sequince while Grable was staring in Du Barry Was a Lady an Original Broadway Production in 1940. Grable was known for her million dollar legs posing as a famous Pin Up Girl during World War 11.
Betty Grable on the cover of Life Magazine December 11, 1939 - A Musical Comedy in Two Acts
Music and Lyrics by Cole Porter
Book by Herbert Fields and B. G. De Sylva
Tryouts began November 9, 1939 at the Shubert Theatre, New Haven
November 13, 1939 at the Shubert Theatre, Boston
November 27, 1939 at the Forrest Theatre, Philadelphia
Opened December 6, 1939 at the 46th Street Theatre, NYC
Transferred October 21, 1940 to the Royale Theatre
Closed December 12, 1940; Ran for 408 performances
In 1940 Grable was also featured in 20TH Century Fox Pictures "Down Argentine Way," as well as on this full page color Maybelline ad. Down Argentine Way (1940) Musical. Cast: Betty Grable's first leading role, and introduced Carmen Miranda to America. Don Ameche, The Nicholas Brothers, Charlotte Greenwood and J. Carrol Naish. Director: Irving Cummings. Producer: Darryl F. Zanuck. Cinematography: Leon Shamroy and Ray Rennahan. Costumes: Travis Banton.
Read more about Betty Grable during the filming of Down Argentine Way and why she was chosen for the film and the Maybelline Ad over Alice Faye, in The Maybelline Story. Purchase the book from Amazon or a signed copy from Sharrie on this website.
Betty Grable featured in 20th Century Fox Pictures, Down Argentine Way.
Chica Chica Boom Chic
“LEARN BETTY’S SECRET FOR BEAUTIFUL EYES,” the ad said. Arnold had thoroughly retouched the before and after photos—producing illustration more than photography—to convey a smooth and beautiful complexion. The tiny before shot revealed a pretty girl with pale brows and lashes, while the after showed a lushly made-up young beauty. Tiny print mentioned that Betty Grable was featured in the film Down Argentine Way. This way, Tom Lyle reasoned, even if the movie tanked, the ad would still work since it didn't play up the film’s title. In the ad, Betty was quoted as saying, “It’s easy to have lovely alluring eyes…The magic secret is Maybelline eye make-up.” Emery’s copy gave step by step application instructions, ending with: “Then, the joyful climax…when you form your brows in graceful, classic lines with Maybelline smooth-marking Eyebrow Pencil.”
Tom Lyle wasn't the only one taking a risk on the film; so was Daryl Zanuck. Twentieth Century Fox studios had been counting on Alice Faye’s box office power to help solve their financial woes. Would a goofy, light-hearted romp set in Argentina appeal to Americans in a year when dramatic films like The Philadelphia Story and The Grapes of Wrath would take most of the credits? A few westerns had done well, and Ginger and Fred were still dancing. Bing Crosby, Bob Hope and Dorothy Lamour had starred in the popular Road to Singapore—which had nothing to do with Singapore and was oblivious to Japanese imperialism in the Pacific. Fox wanted something fresh, and if they couldn’t cavort in Europe or the Pacific, they’d take their fun and games elsewhere. South America seemed like a pretty safe bet. With that lively Brazilian music, movie-goers could transport themselves to a place where war didn’t exist.
The gamble paid off. In October of 1940, FDR relieved everyone by saying, “I have said this before, and I’ll say it again and again: Your boys are not going to be sent into any foreign wars.” The film opened that same month, and the public adored Betty Grable and Carmen Miranda in her outrageous costumes. Revelers everywhere, like Evelyn’s crowd at the Biltmore, learned to samba to tunes like “Bambu Bambu.” The age of Carmen Miranda movies and music had begun. Chica Chica Boom Chic!
At the same time, teens and young women in their twenties identified with Grable’s saucy blond beauty and lively spirit. In droves and busloads they crowded into dime stores to buy Maybelline. Tom Lyle immediately parlayed his new bombshell into another full-page color ad. Alice Faye had worked out her contract differences with Zanuck and signed along with Betty Grable to do Tin Pan Alley, another light-hearted musical, but Alice didn’t want to do business with friends, including Tom Lyle. Arnold got around this by developing an ambiguous photo-illustration that resembled both Alice and Betty. The caption read, “Adorable with Maybelline,” and audiences weren’t sure if the model was Faye or Grable--which was exactly what Tom Lyle wanted.
