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Old Hollywood may have looked glamorous, but behind the velvet curtains, studio stars were often trapped by shocking rules and ruthless contract clauses. Join us as we explore the bizarre, controlling, and sometimes downright cruel demands placed on classic film icons, from strict schedules and morality clauses to staged publicity and impossible beauty standards.
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00:00Nothing you really want is ever given away free. You have to pay for it, and usually with your heart.
00:06Welcome to Ms. Mojo.
00:07And today, we're counting down our picks for the most absurd and abusive contract stipulations that studios imposed on classic
00:14Hollywood stars.
00:15I might have something, but you didn't hear it from me.
00:19Blind item, my specialty.
00:22Number 20. The Two-Hour Rule.
00:25If you were an artist under contract with a major studio, you were on call.
00:30It didn't matter where you were, or if you were in a current production and the studio needed you.
00:34You needed to be there in two hours or less.
00:37This contract stipulation meant talent was severely limited as to how far from Los Angeles they could get.
00:43May as well have property of MGM tattooed on my backside.
00:46An interesting and unintended consequence of the Two-Hour Rule is that Palm Springs, California,
00:52became a popular destination for Hollywood luminaries.
00:55Its distance from Hollywood, at 94 miles and a near two-hour drive,
01:00was the furthest many could get from their restrictive studio bosses without incurring their wrath.
01:04This is home to many of the stars, and they're just plain folks along with their neighbors.
01:09So whether you spot William Powell and Charlie Farrell in a fast match at the club,
01:13or pass Eddie Cantor out for a morning walk on the street,
01:16you probably just smile, say howdy, and walk on.
01:19Number 19. You work until it's done.
01:23Making movies is punishing.
01:25Before Hollywood's unions were as strong as they are now,
01:28labor conditions were dictated not by safety, but by adherence to a strict schedule.
01:33As contracted employees, no one, including actors, had much in the way of sympathy from the bigwigs.
01:40Now we are going again!
01:43Camera!
01:44A shooting day could last well over 12 hours.
01:48This kind of treatment necessitated various methods to keep actors on their feet and ready to work.
01:53Unfortunately, some of those methods were chemical in nature.
01:56In a lot of ways, it seems like many productions still expect these kinds of hours.
02:00You're going to give that speech to the feet of the penitent thief,
02:03and you're going to believe every word you say.
02:06You're going to do it because you're an actor, and that's what you do.
02:08Just like the director does what he does, and the writer, and the script girl,
02:11and the guy who claps the slate, you're going to do it because the picture has worth.
02:14And you have worth if you serve the picture, and you're never going to forget that again.
02:18Number 18.
02:19Limited Time Off
02:20The pace at which the old Hollywood era turned out movies is astounding.
02:25It also came at a price.
02:26Despite the glamour and apparent power stars seemed to wield,
02:30it wasn't as if they could just take PTO or vacation time whenever they wanted.
02:34I can't run anymore.
02:36I'm so sleepy.
02:38Here, give us your hands and we'll pull you along.
02:40Oh no, please.
02:41I have to rest for just a minute.
02:43Judy Garland couldn't even go on a honeymoon when she married composer David Rose in 1941.
02:49MGM needed their star back immediately.
02:51The studio was already upset at the marriage to begin with.
02:55But still, when even their biggest star is unable to go on a honeymoon,
02:59you have to wonder where the power really lies.
03:02Is your feet hurt?
03:03I forgot to mention that.
03:05It's an occupational disease.
03:08So you better go to dinner.
03:09You only have an hour.
03:10Number 17.
03:12The Three Second Rule
03:13Under the Hays Code, actors had very rigid parameters for on-screen behavior.
03:18Any contract player had to be committed to following that code.
03:21Now give me a kiss and say goodnight.
03:26No tongues.
03:27Among the more strict guidelines was a rule dictating how long actors could kiss on-screen.
03:34Three seconds was the magic number.
03:36Like many of the Hays Code stipulations, clever directors and writers found ways around it.
03:41The most famous example has to be notorious.
03:50Alfred Hitchcock's 1946 espionage romance skirted this three-second rule
03:55by having Ingrid Bergman and Cary Grant break up their very long kiss with dialogue and action.
04:01It's somehow even steamier than it would have been had they just kissed and gotten it over with.
04:05Where are you going?
04:07Well, if you're going to stay in, I have to telephone to the hotel, see if there are any messages.
04:11You have to.
04:12Number 16.
04:14Playing along with the publicity department.
04:16Where actors now rely on their own personal team of agents, managers, and publicists.
04:21In the time of the studio system, that wasn't the case.
04:24Movie stars and their publicity were all handled directly by the studio.
04:28You have anything to tell me?
04:30About what?
04:33Anything I need to have a story ready for.
04:36The parts many contract stars played on-screen were no match for the one they played off.
04:40As their personas were dictated and massaged by a studio's publicity department,
04:45they had to play along at every opportunity.
04:47Deanna, having a child without a father would present a public relations problem for the studio.
04:52The aquatic pictures do very nicely for us.
04:54So you go and strap on a fish ass and marry Arnie Sesslin.
04:57The pictures do well for all of us, and it's a tribute to you.
05:00The public loves you because they know how innocent you are.
05:03That's true.
05:04Photo ops were mandatory.
05:06Appearances were for business, not pleasure.
05:09And if they got themselves in trouble,
05:11they'd better confess all to the people who could make that trouble go away.
05:15High ankle sprain? Is that really the best you could come up with?
05:17We all know about the womanizing and the drinking jags and the trips to San Bidu.
05:22Baird is a good family man. He has a high ankle sprain.
05:25Number 15. Morality clauses.
05:28In the early 1920s, Hollywood was in crisis.
05:32Movie stars were still a relatively new concept,
05:34and their highly publicized, hard partying,
05:37and sometimes even dangerous lifestyles were threatening to alienate the public.
05:41Orphine, Opium, Ether, Heroine, Coke, and Louis XIV sat on that.
05:46Studio contracts began adopting morality clauses.
05:49These rules would force stars to behave in a manner
05:51that wouldn't bring disgrace to their home studio,
05:53if only because that might threaten the box office.
05:56We pay you a great deal of money.
06:01You have an image to maintain.
06:03And you owe it to us to maintain it.
06:06To be a contract player,
06:08an actor had better live as cleanly and respectably as any civilian in public,
06:12if not in private.
06:14What that could entail could be as obvious as avoiding criminal activity,
06:17or as unfair as hiding their sexuality.
06:20Unlike many studio system rules,
06:23morality clauses are still around,
06:25although they are far more lax.
06:27You wanted us to be normal?
06:29Well, this is our normal.
06:31And this is what we think of your morality clause.
06:38Give mommy some beer.
06:40Number 14.
06:41No sick days.
06:43Earned or not,
06:44many actors have a reputation for diva behavior.
06:47But in the time of the studio system,
06:49actors couldn't stop the show because of illness.
06:51Movies were made quickly,
06:53and more were always coming down the line.
06:56Performers who held up production were essentially fined,
06:59with the fees deducted from their pay.
07:01Judy Garland is one of the most famous examples of this.
07:04I want to go home.
07:05I want to go home this minute.
07:06It's still done.
07:07I don't care.
07:08I want to go home.
07:09Her well-documented personal struggles
07:11often made her too ill to complete work on the 1948 musical The Pirate.
07:15MGM chief Louis B. Mayer was unsympathetic.
07:18Garland was fined,
07:20with thousands being deducted from her paycheck.
07:22Apparently, the best cure for what ails you was getting back to work.
07:26Don't you see what this could mean to my future?
07:29It could mean the ruination of my complete life.
07:32Number 13.
07:33Women couldn't wear pants.
07:35Hollywood movies of the early 20th century
07:37were not always welcoming to less than traditional clothing choices.
07:41But there are exceptions to every rule.
07:43The house is packed.
07:45This is a great night for you.
07:47If you make a hit,
07:49you can stay here as long as you like.
07:51German icon Marlena Dietrich's tuxedo and pants
07:54made her a star in her home country,
07:56years before she ended up in Hollywood.
07:58The most famous example, though,
08:00has to be Katharine Hepburn.
08:02Why don't we all get jobs and go to work?
08:06Hey!
08:09Her demand to wear trousers on and off screen
08:13was a thorn in the side of her home studio, RKO,
08:16which took to hiding her pants from her.
08:18Her solution?
08:19Not wearing any pants,
08:20or skirts for that matter,
08:22until she and her slacks were reunited.
08:24Belief in what you're doing
08:26that is sufficient to carry you
08:28when everyone and his uncle thinks you're wrong,
08:32and you still think,
08:33well, goddammit, I don't think I'm wrong.
08:35I think I'm right, and I'm going to do it.
08:37Number 12.
08:38Actors couldn't refuse parts.
08:40Nowadays, we hear all the time
08:42about how an actor turned down a famous role.
08:45An old Hollywood actor under contract
08:47didn't have such autonomy.
08:48Contract, honey!
08:49You do an RF then!
08:51What's the matter, RF?
08:52Why don't you tell her off?
08:53As many of the biggest
08:54and most legendary stars found out,
08:57if they had the audacity to refuse a role,
08:59they were often punished
09:00as per the rules of their contracts.
09:02This could include unpaid suspension,
09:04as Oscar winners Betty Davis
09:06and Ray Milland found out
09:07when they turned down parts.
09:09It may just have been
09:10that you were difficult, Betty.
09:12No, no, no, no.
09:13Not difficult, impossible.
09:15With a stupid director.
09:16Then it was self-preservation.
09:18It was absolutely self-preservation.
09:20Davis often refused roles
09:22she felt were beneath her.
09:23Milland, meanwhile,
09:24had a habit of turning down movies
09:26he felt were beyond his skills.
09:28These suspensions were then added
09:30onto the back end of their contracts,
09:32keeping them under the studio's thumb for longer.
09:35I will not be tolerated
09:36and I will not be plotted against.
09:38Here we go.
09:39Such nonsense.
09:40What do you all take me for?
09:41Little Nell from the country?
09:43Number 11.
09:44Class, class, and more class.
09:46If a studio was going to spend
09:48a mint on prime talent,
09:50they were going to milk them
09:51for every possible talent
09:52they may or may not have.
09:54MGM stars were given
09:55an especially rigorous education.
09:57So you had everything.
09:58You had to learn how to do trapeze.
10:00You had to learn how to fence.
10:02You know, things like that.
10:03All that.
10:04So you know how to fence?
10:06I learned how to fence.
10:08Yeah.
10:08If they had any aptitude
10:09for anything other than
10:10hitting their marks
10:11and saying their lines,
10:13the studios wanted to know about it.
10:15They were required to take lessons
10:16in dancing and singing.
10:18But on top of that,
10:19many stars were even required
10:20to take speaking lessons
10:22to deliver the mid-Atlantic accent
10:23their bosses wanted.
10:25And I can't stand them.
10:28Can't.
10:30Can't.
10:32Can't.
10:35Can't.
10:36Actors whose sound
10:37wasn't deemed pleasing to the ear
10:39struggled to advance.
10:40Stars like Lauren Bacall
10:42were even trained
10:42in lowering the natural timbre
10:44and pitch of their voices.
10:45He didn't want
10:47what happens to most women
10:49when they get excited or angry,
10:52their voices go up
10:54two or three octaves.
10:55He wanted mine to stay low.
10:56So he wanted me
10:57to constantly be aware
10:58of keeping my voice down.
11:01Number 10.
11:02Rewriting backgrounds.
11:04Where were you born?
11:05On a chicken farm
11:06outside of Lubbock.
11:07Beautiful southern home
11:08filled with every luxury
11:09and refinement.
11:10Were your parents now?
11:11Probably on the front porch
11:13in their rocking chairs.
11:15Parents dead.
11:15Family fortune swept away.
11:17You're educated
11:17at the Sacred Heart.
11:18Even when they weren't on set,
11:20many actors found themselves
11:21playing characters.
11:23Studios manufactured backgrounds
11:25for their stars,
11:26sometimes to add pizzazz,
11:28other times to cover taboo truths.
11:30While some refused to play the game,
11:33others put on a show.
11:34I've had one motto
11:35which I've always lived by.
11:38Dignity.
11:39Always dignity.
11:41This was instilled in me
11:43by mom and dad
11:44from the very beginning.
11:46They sent me
11:47to the finest schools,
11:48including dancing school.
11:50Cary Grant
11:51sought to conceal
11:52his working class upbringing
11:53by allying himself
11:55with high society,
11:56perpetuating a sophisticated image
11:58on film
11:59and in public.
12:00Merle Oberon
12:01was the first actress
12:02of Asian descent
12:03to be nominated
12:04for an Oscar,
12:05although this wasn't
12:06widely known
12:07until after her death.
12:08Oberon hid her mixed heritage
12:10due to fear of prejudice,
12:12claiming to be
12:13native Australian.
12:151937's
12:15A Star is Born
12:16provided a peek
12:17behind the Hollywood curtain
12:18as farm girl
12:19Esther Blodgett
12:20is molded
12:21into Vicki Lester.
12:22Social registerite father,
12:25fed up with hypocrisies
12:26of 400,
12:28sought wilderness
12:29for consolation.
12:31There amidst
12:32the mountain flowers,
12:33he raised another blossom.
12:35Number 9.
12:36New Names
12:37Speaking of stage names,
12:40you're probably
12:40at least familiar
12:41with Norma Jean Mortensen,
12:43assuming you've seen
12:44a Marilyn Monroe biopic.
12:45However,
12:46have you ever heard
12:47of Lucille Faye LeSueur,
12:49Roy Harold Shearer Jr.,
12:50or Margarita Carmen Cancino?
12:53He will have to do
12:53something about that
12:54right away.
12:55Well,
12:55you might know them better
12:56as Joan Crawford,
12:58Rock Hudson,
12:59and Rita Hayworth.
13:00Stars frequently
13:01had their names changed
13:03along with their backstories.
13:05MGM held a
13:06Name the Star contest
13:07that resulted in Joan Arden.
13:09Since that name was taken,
13:11they instead settled on Crawford.
13:12He seems to be satisfied
13:14with this arrangement.
13:15So don't force any issues
13:17unless you want to cause
13:18plenty of trouble.
13:20Agent Henry Wilson
13:21conceived Rock Hudson,
13:22a name that the actor hated.
13:25After being credited
13:26as Rita Cancino
13:27several times,
13:28the actress took her mother's
13:29maiden name, Hayworth.
13:31Columbia head Harry Cohn
13:32advocated for this name change,
13:34believing Cancino
13:35sounded too, quote,
13:37exotic.
13:53They set out to create
13:55a star's love life.
13:56Gene Harlow and William Powell
13:58fell in love while with MGM.
14:00Can you imagine
14:00my saying to anybody,
14:02I love you?
14:04After all these years,
14:06you ask me that.
14:07Although MGM allowed them
14:09to date in public,
14:10the studio was against marriage,
14:12arguing that becoming a wife
14:13would destroy Harlow's, quote,
14:15sex symbol status.
14:17MGM went as far as to work
14:18a clause into Harlow's contract
14:20forbidding such a union.
14:21I'm sorry, Ned.
14:22I wish I'd known.
14:23But I've got a date
14:24with a yacht.
14:25Nevertheless,
14:26they were engaged
14:27until Harlow's sudden death
14:28at 26.
14:30It's also been reported
14:31that Harry Cohn hired
14:32organized crime figures
14:33to threaten Sammy Davis Jr.
14:35when he was romantically linked
14:37to a white actress
14:38under contract at Columbia,
14:40Kim Novak.
14:41Harry Cohn
14:43was frightening.
14:44Number 7.
14:45Staged Romances
14:47Aside from driving
14:49couples apart,
14:50Hollywood played matchmaker,
14:51albeit not in a fun rom-com way.
14:54I didn't know
14:55you two were friends.
14:56Oh, heck yeah.
14:58We just called my picture
14:59Lazy Old Moon
15:00and I guess we're...
15:02Yes, we're friends.
15:03We're...
15:04We're...
15:04Well, we're fiction
15:05to be friendly,
15:06tell you that.
15:07Mickey Rooney
15:08and Judy Garland
15:08shared such natural chemistry
15:10that MGM played up
15:11the notion of them
15:12being a real-life item.
15:14In reality,
15:15the two weren't
15:15romantically involved.
15:17Although it's been said
15:18that Garland had feelings
15:19for Rooney,
15:20with the latter seeing her
15:21as a good friend.
15:22I think we're just
15:23pals who might be
15:25something more
15:25sometime in the future.
15:27You gotta ask Mr. Mayer.
15:29I think it's just pals.
15:32I'm not kissing you
15:33if that's what you're after.
15:33Rooney wanted to marry
15:35Ava Gardner,
15:36a union that
15:36Louis B. Mayer forbade.
15:38Gardner and Rooney
15:39were nonetheless married
15:40for barely a year.
15:42Hollywood also orchestrated
15:44lavender marriages,
15:45in which opposite-sex couples
15:46were united to hide
15:47the true sexuality
15:49of a star or stars.
15:50Perceived famous examples
15:52include Robert Taylor
15:53and Barbara Stanwyck,
15:54Rock Hudson and Phyllis Gates,
15:56and Janet Gaynor and Adrian.
15:59You shouldn't believe
16:00all that banana oil
16:01that Dora Bailey
16:02and the columnists dish out.
16:03I'll try to get this straight.
16:05There is nothing between us.
16:07There has never been
16:09anything between us.
16:10Just a...
16:15Actors could place
16:16a lot of trust
16:17in their assistants.
16:18While some honored that trust,
16:20others served a higher power.
16:22No hamburger.
16:23Mr. Mayer said very specifically
16:25you are not to eat the food.
16:27To Judy Garland,
16:28Betty Asher
16:29was much more than a publicist.
16:31She was a source
16:32of emotional support.
16:33It's even been rumored
16:34that the two were
16:35more than friends,
16:36although that remains unproven.
16:39What we can say
16:40with certainty is that
16:41Asher was secretly
16:42spying on Garland,
16:43keeping her in line
16:44and reporting back
16:45to the higher-ups
16:46at MGM on a weekly basis.
16:48Pay no attention
16:49to that man
16:50behind the curtain.
16:52The great end
16:53boss has spoken.
16:56Who are you?
16:57Garland was devastated
16:58upon learning the truth
17:00years later,
17:00but she wasn't
17:01the only star
17:02subjected to such deceit.
17:04It was common practice
17:05for the studio executives
17:06to keep tabs on actors
17:08as well as filmmakers,
17:09with spies hidden
17:11in plain sight.
17:12How did you take
17:13a few pictures
17:14and have a few laughs?
17:15Jeez, Eddie.
17:17Number five,
17:18the stigma against motherhood.
17:20For actresses,
17:21the birth of a child
17:22would mark the death
17:23of their careers.
17:24Ava Gardner claimed
17:25shortly before her death,
17:27quote,
17:27MGM had all sorts
17:28of penalty clauses
17:29about their stars
17:30having babies.
17:31Gardner reportedly
17:32terminated two pregnancies
17:34while married
17:34to Frank Sinatra.
17:35The first one,
17:36she didn't tell him
17:37what was happening.
17:38She went ahead
17:39and did it on her own.
17:40Judy Garland,
17:42Lana Turner,
17:43and Dorothy Dandridge
17:44are just some of the others
17:45who weren't given
17:46much choice in the matter
17:47when they became pregnant.
17:48It's been speculated
17:49that Lupe Velez
17:50took her own life
17:51because she couldn't
17:52bear the thought
17:53of terminating her pregnancy.
17:54The baby's father,
17:55Harold,
17:56refused to marry her.
17:57She felt absolutely
17:59betrayed and alone
18:00in a mess that was
18:01going against
18:02her religious beliefs
18:03and could potentially
18:03ruin her entire career.
18:05Loretta Young worked
18:06around the studio rules
18:08when she became pregnant
18:09with Clark Gable's baby.
18:10Hiding her pregnancy,
18:12she gave birth
18:12to daughter Judith,
18:13who was placed
18:14in various orphanages
18:15until Young formally
18:16adopted her own daughter.
18:18But it was all a smokescreen
18:20and it fooled nobody.
18:22I looked like my father.
18:25I had my father's
18:26very large ears.
18:27And when I was small,
18:30if I went in public with her,
18:32I always wore bonnets.
18:33Number four,
18:35a child star's
18:35long day's journey
18:36into night.
18:38Today, kids in entertainment
18:39are barred from working
18:40more than 40 hours per week.
18:43Although certain child labor laws
18:44existed back in old Hollywood,
18:46they weren't taken
18:47as seriously as they are now.
18:49I'd let my arm be broken
18:50if it would make anyone love me.
18:53Or let a horse kick me.
18:55Or be tossed by a bull.
18:56Don't say such things.
18:58During their child star days,
18:59Elizabeth Taylor
19:00and Shirley Temple
19:01recalled being stuck on set
19:02for hours.
19:04Judy Garland
19:04is an especially tragic case.
19:07At one point,
19:08working six days a week.
19:09Garland was given
19:10pet pills to get her
19:11through the 18-hour days
19:13and reduce her weight.
19:15No, I gotta sleep tonight.
19:17Halpert will give you
19:18something for that later.
19:19Down the hatch.
19:20The long hours
19:21didn't always pay off either.
19:23While Jackie Coogan
19:24was handsomely paid
19:25during his youth,
19:26his mother and stepfather
19:27squandered much of his fortune.
19:29This amounted to
19:30the California Child Actors Bill,
19:32requiring 15% of earnings
19:34to be put into a trust.
19:36Also, under current law,
19:38all of the minor's earnings
19:39belong to the minor.
19:40No longer is a community property
19:42which is shared with the parents.
19:44Number three.
19:45At the mercy of the Hays Code.
19:47With scandals surrounding stars
19:49like Fatty Arbuckle
19:50and William Desmond Taylor,
19:52Hollywood's sense of morality
19:53was put under a magnifying glass.
19:56As the demand for censorship increased,
19:59the big studios were required
20:00to follow the newly implemented
20:01Motion Picture Production Code
20:03or the Hays Code.
20:05We always have to remember
20:06that movies had no
20:07First Amendment rights
20:08during this time.
20:09And that meant that
20:10any individual state
20:11or municipality
20:12or by extension
20:14the federal government
20:15could censor motion pictures.
20:17Deriving its nickname
20:18from MPPDA President
20:20William H. Hayes,
20:21the code instituted
20:23restrictions on profanity,
20:24sex, and nudity in film.
20:26Even animated stars
20:28like Betty Boop
20:29were deemed
20:29too risque for the code.
20:31You can say my voice is awful
20:34or my song not to risque.
20:37Oh, but don't take my boop
20:40and it'll go away.
20:41Sadly, any potential
20:43to openly depict
20:44gay characters
20:45went out the window
20:46with the code.
20:46The code also prevented
20:48the portrayal of quote
20:49sex relationships
20:50between the white
20:51and black races.
20:52Number 2.
20:54Sign here, please.
20:55Just sign here.
20:57Here, here, here.
20:58Nowadays,
20:59actors turn down roles
21:00for a variety of reasons.
21:02Options were far more
21:03limited back in old Hollywood
21:05with studios signing stars
21:06to multi-year contracts.
21:08Contract players
21:09also couldn't accept
21:10a gig at another studio
21:12unless their bosses
21:13agreed to loan them out.
21:14Bette Davis desired to star
21:16in It Happened One Night
21:17at Columbia,
21:17but Warner Brothers
21:19wouldn't lend her.
21:20The Oscar-winning part
21:21thus went to Claudette Colbert.
21:23Davis later brought
21:24legal action against WB,
21:26seeking to be released
21:28from her contract.
21:29Davis lost that case,
21:31although this thankfully
21:32led to some of her
21:33most beloved screen roles
21:34at Warner.
21:35Other contract players
21:37weren't always as lucky.
21:39And will you be happy, Charlotte?
21:42Oh, Jerry,
21:43don't let us ask for the moon.
21:45We have the stars.
21:50Give her that Crawford smear.
22:00This will give her that deep
22:02Hollywood stars still often
22:05adhere to unrealistic body standards.
22:07This practice only becomes
22:09more troublesome
22:10the further you go back.
22:11How impossible were
22:13old Hollywood standards?
22:14Louis B. Mayer called
22:15Judy Garland, quote,
22:17a little hunchback.
22:18Isn't that ridiculous?
22:20Nevertheless,
22:21actresses were expected
22:22to transform themselves
22:23to appease the studio.
22:24In this factory
22:25where dreams can come true,
22:27are you ready
22:28to make someone new?
22:29You're the team
22:30that must teach me to do
22:32the 20th century facts,
22:34mambo.
22:35At minimum,
22:36this would entail
22:37dyeing your hair
22:38like Marilyn Monroe.
22:39Some went a step further,
22:41like Rita Hayworth,
22:42who had hairline electrolysis.
22:44They had to take
22:45about an inch
22:46of her hair out
22:47with electrolysis
22:49to give her a higher,
22:50more of a forehead.
22:52But it was very painful.
22:54In more extreme cases,
22:55actresses subjected themselves
22:56to plastic surgery
22:58and other cosmetic procedures.
22:59When makeup
23:00and hair styling
23:01weren't enough,
23:02actresses were also prescribed
23:03rigorous diets
23:04to achieve the desired figures.
23:06Did these old
23:07Hollywood contracts
23:08shock you?
23:09Tell us in the comments.
23:12Yes.
23:12What does that mean?
23:16I'm going to remember
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