Editing Hedy Lamarr (section)

==European film career==
===Early work===
Lamarr was taking acting classes in Vienna when one day, she forged a note from her mother and went to [[Sascha-Film]] and was able to have herself hired as a [[script girl]]. While there, she had a role as an [[extra (acting)|extra]] in the romantic comedy ''[[Money on the Street]]'' (1930), and then a small speaking part in the comedy ''[[Storm in a Water Glass (1931 film)|Storm in a Water Glass]]'' (1931). Producer [[Max Reinhardt]] then cast her in a play entitled ''The Weaker Sex'', which was performed at the [[Theater in der Josefstadt]]. Reinhardt was so impressed with her that he brought her with him back to [[Berlin]].{{sfn|Barton|2010|pp=16–19}}

However, she never actually trained with Reinhardt or appeared in any of his Berlin productions. Instead, she met the Russian theatre producer [[Alexis Granowsky]], who cast her in his film directorial debut, ''[[The Trunks of Mr. O.F.]]'' (1931), starring [[Walter Abel]] and [[Peter Lorre]].{{sfn|Barton|2010|pp=21–22}} Granowsky soon moved to Paris, but Lamarr stayed in Berlin and was given the lead role in ''[[No Money Needed]]'' (1932), a comedy directed by [[Carl Boese]].{{sfn|Barton|2010|p=25}} Lamarr then starred in the film which made her internationally famous.

====''Ecstasy''====
[[File:Hedy Lamarr Argentinean Magazine AD.jpg|thumb|left|Lamarr in a 1934 publicity photo with the name "Heddie Kietzler"]]

In early 1933, at age 18, Lamarr was given the lead in [[Gustav Machatý]]'s film ''[[Ecstasy (film)|Ecstasy]]'' (''Ekstase'' in German, ''Extase'' in Czech). She played the neglected young wife of an indifferent older man.

The film became both celebrated and notorious for showing Lamarr's face in the throes of orgasm as well as close-up and brief scenes of nudity. Lamarr claimed she was "duped" by the director and producer, who used high-power telephoto lenses, although the director contested her claims.<ref name=Liberty>"A Candid Portrait of Hedy Lamarr", ''Liberty'' magazine, December 1938, pp. 18–19</ref>{{efn|When Lamarr applied for the role, she had little experience nor understood the planned filming. Anxious for the job, she signed the contract without reading it. When, during an outdoor scene, the director told her to disrobe, she protested and threatened to quit, but he said that if she refused, she would have to pay for the cost of all the scenes already filmed. To calm her, he said they were using "long shots" in any case, and no intimate details would be visible. At the preview in Prague, sitting next to the director, when she saw the numerous close-ups produced with telephoto lenses, she screamed at him for tricking her. She left the theater in tears, worried about her parents' reaction and that it might have ruined her budding career. However, the cinematographer of the film claimed that she was aware during filming that there would be nude scenes and did not raise concerns during filming.<ref name=Liberty/>}}<ref>{{cite web|url=http://www.indiana.edu/~reeiweb/events/2009/Ecstasy_poster.pdf|title=Czech Film Series 2009–2010 – Gustav Machatý:Ecstasy|publisher=Russian & East European Institute, Indiana University|date=September 2, 2009|archive-url=https://web.archive.org/web/20090911064906/http://www.indiana.edu/~reeiweb/events/2009/Ecstasy_poster.pdf|archive-date=September 11, 2009|access-date=November 9, 2013}}</ref>

Although she was dismayed and now disillusioned about taking other roles, the film gained world recognition after winning an award at the [[Venice Film Festival]].<ref name="Morandini Morandini Morandini 2009 p. 493">{{cite book |last1=Morandini |first1=Laura |last2=Morandini |first2=Luisa |last3=Morandini |first3=Morando |title=Il Morandini 2010: dizionario dei film |trans-title=The Morandini 2010 Dictionary of Films |publisher=Zanichelli |publication-place=Bologna |date=2009 |isbn=978-88-08-20183-6 |oclc=475597884 |language=it |page=493}}</ref> Throughout Europe, it was regarded as an artistic work. In America, it was considered overly sexual and received negative publicity, especially among women's groups.<ref name=Liberty/> It was banned there and in Germany.<ref name=doc>''Extraordinary Women: Hedy Lamarr,'' documentary, 2011</ref>
{{Clear}}

====Withdrawal====
[[File:Hedy Lamarr Ziegfeld Girl.jpg|thumb|Studio publicity still of Lamarr for the film ''[[Ziegfeld Girl (film)|Ziegfeld Girl]]'' (1941)]]
Lamarr played a number of stage roles, including a starring one in ''Sissy'', a play about [[Empress Elisabeth of Austria]] produced in Vienna. It won accolades from critics. Admirers sent roses to her [[dressing room]] and tried to get backstage to meet her. She sent most of them away, including a man who was more insistent, [[Friedrich Mandl]].<ref name=Liberty/> He became obsessed with getting to know her.<ref name=Lemelson>[http://invention.si.edu/movie-star-some-player-pianos-and-torpedoes "A Movie Star, Some Player Pianos, and Torpedoes"] {{Webarchive|url=https://web.archive.org/web/20170419103621/http://invention.si.edu/movie-star-some-player-pianos-and-torpedoes |date=April 19, 2017 }}, Lemelson Center, November 12, 2015.</ref>

Mandl was an Austrian military arms merchant<ref name=LaTimes>{{cite news|url=http://latimesblogs.latimes.com/gossip/2011/11/hedy-lamarr-inventor-hedy-lamarr-sex-symbol.html|title=Hedy Lamarr: Inventor of more than the 1st theatrical-film orgasm|work=Los Angeles Times|date=November 28, 2010|access-date=July 26, 2012|archive-url=https://web.archive.org/web/20130117071932/http://latimesblogs.latimes.com/gossip/2011/11/hedy-lamarr-inventor-hedy-lamarr-sex-symbol.html|archive-date=January 17, 2013|url-status=live}}</ref> and munitions manufacturer who was reputedly the third-richest man in Austria. She fell for his charming and fascinating personality, partly due to his immense financial wealth.<ref name=doc/> Her parents, both of [[Jewish descent]], did not approve due to Mandl's ties to Italian fascist leader [[Benito Mussolini]] and, later, German Führer [[Adolf Hitler]], but they could not stop the headstrong Lamarr.<ref name=Liberty/>

On August 10, 1933, Lamarr married Mandl at the [[Karlskirche]]. She was 18 years old and he was 33. In her autobiography, ''[[Ecstasy and Me]]'', she described Mandl as an extremely controlling husband who strongly objected to her simulated orgasm scene in ''Ecstasy'' and prevented her from pursuing her acting career. She claimed she was kept a virtual prisoner in their castle home, {{ill|Schloss Schwarzenau|de|Schloss_Schwarzenau_(Waldviertel)}}.<ref name=doc/>
[[File:Hedy Lamarr in The Heavenly Body 1944.jpg|thumb|Hedy Lamarr, 1944]]
Mandl had close social and business ties to the Italian government, selling munitions to the country,<ref name="shearer"/> and had ties to the [[Nazi]] regime of Germany as well, even though his own father was Jewish, as was Hedy's. Lamarr wrote that the dictators of both countries attended lavish parties at the Mandl home. Lamarr accompanied Mandl to business meetings, where he conferred with scientists and other professionals involved in military technology. These conferences were her introduction to the field of applied science and nurtured her latent talent in science.<ref>{{cite web|url=http://www.cnet.com/news/happy-100th-birthday-hedy-lamarr-movie-star-and-wi-fi-inventor|title=Happy 100th birthday, Hedy Lamarr, movie star who paved way for Wi-Fi|publisher=CNET|access-date=May 26, 2015|archive-url=https://web.archive.org/web/20150511072950/http://www.cnet.com/news/happy-100th-birthday-hedy-lamarr-movie-star-and-wi-fi-inventor/|archive-date=May 11, 2015|url-status=live}}</ref>

Lamarr's marriage to Mandl eventually became unbearable and she decided to separate herself from both her husband and country in 1937. In her [[autobiography]], she wrote that she disguised herself as her maid and fled to [[Paris]], but according to other accounts she persuaded Mandl to let her wear all of her jewelry for a dinner party and then disappeared afterward.<ref name="friedrich1997">{{cite book|title=City of Nets: A Portrait of Hollywood in the 1940s|publisher=University of California Press|author=Friedrich, Otto|year=1997|edition=reprint|location=Berkeley and Los Angeles|pages=12–13|isbn=0-520-20949-4}}</ref> She wrote about her marriage:

{{blockquote|I knew very soon that I could never be an actress while I was his wife. ... He was the absolute monarch in his marriage. ... I was like a doll. I was like a thing, some object of art which had to be guarded—and imprisoned—having no mind, no life of its own.{{sfn|Rhodes|2012|pp=28-29}}}}