Louise Brooks
Louise Brooks, perhaps the first great diva of silent cinema, was capable of hypnotizing the public with her exaggerated gestures in dramas of love and betrayal.
She lived between the fame and excess of the time and saw the end of her glory days due to an irony of fate: the appearance of talkies. Hollywood fired her because she “had no say” in the future of cinema.
Others were expelled for thinking differently. They were persecuted and cornered for their political ideology and for their proximity to a terrifying monster that seemed to want to devour the United States: communism. Many people ran out of movies early in the era of McCarthyism, including key names like Dashiell Hammett, Dalton Trumbo and Frank Capra.
Others simply went too far with their genius – the most emblematic case being that of Orson Welles and his Citizen Kane: a merciless mockery of the great media mogul of his time – and had to live with the bitter memory of their childhood days. glory and a filthy old age far from the lights and glitter of Hollywood.
Cameron Díaz
Cameron Díaz, the queen of romantic comedies of the early 90s, now smiles more calmly, outside of Hollywood, in the pleasant company of a glass of wine from her own brand: Avaline, a vegan wine startup on which she bet on no longer put up with feeling ignored by that industry that always tried to pigeonhole her as the slightly silly, tender and blonde, capable of filling movie theaters.
At first she joined the game and seasoned that recipe with humor and mischief. She was almost a femme fatale in The Mask (1994); She is the antagonist of Julia Roberts' silent romance in My Best Friend's Wedding (1997) and the fantasy of many men in Crazy About Mary (1998, where she already made fun of her status in Hollywood).
She had blockbusters like the Charlie's Angels saga (2000-2003); Shrek and all its derivatives (2001-2010) and a few adventures without little risk like Gambit (2012), Bad Teacher (2011) or the new version of Annie (2014), but when she got into the role of an unbalanced woman of disheveled hair and hurt face in Do You Want to Be John Malkovich? (1999), or that of a warrior in Gangs of New York (2002), under the direction of Martin Scorsese, Hollywood did not react so well to this transition that it was seen as an oddity, a whim.
