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Old 12th June 2010   #1
Chad
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Join Date: August 2005
Posts: 351
Default Diana Dors

In the past, I've read numerous posts on this forum about blonde goddesses Anita Ekberg and Kim Novak - starlets of the '50s and early '60s who were more voluptuous and desirable than Marilyn Monroe. Marilyn had her moments, but all in all, Novak and Ekberg were more naturally beautiful, more extravagantly gorgeous, while Marilyn could come off as artificial looking.

Given Hollywood's left-leaning biases, I've always believed that Marilyn won the lasting loyalty of the media (whereas other blonde bombshells did not) simply because she married Marxist playwright Arthur Miller, which made her politically preferable to, say, the Catholic Kim Novak.

At any rate, at least one more blonde goddess of the era richly deserves a mention at the Judgment of Paris. In fact, I'm surprised that she's never been celebrated here before. And that's the British beauty Diana Dors.



In fact, whereas in her later years Kim Novak succumbed to Hollywood starvation pressure, and Ekberg aged badly, Diana Dors was the only blonde bombshell who eventually blossomed into a true plus-size beauty.

Even in her early years, although Dors was thin, you could see the distinctive fullness of her facial features - a kind of soft, girlish fullness, a fed look, that Hollywood and the fashion industry has completely banned in our time.







When you look at her figure in her early images, you can see the potential she had for becoming a curvy beauty. Notice how her swimsuit appears to be struggling to contain her rounded midsection:





Soft curves along her side - something that you would never see on a modern gym-tortured androgynous anorexic.



Isn't this the best film title ever? Man Bait. She surely was. But notice that with her soft figure, she really is an embodiment of what men desire, not the starved/toned artificial bodies that women and men-who-aren't-attracted-to-women think men should desire.



Once her career really took off, her look got a glamorous makeover. Her limbs were still soft, though.





Another classic Dors film promo - The Unholy Wife. "Half angel, half devil" - a description of the duality of blonde beauty that has often been applied to the most seductive fair-haired full-figured models, who exude both heavenly innocence and wanton carnality.



Dors had a '50s cuddliness mixed with the sense of a wild side lurking underneath that made her irresistible.



A sensual picture - Dors being bathed by a servant, as if the other woman recognizes her inferiority before such a beauty, and knows that it is her place to attend to her and do her bidding.



In her publicity images, Dors wore quite revealing clothing (for the time), and you can tell in these images that her body was beginning to grow a tad fuller.







Here's where the sensuality of a curvier figure starts to become apparent. The belt presses into her waist, and her curves below it appear to swell outward.



Dors' best-known publicity series presented her in this silver swimsuit. The images unmistakably exhibit her increased heaviness, womanly hips, and fullness around the middle.









One of the most gorgeous images of Dors' career, this picture not only shows her growing more buxom, but even displays a hint of a curve under her chin.



Sensually curvy abdomen.





The more mature Diana Dors never felt ashamed of her more luscious physique, but continued to show off her richer curves. The weight gain not only beautified her figure and made her more buxom, but it preserved her facial attractiveness, giving her a perpetual softness and roundness, the look of blooming health.







Images showing her more opulent figure in the 1960s and 1970s are hard to come by, but here are a few - the first showing off her rounded middle.





This one is stunningly gorgeous, presenting Diana with a true plus-size figure, more desirable than ever.



Screencaps from her films of this time show her having developed a sensual curve under the chin.





Dors eventually reached 213 pounds, according to People magazine, but she always felt good about her figure, and openly acknowledged her love of food, In one interview, she admitted a fondness for chocolate biscuits, and said:

Quote:
I'm the best gravy maker in Britain. I love potatoes, and sugar and cream in my coffee and fruit pies with that lovely Reddi Wip they sell in the States. I never knew what the word diet was. Everybody else was always watching my figure, particularly men, but the last person to watch it was me.
Looking luscious in the 1970s, always proud of her gorgeous physique.



The dress is hideous, but you can sense the generous fullness of her figure.



After her death, her home town in the U.K. erected a statue in her honour. The quality of the artwork is crude (a 19th-century sculptor would have rendered it much more beautifully), but notice that the statue doesn't minimize her figure but shows a bit of a swell at her abdomen, approximately how she looked in the middle portion of her career. This is probably the closest that we'll ever come, these days, to a sculpture of a Classically proportioned female beauty being erected in a public space.





People often reflexively complain about what the media was like when it was under the auspices of heterosexual WASP males (a time that is now long gone by), but the truth is that when it was, much softer and curvier women were celebrated for their beauty than is the case today - women like the gorgeous Diana Dors.

There's something wonderful about her biography - the idea that an actress could be acclaimed for her looks, enjoy a successful career without starving herself, become progressively fuller-figured with every passing year, yet always feel confident in her curves, and remain celebrated for her beauty.
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