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Bette Davis has a hit song about her, and so does Elizabeth Taylor (well, that was at least a hit in France). Does Crawford or Stanwyck or Kate Hepburn have anything like that, I ask you??
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They didn't even make it into Madonna's "Vogue"!
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Bette's unsold 1965 pilot, "the Decorator", produced by Aaron Spelling, and Crawford's unsold DELLA/ROYAL BAY from 1963.
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Bette Davis' final appearance, 22nd September 1989, Age 81 -- two weeks before she died:
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Sad! Hard to believe she’s gone that long already.
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To expand on that a bit, I think of film stars as having three levels: their on screen work; their public persona; and their private lives. Of the three, their private lives hold very little interest to me and has virtually no impact on my enjoyment of their work. Their public persona -- how they presented themselves in interviews, memoirs, and the like -- was an extension of their work and can impact how I view it.
I have no idea what Davis was like in private -- maybe she was a sweetheart -- but she presented a public image that to me seemed needlessly combative. I'm sure some of that was performative, dropping bitchy remarks about Dunaway or whatever to make the audience laugh. But beyond all of that, Davis seemed sour and resentful. I read one of her memoirs and she was still ungraciously grousing about losing out on an Oscar; for Pete's sake, lady, it was 50 years earlier. Get over it.
Joan's hoity-toity graciousness might have been phony, but I won't fault someone for having good manners.
I have no idea what Davis was like in private -- maybe she was a sweetheart -- but she presented a public image that to me seemed needlessly combative. I'm sure some of that was performative, dropping bitchy remarks about Dunaway or whatever to make the audience laugh. But beyond all of that, Davis seemed sour and resentful. I read one of her memoirs and she was still ungraciously grousing about losing out on an Oscar; for Pete's sake, lady, it was 50 years earlier. Get over it.
Joan's hoity-toity graciousness might have been phony, but I won't fault someone for having good manners.
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Davis did a lot of unsold pilots, didn't she?
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Let's take a minute and look at Davis and Crawford's careers. Both of them were very comfortable in heavy melodrama. They both won Oscars for melodramas: Davis for JEZEBEL (1938) and Crawford MILDRED PIERCE (1945). They specialized in the women's picture, albeit with different frameworks.
There were times, however, where both women tried to venture into other genres, particularly comedy. At the peak (or at least a peak) of her career, Davis was starring in such dramas like THE LETTER (1940) and THE LITTLE FOXES (1941). Her name had become synonymous with that type of strong, independent woman melodrama. For a change of pace, she briefly ventured into comedies, making THE BRIDE CAME C.O.D. (1941) with James Cagney, and THE MAN WHO CAME TO DINNER (1942) with Ann Sheridan and Monty Woolley. Both films were popular, but it was clear that Davis was out of her element in comedy. Likewise, Crawford had become personified in rags-to-riches stories, but often tried her hand at comedy. About the only comedy she did well in was THE WOMEN (1939), even if her character isn't meant to be funny. Her other attempts, such as THE BRIDE WORE RED (1937) and GOODBYE, MY FANCY (1951), were not successes. Crawford seemed stiffed and over-played in comedy.
Have any of you seen anything significant of their comedy work? How do you feel Davis and Crawford worked in comedy?
There were times, however, where both women tried to venture into other genres, particularly comedy. At the peak (or at least a peak) of her career, Davis was starring in such dramas like THE LETTER (1940) and THE LITTLE FOXES (1941). Her name had become synonymous with that type of strong, independent woman melodrama. For a change of pace, she briefly ventured into comedies, making THE BRIDE CAME C.O.D. (1941) with James Cagney, and THE MAN WHO CAME TO DINNER (1942) with Ann Sheridan and Monty Woolley. Both films were popular, but it was clear that Davis was out of her element in comedy. Likewise, Crawford had become personified in rags-to-riches stories, but often tried her hand at comedy. About the only comedy she did well in was THE WOMEN (1939), even if her character isn't meant to be funny. Her other attempts, such as THE BRIDE WORE RED (1937) and GOODBYE, MY FANCY (1951), were not successes. Crawford seemed stiffed and over-played in comedy.
Have any of you seen anything significant of their comedy work? How do you feel Davis and Crawford worked in comedy?
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I dug out the Whales of August to watch again and it was wonderful seeing 3 old greats in Bette, Lilian Gish, one of the oldest to ever make a film at ?93 and looks very sprightly and Vincent Price
I always wanted to go to Maine after I watched this gentle little film
they dont make them like this anymore
I always wanted to go to Maine after I watched this gentle little film
they dont make them like this anymore
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My mums fav actress was Miss Davis and when I grew up I knew the words (or so it seemed) to All about Eve, Now Voyager and Dark Victory - all in the top 5
My mum didnt like Whatever happened to baby Jane at all, I thought she was brilliant in it
My mum didnt like Whatever happened to baby Jane at all, I thought she was brilliant in it