Joan Crawford: The Warner Brothers Era

[Crimson]

The Feminine Grotesque: On The Warped Legacy of Joan Crawford

I suspect I shared this previously, in another thread, but this is one of my favorite reevaluations of Joan as an actress & star after he image took such a brutal hit after MOMMIE DEAREST (movie, unfairly; book, less so). Angelica Jade Bastien, like BKR, is one of my favorite of the new breed of writers on classic film, even if I don't always agree.

"This misses how layered and beguiling Crawford could be—she’s a woman who embodies all the dreams every young girl has when she looks at the glimmer of Hollywood and thinks “I want to be a star!” and the cold pangs of yearning when the spotlight leaves. The image I hold of Crawford is one crafted from her various roles and interviews that have far more complexity than “Mommie Dearest” and her current legacy do. She’s one of the finest examples of how stardom works and is a powerhouse of an actress, despite the sexism and obstacles she faced from the same industry that made her a starlet. "

 

[ClassyCo]

For me, whether she sought the role or it was pushed on her, it fits into the artifice and vanity of Crawford's imagery. Her entire persona during this period is a demimonde between glamourous and seedy, earthy and phony. I find it to be one of the most interesting phases any of the Old Hollywood actresses went through, even though the movies themselves aren't necessarily great. It's not just that it's my favorite era of Crawford, truth be told she doesn't interest me too much outside of 1945-1952. With one or two exceptions, I have no interest in her 1930s work and, except for BABY JANE, even less interest in her post- SUDDEN FEAR career.

I like some of her 1930s work, or at least what I have seen of it. I bought POSSESSED (1931), in which she made a good pairing with Clark Gable. It was typical of her roles in the era: the shop girl that makes good and moves up the social ladder. She was beautiful in that movie too. I also like THE WOMEN, the 1939 comedy where she played second fiddle to Norma Shearer as a man-hungry homewrecker that steals Shearer's husband away from her. I like how Crawford took a smaller role because she knew THE WOMEN was a good picture and that it would turnaround her souring reputation with audiences and within the industry.

Crawford's later career had some highlights as well. I am a big fan of AUTUMN LEAVES, the 1956 women's picture where she played a woman caught in a violent romance with a mentally disturbed Cliff Robertson. I also enjoy STRAIT-JACKET, despite its misgivings, and I found TROG to be horrifically laughable.​

 

[Snarky Oracle!]

For me, whether she sought the role or it was pushed on her, it fits into the artifice and vanity of Crawford's imagery. Her entire persona during this period is a demimonde between glamourous and seedy, earthy and phony. I find it to be one of the most interesting phases any of the Old Hollywood actresses went through, even though the movies themselves aren't necessarily great. It's not just that it's my favorite era of Crawford, truth be told she doesn't interest me too much outside of 1945-1952. With one or two exceptions, I have no interest in her 1930s work and, except for BABY JANE, even less interest in her post- SUDDEN FEAR career.

That's how I am -- her shop-girl-makes-good persona may have worked well in the '30s but it's just not terribly compelling today. And her horror phase of the '60s could have been interesting, but most of those movies simply weren't very good. But from 1945 thru 1952, Crawford -- and her films -- were in a zone; one which worked.

 

[Crimson]

But from 1945 thru 1952, Crawford -- and her films -- were in a zone; one which worked.

Although the films themselves aren't necessarily great -- sometimes, not even good -- they're the epitome of star vehicles. Joan carries them on her shoulders but they also, circularly, enhance her appeal. As easy as it is for some to snipe that she was too old for FLAMINGO ROAD, I can't think of a younger actress of the era who could have pulled it off. (Tierney? Gardner? Turner? Meh.)

her shop-girl-makes-good persona may have worked well in the '30s but it's just not terribly compelling today

It's really only the outliers of her 30's shop-girl roles that are intriguing; or, at least, her shop-girls should have been a lot closer to Crystal Allen. It's been too long since I've seen RAIN for me to have an opinion on it, but it's one of the few films of the era I should revisit. The only film of Joan's earlier era that I haven't seen but want to is STRANGE CARGO (1940). The publicity stills allude to a sultry, almost Jean Harlow in RED DUST quality that I don't think Joan otherwise demonstrated. Whether the film will live up to that ...

 

[Crimson]

Crawford's later career had some highlights as well. I am a big fan of AUTUMN LEAVES, the 1956 women's picture where she played a woman caught in a violent romance with a mentally disturbed Cliff Robertson.

I have a hard time taking Joan's mid-50s films seriously because of the makeup she adopted during the era. Her face was always a mask of makeup -- hiding freckles, apparently -- but it became almost grotesquely exaggerated.

I mean, I just can't take this seriously, but I also don't have much appreciation for camp.

 

[ClassyCo]

Although the films themselves aren't necessarily great -- sometimes, not even good -- they're the epitome of star vehicles. Joan carries them on her shoulders but they also, circularly, enhance her appeal. As easy as it is for some to snipe that she was too old for FLAMINGO ROAD, I can't think of a younger actress of the era who could have pulled it off. (Tierney? Gardner? Turner? Meh.)



It's really only the outliers of her 30's shop-girl roles that are intriguing; or, at least, her shop-girls should have been a lot closer to Crystal Allen. It's been too long since I've seen RAIN for me to have an opinion on it, but it's one of the few films of the era I should revisit. The only film of Joan's earlier era that I haven't seen but want to is STRANGE CARGO (1940). The publicity stills allude to a sultry, almost Jean Harlow in RED DUST quality that I don't think Joan otherwise demonstrated. Whether the film will live up to that ...

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I've seen STRANGE CARGO, or pieces of it at least. Crawford was touted as the only female in the cast, and she was applauded it seems for taking what was called an unglamorous role. Apparently she was upset that Clark Gable was giving top billing, but this seems plausible considering he was fresh off GONE WITH THE WIND, the most successful movie ever.​

 

[ClassyCo]

I have a hard time taking Joan's mid-50s films seriously because of the makeup she adopted during the era. Her face was always a mask of makeup -- hiding freckles, apparently -- but it became almost grotesquely exaggerated.

I mean, I just can't take this seriously, but I also don't have much appreciation for camp.

View attachment 27305

Oh, I don't really care for her look during that period, either. Her face is exaggerated, sure, but what always irked me the most was the cropped off hair. It makes Crawford look too masculine and almost mean. It don't like the short hair. Her face looks so tough too.​

 

[Snarky Oracle!]

I have a hard time taking Joan's mid-50s films seriously because of the makeup she adopted during the era. Her face was always a mask of makeup -- hiding freckles, apparently -- but it became almost grotesquely exaggerated.

I mean, I just can't take this seriously, but I also don't have much appreciation for camp.

View attachment 27305

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Although I can't take my eyes off of QUEEN BEE whenever it's on for the very reason Christina said the role was closest to the "real Joan" -- Jesus knows Christina must be telling the truth, because it all rings true. QUEEN BEE is indeed camp, largely because it had a first-time director who gave it a pointedly B-movie flavor. And one who didn't know how to rein in Crawford's narcissistic portrayal of a narcissist, and I'm not even sure he should have.

I think this is the movie that inspired Joan to say: "There's a little bit of bitch in every woman, and a little bit of bitch in every man."

Not exactly Lillian Hellman, but never accuse Joan Crawford of lacking philosophical splendor.

Then there's the clunky editing and the BIG VALLEY music score and Joan's "every man is my man" credo. I mean, what's not love except most of it?

 

[Crimson]

but what always irked me the most was the cropped off hair.

Women of the mid- to late- 50s sure were fond of that short cropped style, even though it made even young & pretty women look like dowdy matrons. I think the only woman who pulled off that look was Liz Taylor.

 

[ClassyCo]

Women of the mid- to late- 50s sure were fond of that short cropped style, even though it made even young & pretty women look like dowdy matrons. I think the only woman who pulled off that look was Liz Taylor.

Yes, there were several women in that era that wore that awful, cropped off hair. I immediately thought of Natalie Wood when you said the hairstyle made young women look like dowdy matrons.

When you mentioned Elizabeth Taylor, I immediately thought her appearance on WHAT'S MY LINE? in 1954, when she sported that cropped off hairstyle during her THE LAST TIME I SAW PARIS publicity tour. I don't really like her with that look either.​

 

[Snarky Oracle!]

When you mentioned Elizabeth Taylor, I immediately thought her appearance on WHAT'S MY LINE? in 1954, when she sported that cropped off hairstyle during her THE LAST TIME I SAW PARIS publicity tour. I don't really like her with that look either.

Sure, but Taylor's beauty at the time could sell any hairstyle this side of a purple mohawk.

 

[ClassyCo]

Sure, but Taylor's beauty at the time could sell any hairstyle this side of a purple mohawk.

I can partially agree. Despite Taylor's beauty, I really do not like that haircut on women.

 

[Snarky Oracle!]

See, even a dove on her head works!

 

[Crimson]

Sure, but Taylor's beauty at the time could sell any hairstyle this side of a purple mohawk.

To paraphrase Fred Mertz, when the rest of her looks like that she could be bald!

 

[Snarky Oracle!]

 

[Crimson]

I think I've read differing accounts on whether Joan liked or disliked that "Mildred Fierce" sketch, but she apparently disliked Burnett's parody of TORCH SONG.

I think she turned down being roasted by Dean Martin too; she seemed like the type who wouldn't be fond of being mocked.

 

[Snarky Oracle!]

I think I've read differing accounts on whether Joan liked or disliked that "Mildred Fierce" sketch, but she apparently disliked Burnett's parody of TORCH SONG.

I think she turned down being roasted by Dean Martin too; she seemed like the type who wouldn't be fond of being mocked.

Crawford once admitted that she didn't have "much of a sense of humor" about her career.

 

[Crimson]

I think the closest to self-parody was her brief cameo in IT'S A GREAT FEELING, where she slaps people a lot. It was of course spoofing her movie slaps (MILDRED PIERCE), but has a whole different meaning in retrospect of knowing what she was like in real life.

Not parody exactly, but I wonder how self-aware she was at how close to home HARRIET CRAIG and QUEEN BEE got?

 

[Crimson]

I watched THIS WOMAN IS DANGEROUS (1952) tonight, for the first time. Despite its reputation -- and Joan's own opinion of it -- I liked it. It's not a great film, but it's what I want from a Crawford film: noir-lite, melodramatic claptrap. Joan could go from phoney-baloney graciousness to snarling menace to seductive in 90 seconds!

I doubt I could recap what the heck happened in this movie, but it was fun watching it unfurl.

 

[ClassyCo]

I watched THIS WOMAN IS DANGEROUS (1952) tonight, for the first time. Despite its reputation -- and Joan's own opinion of it -- I liked it. It's not a great film, but it's what I want from a Crawford film: noir-lite, melodramatic claptrap. Joan could go from phoney-baloney graciousness to snarling menace to seductive in 90 seconds!

I doubt I could recap what the heck happened in this movie, but it was fun watching it unfurl.

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Where did you watch it?​