Reply to thread

Message

<blockquote data-quote="ClassyCo" data-source="post: 441229" data-attributes="member: 7">I really enjoy STAGE DOOR, and have since I originally saw it on TCM many years ago. I&#039;ve always liked movies with ensemble casts and I&#039;ve always liked movies about the theater. So, this one checks both boxes. Perhaps my only drawback is the fact that Andrea Leeds commits suicide. I know it&#039;s supposed to heighten the emotional and tragic angle, but I would&#039;ve preferred had she just gone back home. Yes, I know that would&#039;ve probably made the ending a little less dramatic, the climax less tense. They were committed, it seems, to restoring Hepburn&#039;s box office appeal. They did literally everything that they could to bring her back to audience favor. The problem was that the damage had already been done and audiences were ready to reject Hepburn no matter what type of movie she made. In that infamous 1938 &quot;box office poison&quot; article, Davis was actually listed as a star who &quot;deserved&quot; her salary, along with the likes of Shirley Temple and Myrna Loy. But, as you say, Hepburn carried the &quot;box office poison&quot; label for many years. And, unlike some of the others, she had to orchestrate her own comeback with THE PHILADELPHIA STORY. I always forget Hepburn was linked with Howard Hughes.</blockquote>

[QUOTE="ClassyCo, post: 441229, member: 7"] I really enjoy STAGE DOOR, and have since I originally saw it on TCM many years ago. I've always liked movies with ensemble casts and I've always liked movies about the theater. So, this one checks both boxes. Perhaps my only drawback is the fact that Andrea Leeds commits suicide. I know it's supposed to heighten the emotional and tragic angle, but I would've preferred had she just gone back home. Yes, I know that would've probably made the ending a little less dramatic, the climax less tense. They were committed, it seems, to restoring Hepburn's box office appeal. They did literally everything that they could to bring her back to audience favor. The problem was that the damage had already been done and audiences were ready to reject Hepburn no matter what type of movie she made. In that infamous 1938 "box office poison" article, Davis was actually listed as a star who "deserved" her salary, along with the likes of Shirley Temple and Myrna Loy. But, as you say, Hepburn carried the "box office poison" label for many years. And, unlike some of the others, she had to orchestrate her own comeback with THE PHILADELPHIA STORY. I always forget Hepburn was linked with Howard Hughes. [/QUOTE]

Verification

6 + 4 =