Stage Door
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Movie Reviews of Stage Door
Movie Review: Brilliant Ensemble Showcases Young Actresses Pounding the Pavement in a Classic Dramedy
Summary: 5 Stars
Far more than George Cukor's vitriolic femme-extravaganza, The Women, this 1937 ensemble dramedy shows how vital women were during Hollywood's golden era, especially when they are not relegated to stoic wife roles or placed purely in adversarial positions. Following up on his 1936 screwball classic, My Man Godfrey, director Gregory LaCava guides a Grade-A cast made up primarily of fresh-faced actresses, many of whom went on to create legendary careers of their own. Speaking the laser-sharp dialogue provided by Morrie Ryskind and Anthony Veiller (fluidly adapting the original play by Edna Ferber and George S. Kaufman), the ensemble fills in the distinctive characters with intelligence and enthusiasm. Even though the storyline creaks a little seventy years later, this still holds up as a genuine cinematic classic.
Mostly set in a ramshackle boarding house one could assume was modeled after Manhattan's Barbizon Hotel for Women, the story focuses on the women living there, all aspiring actresses who bond amid failed auditions and non-existent callbacks. It's an unacknowledged sorority house with a den mother and an assortment of theatrical archetypes milling about. At the outset, the alpha female is Jean Maitland, a dancer whose cynical wisecracks mask an unflagging pride in her talent and integrity. Complications ensue when she is made to room with the new girl, Terry Randall, a self-confident debutante whose patrician airs alienate almost everyone around her. Terry is determined to make it on her own as an actress, but once word gets to producer Anthony Powell that she is the daughter of a wealthy investor, she gets cast in the starring role of a drawing room weepie called "Enchanted April". Unfortunately, that's the role desperately desired by Kay Hamilton, another actress in the house. Kay impressed critics a year prior, but she hasn't had any luck in replicating that success. Of course, once Terry lands the part, she is disastrous in rehearsals until a tragedy occurs. The last part of the movie is played out as pure melodrama, but it works in deepening our affections for the characters involved.
As Jean, an Astaire-less Ginger Rogers expertly zings with abandon and grounds the film with her no-nonsense manner. Katharine Hepburn, although playing a blueblood variation of the same actress she played in Morning Glory, has the comparatively tougher role as Terry since her character's priggishness must give away to a revelation of humanism. She manages the conversion expertly and parries gleefully with the always-ready Rogers in the movie's best scenes. Adolphe Menjou has the right gruff spirit as the pompous Powell, though he seems a bit weathered to get away with his ladies'-man shenanigans. In very early roles, Lucille Ball, Eve Arden and Ann Miller show off the unique talents that would soon bloom. Arden, in particular, delivers her scabrous lines with devastating wit. In roles that perfectly reflected their screen personas, Gail Patrick plays the nasty Linda with the same venom she spewed as Carole Lombard's talon-bearing sister in "My Man Godfrey", while Constance Collier brings out all the vainglorious pomp in Terry's aging mentor.
The standout at the time was Andrea Leeds' poignant turn as Kay. A sharp actress who would retire within a few years of this film, Leeds is the only one who doesn't get any funny lines and consequently is made to come across as an oversensitive albeit beloved wet rag. However, she makes the most of her last scene to powerful effect. The 2005 DVD has a reasonable though not outstanding print of the aged film. Other than the theatrical trailer, there are just two extras. The first is a silly, twenty-minute musical short from 1937 called "Ups and Downs" about an enterprising elevator operator who tap dances. It stars a bleached blonde, baby-faced June Allyson in her film debut and features an almost-as-young Phil Silvers as a manic tailor. The more interesting extra is a condensed radio production of "Stage Door" with Rogers and Menjou repeating their roles and Rosalind Russell taking over for Hepburn and Arden taking over for Patrick.
Movie Review: Spooky Backstager
Summary: 5 Stars
We were watching Paranormal Activity late, late at night and, thoroughly frightened by the low-budget thrills of the 2009 release, we turned off the channel hastily and you know what was on? Stage Door, from the good old 1930s. This will be a nice palate cleanser after the scary modern story, we thought. And it was indeed. You'd think no two stories could be any more different but the bizarre thing was, with the possession plot of Paranormal Activity so fresh in mind, we realized they were basically the same story, just done a little differently! I have to put out a "spoilers ahead" alert in order to explain myself, so hang on a mo!
SPOILERS AHEAD
Stage Door tells the story of a charming, brainy, wealthy young actress without a scrap of talent (but much ego), nicely played by Katharine Hepburn. Basically she's good at heart, and she doesn't realize that her maneuvering to win the part in "Enchanted April" will destroy the mind and eventually the life of a roommate at the Footlight Club, the doomed ingenue Kay, played by Andrea Leeds from The Goldwyn Follies. Well, just as a malevolent spirit invades the mortal body of Katie, the young schoolteacher's aide in PARANORMAL, Kay commits suicide in an eerie, manically smiling climb up a long, backlit staircase to the Club's highest window, where she throws herself off due to losing the part to Terry Randall (Hepburn). She does this on Terry's opening night, and when Terry finds out that Kay has killed herself, she screams that she can't go on. "But Kay would have wanted you to!" advises Constance Collier. I don't know about that, but in the famoua ending it becomes apparent that, from the moment the previously untalented Terry wafts onto stage with an armful of calla lilies in bloom again, all of a sudden vengeful Kay has invaded her body and is giving the performance that death would not let her give in life! There's no more Terry, only Kay. We screamed on the sofa seeing this happen!
"The calla lilies are in bloom again. Such a strange flower, suitable to any occasion. I carried them on my wedding day, and now I place them here in memory of something that has died... Help should come to people when they need it. Why are we always so helpful to each other when it's no longer any use?... One should always listen closely when people say goodbye because sometimes they're, they're really saying farewell."
In the end Kay has the last laugh just like in Paranormal Activity with Katie.
Movie Review: The Footlights Club
Summary: 5 Stars
This sentimental look at a group of young women trying to make it in the acting profession and leaning on each other makes for a wonderful film. There is a terrific ensemble cast of 1930's actresses who all shine at various moments. Novelist Edna Ferber and George S. Kaufman found their play in good hands with producer Pandro S. Berman and director Gregory La Cava. The screenplay by Morrie Ryskind and Anthony Veiller left all the wry humor and tender sentiments in tact.
A boardinghouse in New York called the Footlights Club is where most of the film takes place, yet it in no way feels claustrophobic. There is never a dull moment, in fact, as the girls go in and out to auditions looking for their big break and are constantly cracking wise to mask their fear of rejection. Eve Arden, Gail Patrick, Ann Miller, Lucille Ball, and Constance Collier all have some fine moments beside Kate Hepburn, Ginger Rogers, and Andrea Leads. Leads' performance as the young and fragile Kay, desperate to land the lead in Enchanted April to fulfill the promise of a previous shining moment on stage, is memorable.
While Hepburn's role as Terry, the rich girl among the bunch, trying to make it on her own and finding it hard to fit in, was perhaps meant to have a slight edge over the other players, it is Ginger Rogers' Jean who viewers care about the most. She is snappy yet vulnerable, and very softhearted underneath. The instant dislike between she and Terry dissolves as the film goes along, of course. Rogers is wonderful in a couple of scenes and her performance seems more genuine somehow than Hepburn's. La Cava would make Fifth Avenue Girl with Ginger two years later, and Pandro S. Berman, of course, produced the beloved Fred and Ginger films.
Gail Patrick proved fabulous also as the girl willing to sell out for furs to Adolph Menjou. There are many little subplots of the day to day survival of such a group which all add something to the story. Leads' performance as a girl starving in order to pay her rent will bring about a tragedy one of the girls will draw on for emotional inspiration in order to succeed. The often overlapping dialog is witty and fun to listen to. One must believe that Howard Hawks used it for inspiration three years later as the same technique is exaggerated to glorious perfection in His Girl Friday.
All in all, while it is dated, this is an enjoyable film classic with a wonderful cast. A must for classic film fans.
Movie Review: This one's a keeper!
Summary: 5 Stars
I'm so, so glad I finally got around to watching Stage Door - the film is a gem and I thoroughly enjoyed it. I can so see why it was nominated for Best Picture in 1937 - the honor was well-deserved in my opinion. Loosely based on a play by Edna Ferber (Giant, Show Boat) and George S. Kaufman (You Can't Take It With You, The Man Who Came to Dinner), this is a movie full of humor and heart, striking just the right balance of comedy and melodrama. It's a great example of 1930s Depression-era escapism, with every character doing their level best to get by and catch a break. The story centers around a group of aspiring Broadway actresses that make their home at the Footlights Club boarding house. They're a fairly tight-knit group, and include a brash dancer played by Ginger Rogers, a "kept" woman played by Gail Patrick, a brilliant actress who can't catch a break played by Andrea Leeds, and some wise-cracks and sarcasm provided by Lucille Ball. There's also a noteworthy turn by a 14 year old Ann Miller, remarkably holding her own and not out of place in the least opposite actresses ten years or more her senior. The equilibrium of the house is disrupted by the arrival of the "uppity" Tracy with a secretive past, played by Katharine Hepburn, who doesn't seem to know her place. The role of Tracy fits Hepburn like a glove, and watch for the moment when she delivers the line "the calla lilies are in bloom again" - it's priceless! While Rogers and Hepburn are clearly the stars, the rest of the cast is given ample opportunity to shine - this is a great ensemble picture, very nearly flawlessly constructed in how it gives each actress their moment in the spotlight. The film is fast-paced, with never a dull or lagging moment, and the dialogue positively sizzles with electric energy. The final scene is breath-takingly well played - life at the Footlights Club, with all of the triumphs and tragedy that occurs, will, like "the show," always go on. I think the DVD transfer here is fantastic, with an extremely crisp & clear picture. There are a few extras - the musical short Ups and Downs is really pretty cute, and fun for the novelty of seeing an extremely young June Allyson in only her third role, nearly unrecognizable as a platinum blonde. For fans of the classics, you can't do better than Stage Door's expert balance of comedy and drama. It's a definite keeper.Movie Review: Sardonic sable saddled starlets seek stage success (recommended)
Summary: 5 Stars
More than a dozen aspirant actresses, including Katharine Hepburn, Ginger Rogers, Eve Arden, Ann Miller, Gail Patrick, and chain smoking Lucille Ball are boarding house roommates who exchange catty lines while waiting for their chance to enter the STAGE DOOR. The constant flow of sardonic expressions, reminiscent of less satisfying THE WOMEN (1939), adds levity to the depressing inevitability that not everyone will succeed. Occasionally, a few escape the routine lamb stew for a temporary taste of the "good life" in the lap of a lascivious producer doling out expensive baubles and sable to star-struck hopefuls.
As the newest Footlights Club member, Terry Randall (Hepburn) rejects her family fortune to see if she has what it takes to succeed in the theatre. Despite advanced literary education, she quickly adapts to insolent exchanges to fit in with the girls. Judging by her rehearsals, she wouldn't have a chance if it weren't for anonymous financial backing. Nevertheless, the Footlights Club dresses its best to attend opening night for potential stars -- after all, it may be their last performance.
Jean Maitland (Rogers) includes a couple of brief tap dances but this is not a musical. Though witty lines are delivered with precision timing, STAGE DOOR is not supposed to be comedy either. There is a gritty melancholy realism behind the humor. Nominated for four Academy Awards, it is apparent the author is attempting to warn starlets that becoming successful is not as easy as living near Broadway, having talent, or even meeting a producer. STAGE DOOR stirs a range of emotions -- some sad but most of them delightful.
Movie quotes: (1) "How was the matinee?""Very intimate. We had a hundred people on the stage and fifty in the audience. Well, you had them out numbered." (2) "I love a sense of humor.""Yes, I can tell by the size of your shoes."