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<blockquote data-quote="ClassyCo" data-source="post: 270970" data-attributes="member: 7">It is probably the best era of Crawford&#039;s career. She had matured and was taking on stronger roles. She was still attractive, even as her films took on darker hues. Crawford was perhaps her most attractive during this era as well. I&#039;ve never been a fan of the mid-fifties switch to the cropped hair and tough face. 

A lot of fans and commentaries tout POSSESSED, the 1947 version, as the peak of Crawford as an actress. I must admit she was very good in that film, and it is definitely one of her finest performances. Some critics find her at her most appealing visually in HUMORESQUE, and I can agree with them there. She was beautiful in that movie; the hair, the clothes, the voice. It was all combined in one exquisite package. 

I need to seriously revisit this era of Crawford&#039;s career. I&#039;ve only seen pieces of THE DAMNED DON&#039;T CRY and SUDDEN FEAR, which are highly heralded as two of her strongest performances. There was one commentator that said THE DAMNED DON&#039;T CRY summed up all of Crawford&#039;s on-screen personas into one role and that she was so committed to what he considered a rather tawdry film. I&#039;ve often longed to see FLAMINGO ROAD, primarily because of the TV series it eventually spawned, but also because it brought Crawford back together with co-stars and filmmakers she had worked with on MILDRED PIERCE four years earlier. 

Crawford was not adept in comedy, but neither was Davis. They stumbled and were forceful in their attempts to be humorous. It just comes off restricted and against their nature. They were both more at home in the soapier, heavier melodramas. That&#039;s where Crawford belongs; in those old-fashioned tear-jerkers. 

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[QUOTE="ClassyCo, post: 270970, member: 7"] [JUSTIFY]It is probably the best era of Crawford's career. She had matured and was taking on stronger roles. She was still attractive, even as her films took on darker hues. Crawford was perhaps her most attractive during this era as well. I've never been a fan of the mid-fifties switch to the cropped hair and tough face. A lot of fans and commentaries tout POSSESSED, the 1947 version, as the peak of Crawford as an actress. I must admit she was very good in that film, and it is definitely one of her finest performances. Some critics find her at her most appealing visually in HUMORESQUE, and I can agree with them there. She was beautiful in that movie; the hair, the clothes, the voice. It was all combined in one exquisite package. I need to seriously revisit this era of Crawford's career. I've only seen pieces of THE DAMNED DON'T CRY and SUDDEN FEAR, which are highly heralded as two of her strongest performances. There was one commentator that said THE DAMNED DON'T CRY summed up all of Crawford's on-screen personas into one role and that she was so committed to what he considered a rather tawdry film. I've often longed to see FLAMINGO ROAD, primarily because of the TV series it eventually spawned, but also because it brought Crawford back together with co-stars and filmmakers she had worked with on MILDRED PIERCE four years earlier. Crawford was not adept in comedy, but neither was Davis. They stumbled and were forceful in their attempts to be humorous. It just comes off restricted and against their nature. They were both more at home in the soapier, heavier melodramas. That's where Crawford belongs; in those old-fashioned tear-jerkers. [/JUSTIFY] [CENTER][ATTACH type="full" width="336px"]27217[/ATTACH][/CENTER] [/QUOTE]

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Who played JR Ewing?