Joan Crawford: The Warner Brothers Era

[Crimson]

I haven't seen BESERK! in years, but I recall it being a solid-ish film; certainly better than STRAIT-JACKET or TROG.

According to Wiki at least, both STRAT-JACKET and BESERK! were pretty successful; it's odd that Joan didn't find more work in those years, even if just in horror. Even 4 decades into her career, she was a box office draw.

 

[Snarky Oracle!]

I haven't seen BESERK! in years, but I recall it being a solid-ish film; certainly better than STRAIT-JACKET or TROG.

According to Wiki at least, both STRAT-JACKET and BESERK! were pretty successful; it's odd that Joan didn't find more work in those years, even if just in horror. Even 4 decades into her career, she was a box office draw.

Oh, yes. BERSERK (though inferior to the smash-and-grab charms of CIRCUS OF HORRORS) is a better produced film that STRAIT-JACKET (well, what isn't?). While TROG only suffers from Partial Monkey Suit Syndrome which seems to wash over the rest of the picture -- what with all its fey Boys-in-the-Band casting choices; otherwise, it mighta worked.

STRAIT-JACKET was a box office hit in early-1964 (a poorly made, terribly-photographed movie with a spectacular premise and fabulous star). But Joan's reputation was suffering not only because she'd disgraced herself with "horror films" but because hers weren't as good as Bette Davis' -- except for BABY JANE and that was with Bette!

Plus, Bette publicly said in '65 that she "wants out" of the horror genre, despite having had some success in it, because horror is a bit of a trap cinematically. While Joan's attitude, according to George Cukor, was: "I am a star, and this is my next picture!"

Crawford's antics during the BABY JANE Oscar campaign in early-1963 and walking off of CHARLOTTE a year later over "illness" (i.e., fights with Bette) damaged Crawford further, because it showed her willingness to sabotage studio profits with her shenanigans -- something Davis never quite did. And Joan did it on the final two A-list movies she was involved with!

Still, I want to see a CIRCUS OF HORRORS/BERSERK mash-up with Crawford the rejected and embittered wife of Anton Diffring --- that is what Artificial Intelligence is really for!

 

[Crimson]

Crawford's antics during the BABY JANE Oscar campaign in early-1963

I may be alone, but I rather admire Joan about that evening. She marched into an awards show with no nominations and dominated the whole thing. It's the most Movie Star thing any movie star has ever done, the ultimate act of resentful narcissism. Of course, it was also the last great moment of her career. One might say she went supernova that night, one final burst of star power and then there was nothing left.

(Although she rallied briefly for NIGHT GALLERY.)

 

[Snarky Oracle!]

I may be alone, but I rather admire Joan about that evening. She marched into an awards show with no nominations and dominated the whole thing. It's the most Movie Star thing any movie star has ever done, the ultimate act of resentful narcissism. Of course, it was also the last great moment of her career. One might say she went supernova that night, one final burst of star power and then there was nothing left.

(Although she rallied briefly for NIGHT GALLERY.)

If only HORNET'S NEST circa 1967 had happened like it did in my imagination -- good, impoverished, psychic Joan with long luxurious hair, and evil, rich Joan with her giant beehive coif, the latter living in her Victorian mansion, killed in the final scene by a vengeful hydra plant in the conservatory as the house burns.

What a proud moment that might've been for Crawford. And Crawford.

Maybe @Ked could do an AI Crawford from HORNET'S NEST.

 

[Ked]

Maybe @Ked could do an AI Crawford from HORNET'S NEST.

Nah, the Ai doesn't use prompts that include real life people.

 

[Crimson]

AI really doesn't like celebrities. Some AI tools outright forbid celebrity likenesses -- almost certainly to avoid lawsuits -- and those that do allow can't quite get it right.

This was "Joan Crawford" versus "Joan Crawford 1960s Gothic Horror" prompts.

 

[Soaplover]

I thought Joan's films between the Women and Mildred Pierce were interesting movies that showed her attempting to find the next phase of her movie career since the shop girl era of the 1930s was starting to wear thin.

Strange Cargo is known as the final Clark/Crawford pairing.. but it was a well done movie with good performances from both.

Susan and God ended up being Joan's role because Norma Shearer didn't want to play a mom of a teen and also because Greer Garson was considered so Crawford considered this a coup.. and I think she does well playing a somewhat against type character such as Susan.

A Woman's face was meant for Greta Garbo.. but she'd retired so Joan managed to nab this movie and this movie was the first hint of the film noir stylings that dominated Crawford's career from the mid 40s to late 50s. And a movie that Bette Davis said she wished she could have done herself.

When ladies meet is where Greer Garson and Crawford starred opposite one another.. almost seems like a pale imitation of the Shearer vs Crawford face up in the Women

They all kissed the bride was an interesting screwball comedy that Crawford did after Lombard's death.. and I think she did well with the role and showed she had potential at being good at slapstick comedy.

Reunion in France.. a rare pairing of John Wayne and Crawford... and this is one of the movies Crawford hated

And her final movie.. which I'd love to see is Above Suspicion because it's her final MGM movie and that she wished had been directed by Hitchcock (and that would have been a good pairing).

 

[Crimson]

Joan's final years at MGM had some interesting and worthwhile films, but she was on the wrong path. With Garbo and Shearer retired, Joan seemed to think she was heading towards prestige. Crawford, like Stanwyck, was better in disreputable genres; she needed the grittiness of Warner Brothers to hit her peak. She was ideally suited for slick trash like FLAMINGO ROAD, but even she couldn't make nonsense like ABOVE SUSPICION work.

 

[Snarky Oracle!]

Joan's final years at MGM had some interesting and worthwhile films, but she was on the wrong path. With Garbo and Shearer retired, Joan seemed to think she was heading towards prestige. Crawford, like Stanwyck, was better in disreputable genres; she needed the grittiness of Warner Brothers to hit her peak. She was ideally suited for slick trash like FLAMINGO ROAD, but even she couldn't make nonsense like ABOVE SUSPICION work.

Yes, Crawford was always in her element when she leaned into her inner slattern.

 

[Willie Oleson]

Sorry guys it's fake, but a well-made "trailer" nonetheless. Especially the sound.

 

[Snarky Oracle!]

Sorry guys it's fake, but a well-made "trailer" nonetheless. Especially the sound.

Bette Davis once said: "I have fans; Crawford has a cult."

It's still true. It's the unrelenting dark focus of her followers which incline me to believe Crawford was as bad or worse than even Christina claims.

 

[ClassyCo]

TCM's thoughts on FLAMINGO ROAD:

 

[ClassyCo]

I may be alone, but I rather admire Joan about that evening. She marched into an awards show with no nominations and dominated the whole thing. It's the most Movie Star thing any movie star has ever done, the ultimate act of resentful narcissism. Of course, it was also the last great moment of her career. One might say she went supernova that night, one final burst of star power and then there was nothing left.

The 1963 Oscars are really a pivotal part of Crawford's story. She looked great that night, and you have to admire her movie star ability to center herself during a ceremony orchestrated by people that didn't find her worthy of a nomination.

This isn't a good screen shot, but here's to Joan:

Although she rallied briefly for NIGHT GALLERY

It really is one of her finest performances.

 

[ClassyCo]

They all kissed the bride was an interesting screwball comedy that Crawford did after Lombard's death.. and I think she did well with the role and showed she had potential at being good at slapstick comedy.

I've never seen this movie, but I'm hesitant. From what I've seen, Crawford wasn't very good at comedy. Crawford, like Davis, was at home in the deeper end of melodrama.

 

[Toni]

The 1963 Oscars are really a pivotal part of Crawford's story. She looked great that night, and you have to admire her movie star ability to center herself during a ceremony orchestrated by people that didn't find her worthy of a nomination.

This isn't a good screen shot, but here's to Joan:

View attachment 54609



It really is one of her finest performances.

That Oscar trick was something the other Joan (Collins) could have pulled quite easily...

​

 

[Snarky Oracle!]

Happy 122nd Birthday, Joan Crawford!

 

[Snarky Oracle!]

I'm currently watching Jean Negulesco's THE BEST OF EVERYTHING (1959) in which Hope Lange arrives in the Big Apple to become a new secretary at a publishing house of some sort. Joan Crawford plays the office manager who's a bitch, mistreating Miss Lange (word is, life imitated art).

Christina said Joan's role closest to her real self was that of Eva in QUEEN BEE. And I don't doubt it. But her part in THE BEST OF EVERYTHING has got to come a close second (except that Crawford wasn't an office manager in real life).

The movie itself is seemingly-breezy late-'50s gauzy optimism and busily-elegant post-war aspiration, laced with a forlorn pointlessness unavoidable at the time; the locations and sets are shiny, pristine and glamorous in keeping with its period, an era when cars and phones suddenly begin looking like something from a child's nursery, all easter egg hues when they'd all been utilitarian black or cream just a couple of years earlier.

All the young women in the office are running around chasing after their next (first) husband (or "romance" if she's just no good) or professional success (as long as it doesn't compromise her femininity) to different degrees.

I won't say Crawford's scenes are the best necessarily. But her saucy line, "You and your rabbit-faced wife can both go to hell !," when she's complaining on the phone to her married lover about his unavailability, is the highlight of the film.

Everything is done in the service of Crawford, and yet she's angry about it.

 

[Toni]

I'm currently watching Jean Negulesco's THE BEST OF EVERYTHING (1959) in which Hope Lange arrives in the Big Apple to become a new secretary at a publishing house of some sort. Joan Crawford plays the office manager who's a bitch, mistreating Miss Lange (word is, life imitated art).

Christina said Joan's role closest to her real self was that of Eva in QUEEN BEE. And I don't doubt it. But her part in THE BEST OF EVERYTHING has got to come a close second (except that Crawford wasn't an office manager in real life).

We should ask the Pepsi execs if she wasn´t!!

 

[ginnyfan]

La Crawford is marvelous in this. All of her scenes are an event and I watch the movie in anticipation of them. The biggest fault The Best of Everything has is the lack of Amanda Farrow. I want to see the movie about her, from her perspective, and I'm sure most audiences of this movie, over the decades share that view.

But, even as it is, I still love The Best of Everything, the visuals, the gorgeous office set-up, 50s NY and the melodrama of it all. Needless to say Mad Men is one of my all time favorite shows.

Finally, I have to screencap my old tweet during one of my TCM viewings of The Best of Everything.

 

[Snarky Oracle!]

Did Joan kill Mrs. Graham in POSSESSED (1947)?


"I had no idea it was..........insanity...!"