Hear ye, hear ye, this serves as your reminder that the Dueling Divas Blogathon is happening this Saturday! Get ready for a fun day of rivalry and revelry, when Backlots’ readers get together to contribute posts about their favorite dueling divas. In case you’re new around these parts, here are the guidelines for this blogathon, now in its 4th year:
Your topic may be related to any of the following:
Classic film personalities who had a rivalry in real life, either over a particular film role or over a personality clash, ie Bette Davis and Joan Crawford
Classic film characters who had a rivalry on the screen, ie Mildred and Veda from Mildred Pierce
Any dual role played by an actor or actress in a classic film, ie Hayley Mills in The Parent Trap.
You don’t need to feel limited to a single duel between two personalities or characters. You can talk about various clashes a single actor had (ahem…Bette Davis) or duels within a group. In the past, I have written about the duels in The Women, which was a lot of fun.
Also, Backlots is a progressive and gender-eschewing blog, so your divas may be women or men, as you wish.
If you haven’t signed up yet, there’s still time! Email me or comment on this post, and I will know to expect your entry on Saturday.
I am very much looking forward to our 4th year of Dueling Divas, and know that this year is going to be a great one!
On what was my busiest day of the festival thus far, my film experiences yesterday ran the gamut of human emotion. From the laughs and tears of City Lights to the nostalgia of I Remember Mama, to delight at the naughtiness of The Women to the uncomfortable but ultimately triumphant horror of Freaks. It was quite a long day and so, dear readers, I was compelled to begin writing this post on the morning of the last day of the festival, in the name of sleep and sanity.
The first film of the day yesterday was City Lights, a 1931 Charlie Chaplin masterpiece that is one of his many tours-de-force and happens to be one of my personal favorites of all time. It tells the story of a blind girl who is befriended by Chaplin’s “little tramp” character, and when she is unable to afford her rent, he goes through a series of precarious (and often hilarious) circumstances to get the money for her. The movie is laugh-out-loud funny, but with a certain poignancy in Chaplin’s scenes with the blind girl, a poignancy that serves to give the tramp character his humanity. This is typical of Chaplin–right when we are about to write the tramp off as nothing but a silly clown, we are shown a side of him that is so sweet, gentle, and kind, we cannot help but relate to him in some way and think of him on our own human terms.
The ending of City Lights is, in my opinion, one of the most beautiful endings ever in the history of the movies. For those of you who have not seen it and prefer not to have the ending spoiled, skip this paragraph and clip! But for those of you who don’t mind spoilers, I will show you an ending that is sure to melt the coldest of hearts. When the tramp is with the blind girl at one point in the movie, she discusses the possibility of surgery on her eyes so that she may see. It is inferred that with the money that the tramp gives her for her rent (he manages to get her a lot more than her rent required, by enlisting the help of a millionaire friend who, through a series of circumstances, ends up not remembering him and the tramp is thrown in jail for extortion), she is able to afford the operation, but as the police believe that the tramp stole the money, he ends up in jail and unable to see the girl until he is out. Autumn comes, and the tramp is out of jail…disheveled with raggedy clothes on, he sees the girl, who has had her operation. This is the scene:
Needless to say, it was an emotional moment in the theater. It is rare that a movie can make you laugh so hard, and then tug at your heartstrings with such grace and beauty.
Next up was I Remember Mama, a glimpse into the life of a Norwegian immigrant family in San Francisco in the early 1900s. The plot is simple–a young woman recounts her childhood in flashback, recalling the days with her family, the good times and the bad times. TCM’s theme this year is “Family: The Ties That Bind,” and they couldn’t have picked a more appropriate addition to the festival than I Remember Mama. The film earned Irene Dunne her final Academy Award nomination, and in my personal opinion she was robbed that year. Though the competition was tough–she was up against Olivia de Havilland for The Snake Pit, Barbara Stanwyck for Sorry, Wrong Number, Ingrid Bergman for Joan of Arc, and the ultimate winner, Jane Wyman in Johnny Belinda–Irene Dunne’s performance as the devoted Norwegian mother is flawless. She speaks with a convincing Norwegian accent, and in one scene in which she has to leave her child alone in a hospital, you can feel her pain and guilt. It is a remarkable movie, and a love poem to mothers everywhere.
Maureen O’Hara and Walter Pidgeon in HOW GREEN WAS MY VALLEY (1941)
I was concerned about getting into the next movie, as there would be a special guest–and not just any special guest. The legendary Maureen O’Hara was slated to appear at the screening of How Green Was My Valley, and as I expected, the line was the longest I had ever seen at this festival. I did end up getting in, and they showed a beautiful montage of clips from Maureen O’Hara movies before Maureen came out–teary-eyed with emotion. At 93 years old she is still strikingly beautiful, and speaks elegantly with a touch of an Irish brogue that came and went during her film career but now seems here to stay. I had the great privilege of meeting Maureen O’Hara several years ago when I was in Ireland, and she is truly a larger-than-life personality. A great lady with great convictions that are apparent whenever she speaks.
How Green Was My Valley is a touching coming-of-age story set in a Welsh mining town, and Maureen O’Hara plays Angharad, sister of main character Huw (Roddy McDowall). The film makes a great many points about family and fairness, especially in regard to labor and treatment of others. It is a simple film that doesn’t put on any airs, yet it won the Academy Award for Best Picture in 1942–winning over Citizen Kane.
The next activity was a showing of several Hollywood home movies from the Academy Film Archive, including home movies from the Ziegfeld family, footage from Hearst Castle, the set of Oklahoma, and rare backstage footage of a young Jean Harlow. Accompanied by a live piano, the silent clips were shown with live commentary from special TCM guests, including, notably, the great-granddaughter of Florenz Ziegfeld and Billie Burke.The Academy Film Archive is a treasure trove of films, newsreels and film clips, and their selections for the festival are always fascinating. This is becoming a yearly event at the TCM Classic Film Festival, and I always make it a point to go. The audience was enraptured and enthusiastic, and it was great fun to experience.
After having coffee with fellow blogger Vincent Paterno, who is in town for the festival, I headed off to see The Women, a movie readers of Backlots are quite familiar with by now as I have written about various facets of the movie on many different occasions. It is one of the smartest, wittiest movies of the 1930s and, I would argue, of all time. Yesterday’s screening featured a talk with Anna Kendrick, Oscar-nominated actress who happens to be a huge fan of The Women. Kendrick spoke intelligently and passionately about this movie, and she and Ben Mankiewicz (who interviewed her) clearly have a great rapport. It was a lot of fun, and the talk went overtime because Kendrick had so much to say.
I won’t delve into the movie in this write-up, as I would be writing about it all day and you can read my varied analyses of this movie here, here, and here, but suffice it to say that it’s one of my favorite films to discuss. I am especially fascinated by the the influence that designer Elsa Schiaparelli had on the film’s costume designer, Adrian, evidenced in the fashion sequence and throughout the movie.
My final viewing of the night was a midnight showing of Freaks, a dark look into the world of circus sideshows that ultimately brings light to the way people with disabilities were treated within the confines of so-called “freak shows.” It is a movie whose concept makes a lot of people uncomfortable, and I think it’s partly because there is a misunderstanding of the film’s title from those who have not seen the movie. It is often passed over by people who are either offended by what they assume the movie will be, or by those who fear the dark and bizarre subject matter. But at its core, Freaks is a movie that turns stereotypes upside down. Previously (and since), actors who had some sort of physical disability were often cast as villains or characters to be feared. In Freaks, it is the disabled characters who are the “good guys,” and the able-bodied characters are the ones to be feared. It is quite an unusual and progressive scenario. Tod Browning spent much of his life working in circuses, and knew this world very well, which makes his interpretation all that more fascinating. In addition, nearly all of the characters were portrayed accurately, by disabled actors or real life sideshow performers.
Tod Browning with some of the cast members of FREAKS (1932).
Today, as the last day of the festival, is a bit of a lighter day, but there are some good things on the horizon to look out for tomorrow! See you then!
Some of the most entertaining duels ever depicted onscreen are concentrated in one single film. The Women (1939), directed by George Cukor and starring Norma Shearer, Rosalind Russell, Mary Boland, Joan Fontaine, and Paulette Goddard, is one of the most well-loved comedies of all time, and much of the acclaim it has received is due to the unique relationships the characters have with each other, and the complex web of competition that occurs among nearly every character with nearly every other.
The Women presents an unprecedented experiment with regard to casting a film, and in regard to the relationships between the characters. Based on the Broadway hit by Clare Boothe Luce, the tagline reads “The Women: It’s all about the men!” Indeed, the women in the film talk so much about their husbands, it may take a while for the viewer to recognize that something is missing. The husbands, when they are heard from, are always either spoken to over the phone or send their communication through letters. True to the Broadway show, the MGM casting department went to great lengths to ensure that every member of the cast was female. From the extras to the photographs to even the animals, there is not one male in the cast of 130 that makes up The Women.
Though a completely feminine picture, and very progressive in its treatment of divorce and extramarital affairs, The Women is still very much a movie made under the code. All divorces are eventually dissolved, and the “wayward” women are punished. Nonetheless, the code strangely holds this film together, leading to a tight finish and no problem unresolved. When the movie was remade in 2008, the filmmakers made an effort to make it more politically correct, liberated, and feminist, which ruined the story and led the film to be universally panned by critics. There is truly nothing like this original version of The Women, a hilarious story of friendship, competition, and gossip among society women.
There is a tightly woven network of duels in this movie, and the plot comes together through exploration of who is dueling with whom! I will list all the main characters here, and then delve into the duels.
Mary Haines (Norma Shearer) wife of Stephen Haines
Sylvia Fowler (Rosalind Russell), wife of Howard Fowler, cousin of Mary Haines
Crystal Allen (Joan Crawford), perfume counter saleswoman, mistress of Stephen Haines and Buck Winston
Edith Potter, wife of Phelps Potter
Miriam Aarons (Paulette Goddard), mistress of Howard Fowler
Peggy Day (Joan Fontaine), wife of John Day
The Countess de Lave (Mary Boland), married multiple times, currently involved with Buck Winston
Little Mary (Virginia Weidler), Mary and Stephen’s daughter
MARY HAINES vs. CRYSTAL ALLEN
While having her nails done, Mary’s cousin Sylvia Fowler learns of the infidelity of Mary’s husband. The mistress is a perfume counter saleswoman named Crystal Allen, and Sylvia immediately takes action by telling Mary to get her nails done with the same woman, so she can hear the story for herself. Mary does that, and upon learning the story, she decides to largely ignore it. Sylvia, however, will do nothing of the kind. Due to her meddling, Mary and Crystal square off when they meet at the fashion show in the middle of the film. Pay special attention to the racy and clever dialogue.
It finally becomes clear that Mary is going to need to get a divorce from Stephen, as Crystal will not give him up.
PEGGY DAY vs. SYLVIA FOWLER
The sweet and shy Peggy Day finally gets fed up with Sylvia’s meddling in Mary Haines’ business, and after a scene at the gym with Edith and Sylvia in which the women gossip about the situation, Peggy complains to Edith that Sylvia is a “dreadful woman” and vows to tell her so. Edith convinces her not to, because it’s just Sylvia’s bad luck that Sylvia ” wasn’t born deaf and dumb.” The clash between Peggy and Sylvia continues through the rest of the movie, though Peggy’s shy demeanor prevents her from making it into an issue.
Peggy’s personality is a bit of a paradox. On the one hand, she is very shy and unassuming, but on the other hand, she resents her husband for not letting her spend her own money. Eventually this becomes too much, and she ends up in Reno with Mary.
MIRIAM AARONS vs. SYLVIA FOWLER
On the train to Reno for her divorce, Mary Haines meets two women going to Reno for the same reason. One of them is the Countess de Lave, an exuberant multiple-time divorcee who nonetheless claims to believe in love by proclaiming “L’amour!” after nearly every sentence. She is intent on marrying Buck Winston, a singing cowboy and radio star with a popular show. The other woman is Miriam Aarons, a former chorus girl going to Reno for her first divorce.
Meanwhile, Sylvia finally gets a taste of her own medicine when she finds out about her own husband’s infidelity. She surprises Mary and Peggy with her own arrival to Reno. Shortly before Sylvia’s arrival, Miriam shared a secret with the Countess–she has been having an affair with Howard Fowler. Miriam does not know Sylvia, and it is a major surprise when Sylvia arrives and they are introduced.
Sylvia gets an article in the mail that shows with whom Howard has been having an affair, recognizes the name of Miriam Aarons. An all-out catfight ensues.
LITTLE MARY vs. CRYSTAL ALLEN
While in Reno, Mary finds out that Stephen has married Crystal. Little Mary, Mary’s daughter, does not like Crystal, but is civil to her because Mary has told her to be kind to Crystal. Crystal clearly is not the mothering type, and barely tolerates Little Mary. There is a confrontation between them where Crystal is on the phone in the bathtub with a mysterious man, and Little Mary becomes suspicious and eventually tells her mother.
SYLVIA FOWLER vs. CRYSTAL ALLEN
Sylvia and Crystal, who have become chummy, meet minutes after Crystal’s confrontation with Little Mary in the bathtub. Sylvia answers the phone when it rings, and it turns out to be the cowboy radio star Buck Winston. Crystal has been having an affair with the fiancé of the Countess de Lave.
By now, Little Mary has told her mother about the mysterious man, and with this newly found information about Crystal’s affair, Mary decides to take the initiative in getting Stephen back. She dresses for a party occurring that evening that Stephen and all the rest of the ladies are attending, and begins her recapture of her husband.
At the party, Mary tricks Sylvia into spilling the beans that Crystal is having an affair with Buck Winston, and thereby sets the ball rolling toward the end.
THE COUNTESS DE LAVE vs. CRYSTAL ALLEN
Also at the party, Buck Winston publicly declares his love for Crystal Allen. The Countess is humiliated, and Crystal goes for the jugular, implying that she is only after his money. The Countess reveals that all his money is gone, and that SHE is the sponsor of his popular radio show. Crystal is defeated, and her final line of the movie is:
“Well girls, I guess it’s back to the perfume counter for me. And by the way, there’s a name for you ladies, but it isn’t used in high society…outside of a kennel. So long, ladies!”
The movie ends with Mary running back to Stephen with arms outstretched.
Director George Cukor is magnificent in channeling all these feuds into fun and creative scenes. Though there is some serious dueling in the film, the sharpness of the script and slapstick humor keeps the audience entertained and keeps the film from getting too mean.
The Women remains one of the best films of that marvelous year of 1939, and one of the best comedies of all time, thanks to the brilliant performances by the actresses involved and the unparalleled directing of George Cukor.
Today is the final day of the Dueling Divas Blogathon! Be sure to check out all the entries here. Thanks for reading and a special thanks to those who contributed their hard work to this year’s blogathon. I can’t wait for next year!
This movie came to me by way of Marya over at Cinema Fanatic. While in line for the San Francisco Silent Film Festival, we began to talk about Myrna Loy and it came out that I had never seen Thirteen Women. Marya had just gotten a copy from the Warner Archives, and brought it the next day for me to watch. I did so enthusiastically, and I will profile the movie here, along with some interesting facts and pieces of trivia.
Thirteen Women, a chilling tale of horoscopes and fate, is a very interesting film in a number of ways. First, it is one of the first female ensemble films to come out of Hollywood–7 years before the ultimate female ensemble film, The Women, Thirteen Women concerns itself with a woman by the name of Ursula Georgi, the assistant of a prominent “swami” (horoscope reader), who is bent on revenge against the women who bullied her throughout her school years due to her mixed-race heritage. As Ursula sends simple letters to these women predicting their deaths, their lives unravel, and they almost invariably meet the same grisly end predicted in the letters. It is unclear whether the effect is physical (does Ursula really have magical powers?) or psychological (her letters use the “power of suggestion” to make things happen), but whatever it is, every look that Ursula gives–through Myrna Loy’s mysterious and ethereal eyes–is deadly.
Unlike The Women, there are plenty of men IN this picture, but the focus, similarly, is all on the women and their interactions with each other. A bit of trivia on this movie–one of the lead women in the ensemble is Peg Entwistle, in her only film appearance before her much-sensationalized suicide, jumping off the Hollywoodland sign at the age of 24 in 1932, weeks before this film’s release.
When you watch this movie, keep a good eye on Myrna Loy (as though I need to be saying that, it’s an effort to look at anybody ELSE when she is onscreen!) At the beginning of Myrna Loy’s career, she was most often cast as Asian stereotypes or other exotic characters, and as her career began to take off in the early-mid 1930’s with the Thin Man series, she all too readily abandoned those roles (Myrna was known for loathing prejudice of any kind, and she often looked back at her early roles with regret and disappointment for having played them) and developed a new typecast–that of the loyal but witty and independent housewife, as popularized in The Thin Man. She hardly needed to display her flair for drama, the public was in love with her no matter what. However, in this role, take a good look at just how skilled she is. Watch her cold expression as she signs the letter in this clip:
For those of us who are used to her as Nora Charles, this character comes as quite a shock.
I enjoyed this movie immensely. As a Myrna Loy devotee, it was a movie I needed to see, and I’m glad I did.
Captain of Her Soul: The Life of Marion Davies is now available at your favorite bookseller! Click hereto order it, and visit mariondaviesbook.com for all the latest.
Backlots is devoted to honoring and celebrating all aspects of classic film and is written by Lara Gabrielle, a California-based classic film writer and historian. Lara is the author of CAPTAIN OF HER SOUL: The Life of Marion Davies (UC Press, 2022).
Here you will find pieces on frequently seen classics and some lesser-known gems, as well as book reviews, festival coverage, and pieces on the history, theory and culture of film as it relates to the study of classic cinema.
Enjoy the site, and thanks for reading!
AFFILIATIONS & AWARDS
2019 CMBA Award for Best Profile of Classic Movie Performer or Filmmaker--"The Activism of Myrna Loy"
Winner of the 2018 CiMBA Award for Best Classic Movie Series, BACKLOTS AT THE COURTHOUSE: OLIVIA DE HAVILLAND VS. FX
Winner of the 2014 CiMBA Award for Best Profile of a Classic Movie Performer or Filmmaker: A Q&A WITH JOAN FONTAINE IN HONOR OF HER 96TH BIRTHDAY
Winner of the 2011 CiMBA Award for Best Classic Movie Discussion, THE FINAL SCENE OF THE HEIRESS
I am honored to be a judge of the Animal Film Festival in Grass Valley, CA.
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Walter Pidgeon and Greer Garson in "Mrs. Miniver."
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