Melodrama Screening and Discussion, Wednesday 6th February, 5-7pm, Jarman 6

All are very welcome to join us as we take a brief break from screening Dirk Bogarde melodramas to once more appreciate Barbara Stanwyck. We will screen Ladies They Talk About (1933, Howard Bretherton and William Keighley, 69 mins) on Wednesday the 6th of February, 5-7pm, in Jarman 6.

The British Film Institute (BFI) is celebrating Stanwyck in a season running from February to March. (More information on their programme of events can be found here). The season includes screenings of Barbara Stanwyck films the melodrama group has previously discussed such as Baby Face (1933, Alfred Green) and Stella Dallas (1937, King Vidor).(See summaries of our discussion here and here)

The event starts with a series of talks ‘Barbara Stanwyck in the Spotlight’ on Saturday the 2nd of February, at BFI Southbank in London. One of the speakers is melodrama research group member Lies Lanckman. (See more details and purchase tickets here.)

Lies will also kindly be introducing our on campus screening of Ladies They Talk About. 

A quick plot summary of the film:

This Warner Brothers production stars Barbara Stanwyck. She plays gangster’s moll, Nan Taylor, who is caught during a bank robbery but who appeals to old male classmate David Slade (Preston Foster) for help. David is now a radio evangelist, intent on just punishment for criminals, but agrees to help Nan. Despite David’s intervention, Nan is sent too San Quentin prison where she meets an array of fellow female convicts. Dramatic urgency is supplied by a thwarted escape, a shooting, and romance.

The film was later remade in 1942, starring Faye Emerson as the more aptly titled Lady Gangster (Robert Florey).

Do join us if you can.

 

 

 

 

 

Melodrama Screening and Discussion, 27th of February, 5-7pm, Jarman 6

All are very welcome to join us when we screen and discuss our next pre-code film. We will be showing Ladies They Talk About (1933, Howard Bretherton and William Keighley, 69 mins) on Tuesday the 27th of February, 5-7pm, in Jarman 6.

Like all of our most recent screenings, this is a Warner Brothers production. It also, like Baby Face, stars Barbara Stanwyck. She plays gangster’s moll, Nan Taylor, who is caught during a bank robbery but who appeals to old male classmate David Slade (Preston Foster) for help. David is now a radio evangelist, intent on just punishment for criminals, but agrees to help Nan. Despite David’s intervention, Nan is sent too San Quentin prison where she meets an array of fellow female convicts. Dramatic urgency is supplied by a thwarted escape, a shooting, and romance.

The film was later remade in 1942, starring Faye Emerson as the more aptly titled Lady Gangster (Robert Florey). Once more, as with Three on a Match and Broadway Musketeers, this affords us the opportunity of  comparing  pre and post-code treatments of a story.

Do join us if you can.

Melodrama Screening and Discussion, 30th of January, 5-7pm, Jarman 6

All are very welcome to join us for our next screening. We’ll be showing Three on a Match (1932, Mervyn LeRoy, 63 mins), on Tuesday 30th of January, 5-7pm, in Jarman 6.

Three on a Match continues the melodrama research group’s interest in pre-code Hollywood and, like both of our recent screenings Female and Baby Face, is a Warner Brothers production. It too is especially concerned with women. But it provides us with three heroines instead of one. Friends Mary (Joan Blondell), Vivian (Ann Dvorak) and Ruth (Bette Davis) meet again a decade after leaving school.  Their lives widely diverge: crime is followed by redemption through acting for Mary, a stable marriage to a wealthy lawyer is ruined by a messy break up for Vivian, while Ruth embarks on a career as a secretary. All three face challenges, with Vivian’s life taking a particularly melodramatic turn.

Do join us if you can.

Summary of Discussion on Female

Our discussion of Female ranged from its genre, its use of gender inversion, its star, Ruth Chatterton, comparison to other films and stars of the time such as Barbara Stanwyck in Baby Face, its studio – Warner Brothers –  the film’s set and its shot transitions. 

We began with debate about the film’s genre. The American Film Institute (AFI) categorises Female as ‘Comedy-drama’ (https://catalog.afi.com/Catalog/MovieDetails/3957?cxt=filmography) and we certainly noted its, sometimes uneasy, mix of serious issues such as sexual equality (a major subject according to the AFI) and comedic moments. We particularly commented on the film’s heroine, automobile factory owner and manager Alison Drake (Ruth Chatterton). Alison demonstrates her sexual liberation, and position of authority, by seducing young men in her employ and then arranging for them to be transferred to other parts of the world when they become clingy and troublesome.

Alison is a woman in charge of her own destiny, telling a female friend, Harriet Brown (Lois Wilson), that she uses men the way they have always used women. She is, therefore, very different to the suffering heroine of melodrama.  In fact, she seems more like the sexually predatory man a melodrama heroine is often running from.

Alison is frustrated, however, by the fact that despite her viewing herself as a sexual being, the men she attempts to seduce have differing ideas. Men either submit and then fall in love and wish to marry and domesticate her (and are hence transferred to Montreal), or seem resistant to her female charms, considering her to be made of marble, rather than flesh and blood (and are dispatched to Paris). Other marriage proposals she receives are similarly not based on how Alison sees her true self, but are couched in terms of a business merger.

The repetitive nature of Alison’s attempted seductions (and indeed her preparedness, in, we presume, providing male guests with bathing costumes for her swimming pool) become comic as the film proceeds. She invites men to her house for the evening; she is clad in a beautiful evening dress; we hear ‘Shanghai Li’ playing; Alison summons a butler, and vodka, at the right moment by pushing a button; Alison earnestly explains that she is not all about business, inviting her male visitor to sit next to her as she playfully throws a cushion on the floor.

The other comedy aspect the film brought to mind was the screwball subgenre. After becoming frustrated at the lack of men who see her as she truly is, Alison leaves her own party, dressing up in casual clothes to visit a local fair. While there, she takes aim with a rifle at the shooting gallery alongside an attractive man, Jim Thorne (George Brent). They alternate successful shots at targets until Alison’s last one misses, and Jim completes the task for her. This is a ‘meet-cute’ of romantic comedy, something which shows that the couple is meant to be together. Alison is, however, the pursuer rather than the pursued (despite the fact the man has won the so obviously male shooting competition) as she follows Jim as he purchases a drink at a nearby stall. Alison light-heartedly assumes an alternative identity as a former sharpshooter, and Jim plays along by saying that he did not recognise her without her horse. Significantly, Alison’s assumed identity is one of much lower class than her real status. This corresponds to some of the key aspects Tamar Jeffers McDonald cites as key to screwball – reverse class snobbery, a major inversion or subversion of characters’ normality, and role play (Romantic Comedy: Boy Meets Girl Meets Genre, 2007, pp. 23-24). It is worth noting, however that while Jim plays along, he does not assume an alternate identity or pretend to be anything he is not.

Perhaps predictably, Jim refuses to be ‘picked up’ by Alison, apparently she is ‘too fresh’. There must be some obstacles to their (we suppose) eventual union.  Furthermore, he spurns her advances when, coincidentally, he begins work at her company as an important engineer the next day. While her seduction routine has worked with others, Jim seems immune. When Alison is surprised that drinking has not loosened Jim up, he explains that he is used to vodka, after working for some time in Russia. This shows how much she has relied on alcohol in past seductions, and that Alison has to work much harder at her ‘vamping’ than usual.

 This inversion is not only important in terms of how it might comment on comedic conventions. It is also useful when we compare Alison to other characters in the film, and consider what changes in her representation may say about the film’s standpoint on sexual equality.

The main character we compared Alison to was her old schoolfriend Harriet. She unexpectedly visits Alison in her office, and we witness Alison swapping chat on Harriet’s life (her marriage and children) but being so distracted with work matters she gets several details wrong – Harriet’s husband’s name and the gender and number of her children. This indicates Alison’s lack of interest in ‘usual’ womanly concerns. It is also important that since this chat takes place at work, Alison is nonetheless interrupting her work with personal concerns. This may be less true of the way films choose to represent men in their workplaces.

We wondered whether the film had the purpose of showing Harriet, rather than Alison, in the more flattering light for both male and female viewers. While the film tones down Alison’s sexually free behaviour as she falls for Jim, though refuses to marry him at first, her enjoyment for most of the film and her wearing of stunning clothes, driving a sports car, and owning of a beautiful house. By contrast, Harriet is only seen in Alison’s environment, wearing smart but regular clothes, and her only interaction with her husband and children is a boring phone call about his health. We thought this did not encourage the promotion of Harriet’s more traditional lifestyle over Alison’s more modern one.

There is ambivalence though. In addition to times when Alison seems to be displaying herself for men’s attention, Alison is filmed in a rather sexual way at other points of the narrative. She is a powerless sexual object as she steps in and out of the shower, and receives massages.

The film is also ambivalent in its representation of Alison on her own terms. Her initial boast that she treats men the way they have always treated women, is tempered by her last minute conversion to domesticity. Despite Alison tracking down Jim at a shooting gallery and his support of her business plans, she decides to hand over the business to him while she plans to have 9 children. It is well worth considering whether the lasting memory of a film is a character’s behaviour for most of the story, or he final few minutes. Some commented that in this sense the film was two-faced. The ending is a sop to men (with Jim also specifically speaking against ‘free women’), and traditionalists, but others (including women) may choose not to believe Alison’s last exaggerated desire.

We also briefly mentioned the minor, and older, characters of Pettigrew (Ferdinand Gottschalk) and Miss Frothingham (Ruth Donnelly). They represent more traditional gender politics. While Pettigrew seems to approve of Alison’s treatment of men for most of the narrative, he is also relieved when she decided to settle down. Pettigrew teasingly asks Miss Frothingham if she lives with her ‘folks’ and she giggles in her response that she lives alone. While Miss Frothingham appears aware of Pettigrew’s attentions, and intentions, and both of them flirt, Pettigrew is the more obvious predating figure. He is even unoriginal in asking Miss Frothingham up to his apartment to see his paintings.

We also discussed the significance of Ruth Chatterton playing Alison, and whether this colours our view of her character’s liberation as positive or negative. Chatterton was a powerful woman, as in addition to being an actor and star she was an aviatrix, a fencer and owned her own production company. It would be interesting to see how much of this information was available to, and known by, audiences of the time. As Lies points out in her post on the NoRMMA blog, Chatterton’s 1932-1934 marriage to Female co-star George Brent was referenced in a portrait of Chatterton in February 1934’s Photoplay  (www.normmanetwork.com/you-wouldnt-have-these-problems-if-you-were-a-fallen-woman-female-curtiz-1933/) This shows Chatterton’s acceptable off-screen domestic situation, but also the fact that she continued to work despite being married.

The context of the studio which produced Female was also considered. We were reminded throughout the film of its studio since Warner tunes like ‘You’re Getting to be a Habit with Me’ and ‘Shuffle Off to Buffalo’ (both from 42nd Street, 1933) were hummed or whistled by characters. There was also mention of the Warner Brothers star James Cagney (at the studio from 1930-1935). Alison hires a private detective to follow Jim when she is not being as successful with him as she would like. It is said that he has been out the night before, at a movie called Picture Snatcher (1933, released 6 months before Female).  Some of us were also aware of Warner Brothers through costumes being recycled from earlier and into later films from the studio. Unlike the bigger MGM, Warner Brothers was less able to spend lavishly on both costumes and film tunes.

We also considered Female in relation to a screening from last term, Baby Face (see blogs.kent.ac.uk/melodramaresearchgroup/2017/12/04/summary-of-discussion-on-baby-face/) Both films were written by Gene Markey and Kathryn Scola. But in addition to being based on a novel by a male author (Donald Henderson Clarke 1932), Female was notably different to Baby Face in the lack of a suffering and abused heroine. Interestingly though, according to Motion Picture, the star of Baby Face, Barbara Stanwyck, was considered for the role before it was toned down and given to Chatterton. (See Lies’ post: www.normmanetwork.com/you-wouldnt-have-these-problems-if-you-were-a-fallen-woman-female-curtiz-1933/) It is interesting to consider what a different film Female  would have been if Stanwyck had played Alison. Stanwyck often played struggling everyday characters, with her ‘real’ background also apparently a poor one.  Chatterton, meanwhile, was the middle-class daughter of an architect and  prior to Hollywood had a successful career on the legitimate stage.

We also commented on the film’s impressive set. According to the AFI, some of this was filmed at the Frank Lloyd Wright-designed Ennis house in Los Angeles https://catalog.afi.com/Catalog/moviedetails/3957 The house was also apparently used for later films including House on Haunted Hill (1959), The Day of the Locust (1975) and Blade Runner (1982).

It was not just the exterior shots of the house or the swimming pool which were striking though. All the characters seemed dwarfed by the size of both the factory and house interiors which further emphasise Alison’s wealth. The way in which the working of the factory (smoking chimneys, cranes etc) are seen through the large window as Alison sits at her desk also comments on her wealth, but also her hard work and the heavy industry involved in the manufacturing the automobiles. It also reveals that Alison sis able to survey all of this from her desk – it is her domain.

Finally, there was some comment on the film’s editing. Some found the variety of shot transitions, especially on the factory floor, distracting and showy. Others, however, hardly noticed them.  We might compare the editing to the film’s use of startling 1920s architecture which makes it seem especially modern

As ever, do log in to comment or email me on sp458@kent.ac.uk to add your thoughts.

Melodrama Screening and Discussion, 16th of January, 5-7pm, Jarman 6

All are very welcome to join us for our first melodrama meeting of 2018. We’ll be screening Female (1933, Michael Curtiz, 60 mins), on Tuesday 16th of January, 5-7pm, in Jarman 6.

The film stars Ruth Chatterton as Alison Drake, the owner-manager of a family business whose casual affairs with men turn serious once she meets Jim Thorne (George Brent). Like Baby Face, a film we screened at towards the end of the Autumn Term, Female is a pre-code film, written by Gene Markey and Kathryn Scola.  It too raises many interesting issues regarding film history, audience address, gender and genre. We hope to further explore these by watching and discussing more pre-code films in the Spring Term.

Do join us if you can.

UPDATE: Lies has very kindly posted some wonderful fan magazine material about Female on the NoRMMA blog: 

http://www.normmanetwork.com/you-wouldnt-have-these-problems-if-you-were-a-fallen-woman-female-curtiz-1933/

This gives us  great insight into the film’s promotion and reception at the time. Thank so much Lies! 

Summary of Discussion on Baby Face

Our discussion after viewing the uncensored (discovered in 2004) version of Baby Face (1933, Alfred Green) focused on several areas. These included its heroine Lily (Barbara Stanwyck), comparison and contrasts to heroines (and female stars) of other pre-code films such as Red-Headed Woman and Rain, Lily’s relationships with men (especially Courtland Trenholm, played by George Brent), the film’s writers, and differences between the censored and uncensored versions of the films.

One of the first remarks when we finished viewing the film, concerned the efficiency of Lily’s (Barbara Stanwyck’s) rise to the top.  We commented on the effective visual way in which her speedy sexual conquest of all men she met was conveyed. This is notable in terms of Lily ascending the floors of the Gotham Trust Tower as she improves her career prospects by sleeping with the bosses of each department. Lily’s accommodation also progresses. She moves from the tacky bar in Pennsylvania in which she grew up to cheap rooms in New York. While Lily is working, she is shown incongruously living in more palatial apartment with a stunning staircase, maid (her friend Chico) and butler, and ends the film as a married woman living in the company penthouse.

Changes to Lily’s person also comment on her rise in social position. Her earlier fussy clothes and hairstyling give way to sleeker and more sophisticated fashions. Like Lily’s acquisition of a maid and butler, this can also be connected to her concern with ‘etiquette’ – the title of a book she is seen to be reading at her work desk. A poster for the film demonstrates Lily’s changing fashions, with the placement of an open book in the bottom of the left-hand corner suggesting such this has caused Lily’s transformations.

The fact that Lily’s progresses upwards, rather than spiralling downwards, comments on the fact she is a ‘bad girl’ trying to improve her situation, rather than a ‘fallen woman’. We particularly connected this to melodrama, as we compared Lily to the ‘classic’ suffering heroine in melodrama (for example, Lillian Gish in Way Down East (1920)) who despairs at her fate after an often blameless fall from grace. Lily has certainly suffered – the film spends a reasonable amount of time documenting her early life as a justification for her later actions – as it is made clear that her father has prostituted her from a young age.  Yet her attitude is detached. In scenes near the beginning of the film, she calmly responds to an older man’s sexual advances with what seem to be well-worn behaviours: pouring scalding coffee over his legs, and smashing a bottle over his head.

Lily’s emotional detachment continues, even in the most melodramatic of situations. Her previous paramour Ned Stevens (Donald Cook) shoots dead her latest lover J.R. Carter (Henry Kolker) (coincidentally also until recently Stevens’ prospective father-in-law as well as his boss) before turning the gun on himself in her apartment. Initially Lily seems unsure what to do, but she soon turns pragmatic as she calmly telephones for the police to be called. Most of Lily’s responses which we can interpret as emotional – turning away, raising a handkerchief to her face and inserting a break into her voice –  occur when she is caught in a compromising situation with a man by another man. Lily is unconcerned by the fate of the man she accuses of being her seducer, as she is more concerned with hoodwinking the man who has discovered the pair, lining him up as her next lover.

These consistently faked emotional responses are perhaps partly what makes the end of the film less than convincing.  By this time, Lily has made it to the top of the ladder. She now occupies the company penthouse with her husband the company’s president, Courtland Trenholm (George Brent). After a while of living the high life and gathering money and jewels, the bank is in crisis, and Lily’s husband is threatened with indictment. After initially deserting her husband, Lily changes her mind not to provide the money necessary for his bail.  She returns to their penthouse, only to find him near to death after attempting to take his own life. Lily rushes to him, calls his name, and visible appears upset. Her frantic calling for an ambulance notably contrasts to her earlier emotionless request for the police to attend the murder and suicide at her apartment. Although the group did not find Lily’s change of heart credible, unlike the earlier situations in which Lily affects emotion, and we the audience is privy to Lily’s manipulation, it is signalled to be ‘real’. Not only has Lily already decided to return to her desperate husband, but her concern for him extends to her behaviour in the ambulance, when she does not care that she has dropped her case of jewels on the floor.

We thought that another reason we found Lily’s return to her husband unconvincing, was that we were not given much time to invest in their relationship. Trenholm enters the narrative quite late and his and Lily’s relationship does not gradually develop. This is because her climb up the ladder involves using many men to step up to the next level – and this leaves little time. We compared this to the situation in other contemporaneous ‘bad girl’ films. In Red Headed Woman (1932), Lillian (Jean Harlow) marries a man after wrecking his first marriage. She then cheats on him with a business associate and the business associate’s chauffeur, and finally shoots her estranged husband. She does not appear to be punished by the narrative as her husband refuses to press charges, and the fact that she is seen with an older man later in film suggests that she has found someone else to take care of her. This summary of the plot, though brief, illuminates some key difference between Lillian and Lily. While Lillian seduces and marries a man at the beginning of the film, Lily only marries towards the film’s end. This suggests that Lily develops, while Lillian does not, and that Lily is indeed more contained by the narrative which sees her living within social norms at the film’s close.

Neither Lily nor Lillian are straightforward with the men with whom they have relationships, and comparison to another film – Rain (1932) – provides further insight. In this adaption of Somerset Maugham’s short story, the costuming and acting of Joan Crawford depicts Sadie as a woman who does not hide the fact that she is working as a prostitute, and as such is more honest and less manipulative than Lily and Lillian. We briefly compared the growth of Lily and Sadie. Lily’s transformation is gradual in dress and hairstyling, and with an upwards trajectory, until the final realisation which the audience may or may not choose to believe. After some time, Sadie changes overnight from a brash, heavily jewelled and carefully coiffured woman to one dressing in drab dark clothes, with simply-styled hair, and quieter gestures. The fact this is presented with almost religious overtones and is a set-piece of the film, affords it more weight in terms of character development than Lily’s.  Like Lily, Sadie too is contained within an acceptable monogamous relationship at the film’s conclusion. (For more on Rain, please see our previous discussion here: http://blogs.kent.ac.uk/melodramaresearchgroup/2013/10/20/summary-of-discussion-on-rain/)

 

We wondered whether Crawford would have been as successful as Stanwyck at depicting a heroine who manipulated many men, but also retained audience sympathy. It was thought unlikely that Crawford would have been able to convey the sense of feigned innocence as effectively as Stanwyck. Reference to some fan and trade magazines Lies has kindly posted on our sister blog, NoRMMA, suggest that Stanywck was thought especially suitable for the role. Picture Play’s September 1933 review of the film praises Stanwyck as ‘thoughtfully convincing’, eschewing ‘the histrionic splurge of a star on the rampage’ (p. 70). (You can find Lies’ posts here:  http://www.normmanetwork.com/?p=614) It is notable that Crawford was not a critical success in Rain.

We also thought that Stanwyck was a particularly effective choice. During much of the film, Lily insists on carrying on with her career and this fitted well with Stanwyck’s star image as a hard-working and no-nonsense star. After breaking up Ned Stevens’ engagement, Lily refuses his offer to look after her, stating that she wants to continue working. This was hugely relevant to female stars of the day who, unlike their male counterparts, were asked if they would continue working after they married.

 

We focused a little more on the film’s male characters.  After manipulating so many stupid men, we initially thought that Lily had finally met her match (in both senses) with Trenholm. But he too disappoints us. He thwarts her attempt to extort money from the company by taking her at her dishonest word that she is not interested in money for her diaries (the publication of which would be explosive for the bank) but about having another chance. Lily takes up his offer of a job in their Paris office, succeeding in her new post and not turning to men for financial support. When Trenholm visits Paris, Lily contrives to take a ride with him in his car and they strike up conversation. She seemingly candidly admits that she only took the job and led a quiet life to prove him wrong. It takes just a few days, the ‘happiest’ of his life, and her clearly leading mention of marriage (she says she would like the title ‘Mrs’ on her tombstone), for him to propose. Following their marriage, Lily disappoints us too – she gives up the career she earlier insisted on keeping.

The only man who is not shown in a poor light is the cobbler, Adolf Cragg (Alphonse Athier) who recommends Lily follows Nietzsche’s philosophy. When he arrives at the bar, Lily seeks him out, telling him he is different to other men. Lily later visits him for advice after her father dies, and she continues to receive lessons in philosophy from him by post. It is notable that this lone positive view of a man is of the only non-American man playing a significant role. We could also argue that this gives an element of detachment to his advice. He is advocating cynical European philosophy rather than a more obviously optimistic ‘American’ way of life.

It was interesting to consider the source of the film – whether it was an adaptation of an existing text or an original screenplay. We especially connected this to the obvious way in which the film would have challenged censors of the day, even before the Production Code came into force in 1934. In some ways it seemed almost taunting in its almost conveyor belt style production line of men in Lily’s life. The story was provided, under a pseudonym, by Daryl F. Zanuck – head of Production at Warner Bros. Given that Zanuck would have had particular insight into the threat of industry censorship, this seemed a brave move when the industry was attempting to keep censorship a more ‘in-house’ matter. While Zanuck wrote the framework of the story (presumably the main plot line of Lily working her way up the ladder), some of the more nuanced aspects which intervene in the matter of career are perhaps attributable to the screenwriters Gene Markey and Kathryn Scola. The pair also worked together on the films Female and Midnight Mary, both released the same year as Baby Face.

Scola was one of several female screenwriters who worked on such films at the time. Others included Anita Loos (who began work on Midnight Mary before it was passed to Markey and Scola), and Ursula Parrot who wrote the novel The Divorcee (1930) is based on (you can see our discussion of the film here: http://blogs.kent.ac.uk/melodramaresearchgroup/2013/02/28/a-summary-of-discussion-on-the-divorcee/) While we cannot presume that Scola was responsible for the aspects which seemed  especially progressive for women (such as Lily’s insistence on her career), it is also the case that while there is a certain applauding of Lily turning the tables on men who have abused her, this is not uncomplicated. We may see this as a form of feminism today, but it is difficult to know what the intent as at the time.

It is possible that the depiction of the friendship between Lily and the African-American Chico (Theresa Harris) is from a more female point of view. The film may not be seen to be very advanced in the roles it casts Chico in (we assume that, like Lily, she is used by men for sex, and later she becomes Lily’s maid). However, the relationship between Lily and Chico is more important. Early on, Lily protects Chico when her father threatens her, saying that if Chico she will too. Lily also looks after Chico as they travel to New York, and later when employing her as a maid she treats her kindly.

As noted earlier, we watched the uncensored version of the film. This was therefore closer to what the screenwriters originally intended. We commented on some of the differences between the censored and uncensored versions. Lily and her husband are punished in the uncensored version to some extent as his life hangs in the balance, and it is assumed they may lose some, or all, of their money fighting his criminal case. While the censored version makes a couple of other changes (a less lingering shot of Lily from the man she pours coffee over, a rewording of the justification by the cobbler of Nietzsche), the ending is the most significant. Neither Stanwyck nor Brent appear in this, instead the voice of morality is given to the banking board as they comment that the couple has returned to Lily’s home town, and are poor and miserable. Stanwyck and Brent’s absence may be due to scheduling conflicts, but it is significant that we do not actually see the couple in this situation. The fact that an all-male board of bankers passes judgement may be seen to relate to censors of the day. While we cannot be sure of the position bankers held in the view of ordinary people of the day, the film was released only a few years after the Stock Market Crash of 1929 and during the Great Depression. Bankers then, as now, may not have been seen as moral arbiters.

We made a further connection to more traditional melodrama. We noted that characters in some stage melodramas, were also able to indulge in certain behaviour for much of the narrative before a swift and perhaps unconvincing turn around at the end. This was sometimes even supplied outside of the narrative, as a woman delivered a brief moral lecture after the play ended, warning the audience against such behaviour.

Such a disjuncture between the behaviour that goes on and that which is approved of is especially interesting at the time when the supposed ‘casting couch’ in Hollywood (female starlets enduing he attentions of more powerful men in order to advance their careers) is said to have operated. It also seems especially apt given the gulf between what is preached about Hollywood today, and the behaviour which actually occurs. This continuation in the inequality of power between the sexes, and the complexity of women’s advancement in terms of careers, makes Baby Face even more relevant than ever.  We hope to build on the discussion here with screenings of more pre-code films next term (stay tuned for more information!) and to further our engagement with materials from the time on the NoRMMA blog.

As ever, do log in to comment, or email me on sp458@kent.ac.uk to add your thoughts.

 

Melodrama Screening and Discussion, 27th of November, 5-7pm, Jarman 6

All are welcome to join us for our next screening and discussion session, which will take place on Monday the 27th of November, 5-7pm, in Jarman 6.

We will be screening and discussing Baby Face (1933, Alfred E. Green, 75 mins) – postponed from the last session.

Please refer to recent posts for more information on the film and some interesting extra-textual material.

Melodrama Screening and Discussion, 13th of November, 5-7pm, Jarman 6

All are very welcome to join us for our next screening and discussion session, which will take place on Monday the 13th of November, 5-7pm, in Jarman 6.

We will be showing Alfred E. Green’s Baby Face (1933, 75 mins). We recently referenced this pre-code Hollywood film in our discussion of Tamsin Flower’s developing stage play, TRANSFORMER:

http://blogs.kent.ac.uk/melodramaresearchgroup/2017/09/19/tamsin-flowers-transformer/

The film’s heroine (the ‘Baby Face’ of the title, played by Barbara Stanwyck) improves her material wealth by turning the tables on men who have abused her since she was a child. In addition to its interest to the group due to its melodramatic narrative, Baby Face raises lots of issues regarding the representation of women on screen and comments on society in the US in the 1930s. Despite the fact the film is over 80 years old, screening it seems especially timely. There is currently much coverage of Hollywood’s treatment of those who are perceived to hold less power, and of the brave men and women who are reporting their experiences of abuse in the industry.

The film also allows us to explore film history in more detail. The film was released not long before Hollywood’s Production Code, which policed the content of films, was implemented. Indeed, it is credited by some as being one of the handful of films which prompted the clampdown on what types of  moral and sexual behaviour were acceptable on the screen. This led to the original version being edited, although both the censored and  uncensored versions are available today and will be discussed at the session.

Do join us, if you can, for this important film.

Tamsin Flower’s TRANSFORMER

We were very pleased to recently welcome back writer/director Tamsin Flower, about 6 weeks after her last visit. It was great to read the first draft of her play TRANSFORMER in full, after the excerpts we were treated to last time. This was especially useful due to the play’s complex and thought-provoking structure. The play’s main characters, overbearing mother Norma and the far less sure of herself and still-developing Eddie, each has a different relationship to the films referenced.

We particularly commented on the impactful nature of the first two scenes. In the first, Eddie’s tangle with an impresario comments on Black Swan (2010, Darren Aronofsky) with her success in winning the dual role in Swan Lake prompting Norma to celebrate and reminisce about her own related experience. This second scene also involves an impresario, though Norma is far more knowing, and pushy, than the heroine she references: that of the young female ballet dancer Vicky (Moira Shearer) in The Red Shoes (1948, Michael Powell and Emeric Pressberger). The fact that the both the obsessive female dancer and the figure of the impresario are archetypes – as demonstrated by the act The Red Shoes is based on Hans Christian Andersen’s disturbing fairy tale (1845) – aids the audience’s recognition of both figures even if they are unfamiliar with the films. But the play delves far deeper than this as Norma and Eddie’s relationship to these related but diverging film texts, and of course to each other, are multi-layered.

While both The Red Shoes and Black Swan focus on a woman’s love/hate relationship with dancing and the control it exerts on her, these women and the contexts of the films are very different. In The Red Shoes the ballerina literally cannot escape her compulsion, dancing up until almost her last moment when she jumps in front of a moving train. In Andersen’s story this a punishment for the pleasure she takes in her beautiful new red slippers she insists on wearing to church, with her only stopping once her slipper-encased feet have gruesomely been chopped off. The more modern Black Swan couches Nina Sayers’ (Natalie Portman) breakdown as the pressure between the oppositional good and bad characters she plays on stage, with the moral judgment of women seen in Andersen’s fairy tale replaced by recognition of the pressures women are under.

(For more on Black Swan see this earlier blog post: http://blogs.kent.ac.uk/melodramaresearchgroup/2014/03/08/summary-of-discussion-on-black-swan/).

Norma and Eddie’s relationship is commented on by the tension existing between both characters and the film texts they are connected to. This is seen as despite the fact Norma, as befitting her age, is linked to The Red Shoes, and Eddie to Black Swan, it is in fact the older Norma who pushes boundaries. In her retelling of her meeting with an impresario, asides convey her calculated behaviour. This is similarly demonstrated as she is present in part of Eddie’s first scene, taking over to tell her story and also commenting on the complex mother/daughter relationship present in Black Swan.

While Norma changes little, Eddie develops, after a crisis of identity leads to a period of estrangement and meaning that Eddie following her own path. Here the recognisable film tropes of women empowering themselves through education (Erin Brockovich, 2000, Steven Soderbergh) and of films’ makeover scenes (Clueless, 1995, Amy Heckerling) shine a light on the way audiences in general respond to stars, including as an ego ideal inspiring self-development. Norma is also ‘made-over’ (references to the classic Now Voyager, 1942, Irving Rapper) but her empowerment comes through her manipulation of men (The Damned Don’t Cry, 1950, Vincent Sherman). Even for modern day theatre audiences who might not be familiar with these specific (though widely available and mostly Hollywood) film texts, the fact they reference themes disseminated in films and indeed these themselves reflect their presence in other art forms/discourses of entertainment widens their appeal, reach and relevance.  The script sets up the matter of how specific (though imaginary) audience members might appropriate material from well-known films with female stars whose characters undergo some sort of transformation. Furthermore, as film academics, many of us historians, this bridges the gap between historical audiences who can seem difficult to grasp, offering some insights into how texts are read, re-read and re-purposed including as part of people’ life narratives.

A particularly enjoyable and fruitful discussion revolved around the matter of pre-code films. This too relates to the matter of historically situated audiences as many today would be unaware that some films before the implementation of this heavier censorship in Hollywood (the Production or Hays Code in 1934) actually referenced matters like prostitution, child abuse and other weighty issues. We specifically discussed the pre-code Baby Face (1933, Alfred E. Green) – a film credited as partly responsible for more censorship being necessary. In this, Lily (Barbara Stanwyck) is a young woman who after years of abuse, including being prostituted by her own father, is encouraged (ironically enough by a man) to use men the way men have always used her – to employ sex for her own ends. Although Lily is in some ways ‘normalised’ – although she cold-heartedly climbs the ladder of executives at the company she is employed by she eventually marries her boss and realising her love for him she later sacrifices her hard-won jewellery – she still gains through using her sexual powers, although she may of course be given special justification due to the awful abuse she has suffered.

We contrasted this to The Damned Don’t Cry which is referenced in the play as Norma regales Eddie, and us, with how she used men to further her own financial standing. The Damned Don’t Cry is a somewhat uneven film, veering from severe sympathy for Edith Whitehead/Lorna Hansen Forbes (Joan Crawford) after the loss of her child and perhaps some delight in her turning the tables on men, though she does not have such a damaged background as Lily in Baby Face. Furthermore in the post-code and more conservative early 1950s Ethel/Lorna is punished by the killing of the man she loves by the one she has betrayed.

We also commented on the variety of genres referenced – Norma’s melodrama to Eddie’s drama, adaptation, romantic comedy, and horror. This too makes it more recognisable to various audiences and widens the appeal of the piece. In addition, we thought that the humour derived from Norma’s high campery (itself also chiming well with some of the film heroines she references) provided lighter and enjoyable moments.

We look forward to seeing the next draft of Tamsin’s script (thanks so much for sharing, Tamsin!) and to seeing it staged.

As ever, do log in to comment, or email me on sp458@kent.ac.uk to add your thoughts.