![\"MP](\"http:\/\/blogs.kent.ac.uk\/melodramaresearchgroup\/files\/2014\/05\/MP-Wally-on-stairs.png\")
<\/a>especially noted the nightmarish shot of a Carson staring up the spiral staircase. Elsewhere Max Steiner\u2019s lush score emphasised the emotional drama (see Claudia\u00a0Gorbman, 1982). The tagline from a Variety<\/i> advertisement quoted in Tamar\u2019s introduction that Mildred was \u2018Kinda Hard, Kinda soft\u2019 sums up Mildred Pierce\u2019s<\/i> dual nature well.<\/p>\nVeda\u2019s selfish behaviour can be usefully compared to that of Stella\u2019s daughter Laurel in Stella Dallas<\/i> (1937). In King Vidor\u2019s film both mother and daughter make sacrifices. A telling scene takes place on the train. Stella and Laurel, lying in separate bunks, overhear the latter\u2019s friends mocking Stella for her vulgarity. Each pretends they have not heard in order to protect the other. In Curtiz\u2019 \u00a0Mildred\u2019s progression from domesticity to high-powered business woman was also commented on. This was compared to the career woman in 1940s Hollywood film \u2013 most often in comedy, and portrayed with distinct flair by Rosalind Russell. But we also related it to Crawford\u2019s own star image. In particular her films They All Kissed the Bride<\/i> (1942) and The Damned Don\u2019t Cry<\/i> (1950) were mentioned. It was noted that at the time real shop girls were thought to identify with the shop girls portrayed by Crawford in sound films \u2013 such as in The Bride Wore Red<\/i> (1937). It is worth noting, however, that despite the shop girl playing an important part in Crawford\u2019s 1930s star image she actually played a variety of roles. (See Jeanine Basinger, A Woman\u2019s View<\/i>, 1993, pp. 171-173.) It was thought that perhaps the emphasis in fan magazines on how Crawford herself learned\u2019 through films strengthened the connection.<\/p>\n In relation to Crawford\u2019s star image We rounded up discussion with a mention of Johnny Guitar<\/i> (1954). Significantly in Nicholas Ray\u2019s film Crawford starred with the actress Mercedes McCambridge \u2013 with whom she reportedly feuded. This of course prompted thoughts on Bette Davis. \u00a0Ann-Marie provided some great behind the scenes information on the next film we will screen \u2013 The Old Maid<\/i> (1939- see\u00a0the\u00a0next post!) and Davis\u2019 feud with an actress other than Crawford: Miriam Hopkins.<\/p>\n Works Cited<\/p>\n Jeanine Basinger, A Woman\u2019s View<\/i>, New York: Knopf, 1993.<\/p>\n Pam Cook, \u201cDuplicity in Mildred Pierce\u201d, Women In Film Noir<\/i>, London: BFI 1978.<\/p>\n Claudia Gorbman, \u201cThe Drama\u2019s Melos: Max Steiner and Mildred Pierce\u201d, The Velvet Light Trap, <\/i>No. 19, 1982.<\/p>\n Steve Neale, \u201cMelo Talk: On the Meaning and Use of the Term \u2018Melodrama\u2019 in the American Trade Press\u201d, The Velvet Light Trap<\/i>, No. 32, 1993.<\/p>\n Linda Williams \u201cMelodrama Revised\u201d in Nick Browne, ed,\u00a0Refiguring American Film Genres: History and Theory, <\/i>University of California Press, 1998: 42-88.<\/p>\n A clip of Crawford in It\u2019s a Great Feeling: <\/i>\u00a0https:\/\/www.youtube.com\/watch?v=trGF6KrMAbA<\/a><\/p>\n Many thanks to Tamar for organising the screening and providing an excellent introduction.<\/p>\n Do, as ever, log in to comment or email me on sp458@kent.ac.uk<\/a> to add your thoughts.<\/p>\n \n","protected":false},"excerpt":{"rendered":" Posted by Sarah The group\u2019s discussion on Mildred Pierce focused on the following areas: the film as melodrama and\/or film noir; comparison of Michael Curtiz\u2019 film to James M. Cain\u2019s novel and the recent TV series starring Kate Winslet; the … Continue reading <\/a>Michael Curtiz\u2019 film was also discussed in relation to James M. Cain\u2019s novel. It was noted that Curtiz\u2019 film kept a flavour of Cain\u2019s punchy social commentary. We were a little surprised that under Hollywood\u2019s Production Code fairly obvious references to extra-marital sex and pregnancy were included. \u00a0The film was still, as Variety<\/i> noted in its review, fairly cleaned up from the novel. While in Cain\u2019s novel Veda became a successful opera singer \u2013 and therefore profited from her hideous behaviour \u2013 in Curtiz\u2019 film she ends up a low-rent cabaret act. A more significant difference is Mildred\u2019s response to finding her eldest daughter Veda (Ann Blyth) and Mildred\u2019s second husband Monte (Zachary Scott) in a compromising position. In Cain\u2019s novel Mildred is so enraged she attempts to strangle her daughter.\u00a0 Such an understandable response is not present in Curtiz\u2019 film, though.\u00a0 Instead Mildred\u2019s suffering sacrifice is played to the hilt. Mildred\u2019s one refusal of Veda\u2019s demands occurs when Veda has shot Monte dead. Mildred soon reconsiders, however, and is prepared to take responsibility for the crime herself.<\/p>\n<\/a>film Mildred alone overhears something significant: Veda\u2019s ungrateful comment to her sister that she would not \u2018be seen dead\u2019 in the dress her mother has scrimped and saved to buy for her.\u00a0 This is especially poignant as Mildred has sacrificed her marriage to Veda\u2019s father in order to supply Veda with everything she desires rather than what she deserves.<\/p>\n<\/a>While Mildred\u2019s accepting sacrifice in the face of such an ungrateful daughter in Curtiz\u2019 film is perhaps less then believable, it was agreed that Ann Blyth superbly portrayed Veda\u2019s venal nature. The film ably contrasts Veda to her sweet little sister Kay (Jo Ann Marlowe), whose death scene provides the film\u2019s most distressing moment. We also noted the way in which the film managed to convey complex aspects of Mildred and Veda\u2019s relationship. The repetition of a slap was commented on. The first time this occurs Mildred slaps Veda and, immediately overcome with guilt, profusely apologises. Towards the end of the film Veda slaps her mother. This second occurrence is far more shocking. Partly this is due to the heft of the slap and Mildred\/Crawford\u2019s fairly exaggerated physical recoil but it is also notable that Veda does not regret her action. This neatly comments on both the differences <\/a>between the characters and the change in the dynamics of their relationship. The actresses\u2019 costuming, hair and make-up parallel this change. As Veda grows up and Mildred becomes more business-like their outfits and hairstyles echo one another, foreshadowing that they are \u2018squaring up\u2019 for the next round of the fight.\u00a0 We might ponder whether this mirroring is a statement on how much Mildred is responsible for Veda\u2019s spoilt nature.<\/p>\n<\/a>Joan Crawford\u2019s performance was compared to Kate Winslet\u2019s in the 2011 TV mini-series. Similarities were noted in the scenes where Mildred puts her children to bed.\u00a0 In particular the tendency of both actresses to employ minimal mouth movement was commented on. However Crawford\u2019s individuality was also a source of discussion. In addition to the seeming impossibility of her facial features \u2013 the severe cheekbones and large eyes and mouth \u2013 her wide shoulders were referenced.<\/p>\n<\/a>Tamar suggested\u00a0 watching It\u2019s a Great Feeling<\/i> (1949) starring \u00a0Doris Day, Jack Carson (Wally Fay) and Dennis Morgan. In the film various Warner Bros. contract stars play up to their star images. Crawford in seen knitting in the background (apparently a hobby of hers) and then angrily berates and slaps Carson for no reason. Afterwards she smiles sweetly and replies to his asking her why she did it that \u2018I do that in all my movies\u2019. As with the assumption that Crawford \u2018always\u2019 played shop girls, this action which\u2019 does in all her movies\u2019 is in fact very specific. Crawford does not perform such an action in all, or even most, of her films.\u00a0 Indeed it is largely a reference to Mildred Pierce. It is significant that a few years after the film\u2019s release another film from the same studio posits such an action as an essential part of her star image.<\/p>\n