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papyrusbeetle

PAID (1930) Joan Crawford burns it down!~!

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No plain Joan here--she is gorgeous, perfectly made up and grabs some super closeups.

The fashions help, and Joan's burning anger too, but what's thrilling are her EYES.

If you are a fan of KING KONG (1933), and can't get enough of Robert Armstrong, he is terrific throughout...

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I prefer Joan Crawford's early films. Back then she was sassy and smoking hot, and those eyes! It's too bad she lost that spark. In the 1940s her acting style turned overly mannered, grand and pretentious. I think winning the Oscar went to her head.

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Actually, Joan Crawford was such a skilled actress I love watching her at any age.

One fun thing about PAID is the wardrobe. She wears a gorgeous velvet slinky dress in one scene, obviously copied by the costumer in GOSFORD PARK for Kristin Scott Thomas as a dinner gown in her first scenes at dinner.

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On 1/4/2019 at 4:00 AM, Midge said:

I prefer Joan Crawford's early films. Back then she was sassy and smoking hot, and those eyes! It's too bad she lost that spark. In the 1940s her acting style turned overly mannered, grand and pretentious. I think winning the Oscar went to her head.

While I do understand your POV here,  I'm torn;   to me the plots and scripts of Crawford's 40s \ 50s Warner Brother pictures,  was superior than what she was given by MGM before that.    Yea, sometimes her acting would be "overly mannered, grand and pretentious" but overall I believe her acting was just as sound.

As for your looks;  age will do that to everyone,  and she was sometimes cast as characters that should have been played by actresses in their late 20s \ early 30s,  then someone her age.

 

 

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I love watching her in SUDDEN FEAR (1952) and QUEEN BEE (1955). I think she was at her best in the 50s. She no longer had anything to prove, and she was just making movies because it was something she loved to do. And since her movies usually made money, a lot of good scripts came her way during that decade. She knew what the Joan Crawford product was and more importantly knew how to deliver it.

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I side with 'Midge' above. Young Crawford was hungry and bold; a spitfire (fave role: Sadie in 'Rain'). "Mature" Joan makes me want to crawl out of the room holding a queasy stomach.

Sorry, but that's just how she strikes me. Strictly a personal reaction. I always respect her acting skills; but later in life she's just "too big". Huge lips; gigantic eyes; preponderous  hairdo; enormous dresses...everything just overblown and unbalanced and mis-proportioned.

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Watching Joan Crawford ACT is a thrill because, of all actors and actresses, she can suggest an entire train of thought with her closeups.

She does this in SUDDEN FEAR.

I also love her in TORCH SONG---because, in a silent scene, all alone, she tries to imagine life as a blind person, since she has just met the "blind" Michael Wilding.

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20 minutes ago, papyrusbeetle said:

Watching Joan Crawford ACT is a thrill because, of all actors and actresses, she can suggest an entire train of thought with her closeups.

She does this in SUDDEN FEAR.

I also love her in TORCH SONG---because, in a silent scene, all alone, she tries to imagine life as a blind person, since she has just met the "blind" Michael Wilding.

Yes, that's what I like about her as well. She utilized techniques in those later films that she had learned during her silent film days. Her stuff in the 50s is just so much better, because she's been incrementally building on what she learned in her earlier films. She gives what I call scaffolded performances.

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...she oughta be hung FROM a scaffold if I had my way :lol:

KIDDING!

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She gets a lot of recognition for her Oscar winning turn in MILDRED PIERCE. But I honestly feel her best performances come afterward. Films like HUMORESQUE, POSSESSION, FLAMINGO ROAD, SUDDEN FEAR, QUEEN BEE, AUTUMN LEAVES...all superior. I also enjoy the performance she gives in THE BEST OF EVERYTHING, even though it's more of a supporting role and she has substantially less screen time than the other stars.

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Believe me, I'd like nothing more than to agree with you. I'm very picky about golden age female superstars. I react negatively to most of the 'greats': Kate, Bette, Babs Stanwyck, Roz Russell, Joan.. I will salute their acting prowess from here til who laid the rails but they leave me COLD in terms of screen presence.

I saw 'Sudden Fear' on TCM five months ago and also Humoresque and also her film with Cliff Robertson (Autumn Leaves?). Each one left me with a feeling more of 'morbid fascination' rather than warmth. Feels just..'stilted' and heavy-handed. Big fan of 'Mildred Pierce' but...egad. She's just a sledgehammer.

Compare that to a title say like...'Autumn Sonata' with an ageing Ingrid Bergman. Look at that vulnerability, that femininity. Seems like an entirely different species of woman.

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42 minutes ago, Sgt_Markoff said:

Believe me, I'd like nothing more than to agree with you. I'm very picky about golden age female superstars. I react negatively to most of the 'greats': Kate, Bette, Babs Stanwyck, Roz Russell, Joan.. I will salute their acting prowess from here til who laid the rails but they leave me COLD in terms of screen presence.

I saw 'Sudden Fear' on TCM five months ago and also Humoresque and also her film with Cliff Robertson (Autumn Leaves?). Each one left me with a feeling more of 'morbid fascination' rather than warmth. Feels just..'stilted' and heavy-handed. Big fan of 'Mildred Pierce' but...egad. She's just a sledgehammer.

Compare that to a title say like...'Autumn Sonata' with an ageing Ingrid Bergman. Look at that vulnerability, that femininity. Seems like an entirely different species of woman.

I admire Ingrid Bergman's skill, but still find her performances highly mannered. Almost too precocious, a word I normally reserve for child stars. I don't think she was a very good person off screen and that's another subject, but it colors how much I embrace her as a human being on screen. 

I think she's very interesting to watch in something like THE VISIT where she's playing a shrewish woman who visits a remote village and interacts with Anthony Quinn. To me that kind of role has more of Bergman's real-life personality. I think she was a woman who was calculating and knew how to plant herself in various cultures to reinvent herself, with the help of new languages and customs she learned. But she was still nomadic and never really connected to the people in one place very long. So in that sense, THE VISIT gives her a perfect role.

As for Crawford, there's a lot of coldness in her later work, I agree. But it seems to be a mask for a hot-blooded woman who's protecting herself from pain. This is very much the case with her performance in THE BEST OF EVERYTHING. Her character has a strange ill-fated relationship with Brian Aherne's character, and she copes by becoming a hardened corporate woman. But we still get glimmers of someone who's still in love with that man who compromised her, he still guides her every thought and action. 

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ah yah! Thats another thing about Joan's movies. What other woman besides herself and Bette and Babs go through these bizarre life transformations. One day, they're a homely spinster or collecting eggs from the henhouse and thirty minutes later they are in an executive boardroom, flirting with George Brent or Brian Aherne or Don Ameche. I'm glad you raised this point. Yep, thats how their films are. Going all the way back to pre-code days.

Anyway your remarks are well-taken about Joan and while I agree with my 'head' my heart still turns away from her. But its always fun and valuable to chat with a devoted fan, so thank ye. One can always learn, after all. (Hurrah for the aficionado and the connoisseur).

I won't address your 'take' on Ingrid because I don't know enough about her private character in order to opine on it. I like the word 'precocious' as applied to her, that's fine with me.

'The Visit'! Haven't thought about that one in a long time. Frederich Durenmatt. Whew. Powerful flick.

 

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On 1/9/2019 at 11:32 AM, Sgt_Markoff said:

I side with 'Midge' above. Young Crawford was hungry and bold; a spitfire (fave role: Sadie in 'Rain'). "Mature" Joan makes me want to crawl out of the room holding a queasy stomach.

Sorry, but that's just how she strikes me. Strictly a personal reaction. I always respect her acting skills; but later in life she's just "too big". Huge lips; gigantic eyes; preponderous  hairdo; enormous dresses...everything just overblown and unbalanced and mis-proportioned.

Lucille would have been great though in her mature form in Torch Song Trilogy.

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On 1/16/2019 at 3:17 PM, papyrusbeetle said:

Joan Crawford: Don't f### with me fellas. This ain't my first time at the rodeo.

(I think that explains it all for us)

Mercedes McCambridge would tell ya, it wasn't only the fellas that shouldn't mess with Joan.

 

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Hnnh. Who got left out on a hot beach all day with no shade and no water?

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