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Casting Against Type...IT'S GREAT!


Ascotrudgeracer
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I think the best example of casting against type was Hitchcock's use of Edmund Gwenn as a villain in *Foreign Correspondent*. Gwenn hadn't played Kris Kringle yet but always signified kindness, that's what we expect when we see him on the screen. But Hitchcock likes to surprise us and probably chose Gwenn for his "positive baggage".

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*Ann Sheridan in THE MAN WHO CAME TO DINNER*

 

I don't get the casting against type . . . this WAS during Ann's Oomph phase, and she played a film star with plenty of oomph. And while she hadn't specialized in comedies, she had some zingers in her dramas that she delivered with great timing . . . think THEY DRIVE BY NIGHT, TORRID ZONE, CITY FOR CONQUEST.

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> {quote:title=Arturo wrote:}{quote}

> *Ann Sheridan in THE MAN WHO CAME TO DINNER*

>

> I don't get the casting against type . . . this WAS during Ann's Oomph phase, and she played a film star with plenty of oomph. And while she hadn't specialized in comedies, she had some zingers in her dramas that she delivered with great timing . . . think THEY DRIVE BY NIGHT, TORRID ZONE, CITY FOR CONQUEST.

 

She usually played tough, down-to-earth working class women. Here, she played an arrogant, pampered, totally self-absorbed actress. It's not as if it was inconceivable that she could play the part, but I definitely classify it as against type.

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*I love her in Navy Blues, a sort of musical comedy, and a few years later in Kings Row.*

 

Although MFF [or whatever the current moniker(s)] might say I'm nitpicking, it's more like a few months, since they are late 1941/ early 1942 releases.

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Here's one example of being "cast against type" initially, but then this new type became "the' type.

 

Linda Darnell, known for playing sweet, virginal "girl next door" types, became a femme fatale in SUMMER STORM (1944); thereafter, she successfully specialized in this new type for the rest of her career.

 

Edited by: Arturo on Mar 3, 2011 3:05 PM

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