Joan Crawford grabbed at life the only way she knew how—by the balls, baby. She fled a hard scrabble childhood full of the horrors to become the reigning queen of Hollywood. She defied so many odds put in front of her and she almost always came out on top. Joan was many different versions of herself throughout her life: gold digger, jazz baby, Pepsi hawker, perennial MGM shop girl, terrible, terrible mother, the greatest star the world has ever known, poster woman for mental illnesses, bizarre recipe creator, transgender identity pioneer, role model to the uneducated, black market baby taker, dubious advice giver, enemy of slovenly hippies, the world’s most famous neat freak, world class fashion don’t… she did it all. Her crazy life was her greatest work of art.
When people talk about Joan’s essential artifice (and likewise the supposedly superior talents of her chief star rival, Bette Davis) I don’t understand why they mean it in a bad way. Her artifice was the whole picture and it was riveting. It gave her a unique kind of depth. It set her apart. She didn’t want to be liked; she demanded to be worshiped. Whether in a black market stag film early in her career (as was rumored) or any number of MGM prestige pictures or in her obsessive assembling of her bizarre family set up, Joan’s way of life was to attack. Her ambition was her identity. This can be either repulsive or, if she was in the right film, it can be put to very compelling use.Continue Reading
Usually when movie lovers talk about legendary lost works in which auteur directors had their films taken from them and butchered by the American studios that produced them, they’re referring to “holy grails” of cinema such as Erich von Stroheim’s Greed (1924) or Orson Welles’s The Magnificent Ambersons (1942). But I recently stumbled across an account of another supposed lost classic, Swing Shift—Jonathan Demme’s tribute to America’s “Greatest Generation” of World War II and the women on the home front who found a new sense of self and independence by working for the war effort in the factories.
I actually really love the movie Swing Shift as it is but I hadn’t seen it in years. I remember my mom taking her mother to see it and letting me tag along. My grandma was part of that generation of women who did what they could for the war effort, whether it meant volunteering at the local USO or planting a Victory Garden in their backyards. By 1984, when the movie was released, that generation was elderly while I was only six. Seeing the movie as a kid, I think I just really loved the sentimental look at the U.S. during the 1940s. Taking place in Southern California, in Santa Monica, between the attack on Pearl Harbor and VJ Day, the film has a melancholic feel, with the sky looking perpetually overcast and the music usually something slow and beautiful, such as one of Jo Stafford’s torch songs. And though I don't remember if Glenn Miller's "Moonlight Serenade" is on the soundtrack it really should be.Continue Reading