What Price Hollywood?

We've all seen the standard trope: girl hopes to be a big name, gets a lucky break, and then is confronted with the pitfalls of fame soon after. The more famous example of this is found in A Star is Born with four versions being made over the years. But five years before the Fredric March and Janet Gaynor version, the one that started it all was released.

George Cukor's What Price Hollywood? has Brown Derby waitress Mary Evans (Constance Bennett) making a beeline for director Maximillan Carey (Lowell Sherman) when he stumbles into the restaurant one night. With some determination, she becomes a star but he slips deeper into alcoholism. What fates await them?

In contrast to Cukor's take on A Star is Born, What Price Hollywood? -- as its title implies -- has a far more suffocating depiction of stardom than the more famous title. (Being a pre-Code also adds to it.) Tabloids and newspapers serve as the film's segues for the characters' conflicts, how the public eye pries into their private lives. That can inflict more damage than anything else, especially if you're someone of note.

There's also a meta-humor with What Price Hollywood? in casting Sherman and Gregory Ratoff -- both directors in their own right -- as figures in movie production. Likewise, Bennett (whose sister Joan had a longer career herself) had her career become less in-demand by the 1940s. Ah, life imitating art imitating life.

What Price Hollywood? still has bite all these years later, perhaps not a surprise seeing as it's a Cukor title. If anything, it downplays what actresses endured in Hollywood then as Judy Garland was sad testament to. (Cukor meanwhile lapped up the Hollywood lifestyle.) And how strange how very little has changed since then...

My Rating: *****

It Should Happen to You

Gladys Glover (Judy Holliday) hasn't had the best day at the start of George Cukor's It Should Happen to You. She just lost her modelling job due to a slight shift in her measurements, and now she's despondent at losing her chance at becoming a somebody. Then she sees some available billboard space, and an idea pops into her head.

As she proved with her previous collaborations with Cukor, Holliday is the star of It Should Happen to You. Making the ditzy (not dumb) blonde her noted role, Holliday precedes Marilyn Monroe in making the character type her own. And no one could get the best of that character out of her than Cukor. (Just watch Adam's Rib or Born Yesterday.)

Also of note in It Should Happen to You is Jack Lemmon in his first major film role. As he would later show with his Billy Wilder collaborations, his Pete Sheppard keeps a can-do spirit despite being the universe's human punching bag. You just can't help but root for him.

In this day and age of people getting famous for the most menial of things, It Should Happen to You seems almost quaint. Of course those involved (Cukor, Holliday, Lemmon, Peter Lawford, et al.) aren't around to witness fiction becoming reality. (Lord only knows what it'd be like had they lived long enough to see the age of the internet.)

It Should Happen to You is deeply charming, which is something to be expected when Holliday and Lemmon are involved. Being released the same year as On the Waterfront and Rear Window (and Cukor's own A Star is Born), it's a nice breather from the heavier titles that year. (Is it ever wrong to go for Cukor as a pick-me-up?)

My Rating: ****

A Double Life

Actors tend to make for fascinating subjects in fiction. Their fears, their insecurities, all of those are on display for their unseen audience. What flaws of their do they keep hidden from the public eye?

George Cukor's A Double Life follows Anthony John (Ronald Colman) as he prepares for his next production: Othello. He earns rave reviews and the production's a success. But as more time wears on, it becomes clear to those around him that something's not right with Tony...

A Double Life was written by Ruth Gordon and Garson Kanin, the first of several collaborations between them and Cukor. Here, Gordon and Kanin dabble in the noir genre, exploring the complexities of the human psyche. (Certainly a far cry from Adam's Rib two years later.)

Now Othello plays a major role throughout A Double Life but that's not the only Shakespeare work that gets an allusion. At one point in the film, an element pulled straight from Hamlet is featured. To say what it is would give away other details of A Double Life.

A Double Life is definitely lesser-known Cukor though considering Colman won an Oscar for this (and rightly so), it deserves a look at least. Being released in a year of prominent titles like Black Narcissus and Odd Man Out, it's perhaps understandable that it's somewhat forgotten. Again, it deserves at least a look.

My Rating: ****

The Marrying Kind

George Cukor's The Marrying Kind opens with Florence (Judy Holliday) and Chet Keefer (Aldo Ray) trying to get a divorce. The judge wants them to tell the story of their marriage to see where it went wrong. What follows is a glimpse into the average American union.

The Marrying Kind is darker in comparison to Adam's Rib or Born Yesterday. (Granted, Adam's Rib focuses on a shooting but the point still stands.) After all, this one's hinging on a potential divorce, and divorce wasn't exactly an approved of decision back in the early 1950s.

Anyway, The Marrying Kind is a step away from Cukor's usual fare like The Women or Camille. Cukor is known for various films with women at the helm, the kind with a touch of feminism in them too. With The Marrying Kind, he shows both sides of the same story.

Holliday (who had won an Oscar for Born Yesterday the year before) and Ray (who was relatively new to Hollywood at the time) play off each other with ease. With her sharp New York accent and his husky voice, they show (as is frequently depicted in movies) that opposites attract.

The Marrying Kind is good but in comparison to Cukor's earlier films with Holliday, it's lacking something. Granted, there were many other big titles from that same year (Singin' in the Rain and High Noon to name a few) but this is a title that's worthy of a look at least.

My Rating: ****

A Woman's Face

George Cukor is a name synonymous with "women's pictures". Films like The Women (of course), The Philadelphia Story and A Star is Born. Suffice to say it must have felt unusual when he made A Woman's Face, a film noir.

That said, however, A Woman's Face does maintain the common trait of Cukor's other films like Camille and Born Yesterday: women trying to survive in the society they're a part of. And of course with this being a noir, that's the main theme of the film. (Who said this had to be a man's genre?)

In the lead role is Joan Crawford, who at time was only known for glamorous roles like The Women. Here, she got a chance to show off her abilities as an actress. And thank God she got meatier roles as a result of it too (such as her Oscar-winning work in Mildred Pierce).

Also worth mentioning is the way A Woman's Face is shot and framed, courtesy of Robert Planck and Cedric Gibbons. As the title implies, one of the main focuses is that of Crawford's character's face. (The right side of it is heavily scarred for the first third.) Because of this, Crawford is often shot from the left throughout the film. A small detail, but one worth mentioning.

A Woman's Face is a lesser-known film of Cukor and Crawford's careers and it's hard to see why that is. It's as concise as any other noir out there (though to a certain point) and it's just as good as the other films released the same year (The Maltese Falcon, The Lady Eve). So, please, seek this film out.

My Rating: ****

Dinner at Eight

Nowadays a star-studded cast is all too common for any film. Back in the early years of Hollywood however, it was a little unusual. Having more than two or three recognizable stars in one film back then was a bold move considering the egos of some of those stars.

In 1933, George Cukor made Dinner at Eight. The stars include Marie Dressler, John Barrymore, Jean Harlow, Wallace Beery, Lionel Barrymore and Billie Burke. (Take note that the three male stars mentioned were also in Grand Hotel the previous year.) They were some of the biggest stars back then, so this was a treat for moviegoers back then.

I love all of the actors, especially Burke trying not to burst as everything goes wrong, and Harlow and Beery swapping snappy remarks. But I must highlight John Barrymore's performance. In the matter of a few scenes, he goes from a confidant actor to a man clinging to the tattered shreds of his career. The haunting aspect is how much of the role mirrored Barrymore's own career both present and inevitable future.

As well as the acting, the dialogue is just to die for. Each line is just very witty, especially the ones coming out of Dressler's mouth. But after seeing films like The Women and The Philadelphia Story, what else can you expect from a Cukor film than a witty script, and light and enjoyable roles for great actors?

Saying Dinner at Eight is one of Cukor's best is a bit of an understatement. Okay, it's not the best but it's still great. A nice blend of comedy and drama is something everyone needs, and here it is in film form.

My Rating: *****

The Women

It's ironic once you think of it. George Cukor is noted for his "women's pictures" (particularly the ones he made with Katharine Hepburn), and he made a literal women's picture. Why literal? I'll explain.

The Women starred only women. (Even the animals showed are female.) Upon hearing the dialogue, it was clear that it was written by and for women. This wouldn't have worked if it was written by men, mainly because they don't know what goes on in a woman's mind.

The cast has some of the biggest names of the time, most of them I've seen in other movies. Such names include Rosalind Russell, Joan Crawford, Paulette Goddard and Joan Fontaine. I loved the performances from all four of them, but Russell and Goddard stood out the most for me mainly because they have attitude (and most of the movie's best lines).

Prior to this, I hadn't seen anything with Norma Shearer. After seeing her in The Women, I now desire to see more of her work because she possesses an aura very few actors have. This aura shows she's the kind of person you support no matter what.

The Women just works wonderfully. Cukor shows that he knows how to work with actresses, all of whom play their roles vibrantly. And is it any surprise that this great movie was released in the great year of 1939?

My Rating: *****

Camille

I always manage to neglect watching certain actors. A poor excuse, I know, but I can't help it. There are too many out there I want to discover.

One of the more glaring entries until now was Greta Garbo. I wanted to that mysterious allure of hers in action, but I kept putting it off. Was it because I couldn't find an appropriate film to watch her in that best shows her allure? Or was it because I just couldn't handle the beauty she possessed? It's one or the other, and I have no idea as to which.

Another actor I unintentionally shirked off from watching was Robert Taylor. Knowing him mainly as Barbara Stanwyck's ex-husband, I read several comments on him that he had a certain charm to him. As with the case for other actors, I had a feeling that Taylor's looks and charm would go together hand in hand.

I finally saw both of them in action in the form of George Cukor's Camille. To my surprise, the personalities of Garbo and Taylor work wonderfully. Garbo's passion for the high life and Taylor's passion for her compliment each other. (In a way, they reminded me of Holly and Paul in Breakfast at Tiffany's.)

Camille is probably one of the few love stories that doesn't feel contrived. It could told even by today's rules, and it could still work. (Like I said, it reminded me of Breakfast at Tiffany's.) The costumes designed by Adrian are absolutely gorgeous, as with the work from Garbo and Taylor. I won't say anything else about Camille for I want others to watch it.

My Rating: *****

Gaslight

There's one shot in George Cukor's Gaslight that I feel I must point out. Confronted by her husband Gregory (Charles Boyer), the lighting on Paula's (Ingrid Bergman) face shows her weariness from her constant persecutions of her husband. It emphasizes the dark circles under her eyes, a nice touch from cinematographer Joseph Ruttenberg.

Paula was tormented long before this scene. She lives in the house where her aunt was murdered. The event haunts her for much of Gaslight. But there's more that torments Paula's mind.

It's clear Gregory is hiding something from Paula, but what? When he's hiring Nancy (Angela Lansbury) as a maid, he's quite friendly to her as well as in later scenes. Could he be attracted to her? After all, Nancy is shown to be a lively girl. (The fact Paula doesn't like could be another reason.)

Enter Brian Cameron (Joseph Cotten), a police officer who becomes transfixed by Paula's beauty. (Not to the point of obsession, mind you.) He also becomes transfixed by her marriage to Gregory. They appear to be a loving couple, but it's a whole different story behind closed doors.

Gaslight is a great movie. The work from Bergman, Boyer, Cotten and Lansbury is great, especially Bergman. She slowly falls into the depths of insanity, a daring task both then and now. It's something that has to be seen to be believed.

My Rating: *****

A Star is Born

"There's no business like show business..."

That's how the song goes. It's true there is no business like show business. I mean is there one that's both glamorous and dirty at the same time?

A Star is Born has Hollywood star Norman Maine (James Mason) giving singer Esther Blodgett (Judy Garland) a boost in the movie business. Under stage name Vicki Lester, her star rises, but his starts to burn out.

When Garland made A Star is Born, her own career was a reflection of Norman Maine's: an once-prolific movie career drowned by alcohol. But once she gave a booming rendition of "The Man Who Got Away", it was clear that she's back. Groucho Marx wasn't kidding about calling Garland's Oscar loss "the biggest robbery since Brink's." Seriously, if anyone deserves an Oscar more, it's Garland.

Mason, like his character, gets overshadowed by Garland rather easily, but he has his moments. Like one scene towards the end. He overhears a conversation that brings up the fact that he's all washed up, his drinking being the main contributor. His immediate reaction: flawless.

I normally am not that big a fan of musicals, but I do love the energy one has during a musical number. Like Garland during her "Someone at Last" and "Lose That Long Face" numbers. It's fun to see someone do a restrained role, then let loose in another.

George Cukor, whom I trusted with his comedies (The Philadelphia Story, Adam's Rib, Born Yesterday), blew me away with A Star is Born. Honestly one of the best movies I have seen.

My Rating: *****

Born Yesterday

Don't you love it when one minute an actor has their big break and the next minute they're getting an Oscar? It's really an enjoyable feat to watch.

Take Judy Holliday as an example. In 1949, she got recognized for her work in Adam's Rib. The following year she would be in Born Yesterday, a role that she originated on Broadway and would earn her an Oscar.

Born Yesterday has Holliday as Billie Dawn, an ex-showgirl who is the girlfriend of junkyard tycoon Harry Brock (Broderick Crawford). Harry and Billie's relationship has taken a turn for the worse; their main form of communication is yelling at one another (I personally love Holliday's shrill "What?"). Fed up by Billie's uncivilized ways (the irony being that he's the boor), Harry hires Paul Verrall (William Holden) to teach her a few things.

Billie knows she's stupid (she admits it to Paul early on), but through Paul's teachings she realizes one thing: that Harry is a crook. She also learns how to stand up for herself, something she was unable to do before.

The main reason for why Born Yesterday isn't forgotten is because of Holliday's Oscar win. She won over Bette Davis and Gloria Swanson, both of whom were frontrunners that year. That doesn't mean that Holliday was the wrong choice. She provided a bit of spunkiness to the category for that year.

My Rating: *****

Adam's Rib

Movies set in a courtroom are mainly dramas. Not all that often are they comedies, which makes Adam's Rib somewhat unique.

Adam (Spencer Tracy) and Amanda Bonner (Katharine Hepburn) are a happily married couple who are also lawyers. They are informed of the case of Doris Attinger (Judy Holliday), who tried to murder her cheating husband. Adam is the state attorney, while Amanda defends Doris. The case causes Adam to re-think his views on equal rights, and the Bonners' marriage to strain.

I'm more accustomed to courtroom dramas (12 Angry Men, The Verdict, etc.), but courtroom comedies? That's completely different. Tracy and Hepburn's chemistry is strong (much like in real life). The concept is original enough for me to like, and the movie had its moments.

My Rating: ****1/2

The Philadelphia Story

This review is part of the Katharine Hepburn Blog-A-Thon over at Encore's World of Film and TV.

Philadelphia socialite Tracy Lord (Hepburn) is about to marry George Kittredge (John Howard), just a few years after her divorce with C.K. Dexter Haven (Cary Grant). Dexter, now a worker for Spy magazine, arrives at the Lord mansion the day before the wedding as well as tabloid reporter Macaulay "Mike" Connor (James Stewart) and photographer Liz Imbrie (Ruth Hussey). As the wedding draws closer, Tracy soon becomes torn between George, Dexter and Mike.

With this being the only Katharine Hepburn movie I've seen so far, I can't really say that this is her best role but she is good. Grant's work is also good (and charming), but like Hepburn, this is so far the only movie I've seen him in. Stewart definitely earned the Academy Award nomination, but I'm a little sketchy on the win. Personally, Henry Fonda for The Grapes of Wrath should've won, and Stewart should've won the previous year for Mr. Smith Goes to Washington. But overall, he is also good. The movie I liked very much. Having seen a few Billy Wilder and Woody Allen movies prior to this, I kinda expected what the chemistry throughout the movie would be like. But it still works.

My Rating: *****