Stage Door (1937)

the leading man is my tpye

Most undeservingly overhyped movie of all time??

i must have seen a different film!!

It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

Title: Stage Door Year: 1937 Country: USA Language: English Genre: Comedy, Drama Director: Gregory La Cava Writers: Morrie Ryskind Anthony Veiller Edna Ferber George S. Kaufman Music: Roy Webb Cinematography: Robert De Grasse Cast: Katharine Hepburn Ginger Rogers Adolphe Menjou Andrea Leeds Gail Patrick Constance Collier Lucille Ball Eve Arden Ann Miller Samuel S. Hinds Franklin Pangborn Phyllis Kennedy Pierre Watkin Jack Carson Rating: 7/10From time to time, it is categorically exhilarating to visit some legendary thespians back- catalog, and Katharine Hepburn is always my go-to pick. STAGE DOOR, is a Black & White (female) ensemble piece centers on the everyday revelry of a band of aspiring but unemployed theatrical actresses who stay in the Footlights Club and strive for their breakthrough in the depression era of New York. Hepburn plays Terry Randall, a young girl born with a golden spoon, is the newcomer in the club, she tries to venture into Broadway without any help from her affluent background. And the rest of the girls are no so luck, Jean (Rogers) an outspoken and rapid-speaking blonde, constantly switches bitter verbal tit for tat with Linda (Patrick), who is currently dating the producer Anthony Powell (Menjou). Also thee is Kay (Leeds), a gentle and darling doll who had a great success one year earlier, and anxiously preps for Powell's upcoming cast of ENCHANTED APRIL since she is impecunious due to out of job for almost a year. The rest of the girls are played by some future big names such as Lucille Ball, Ann Miller and Eve Arden. Director Gregory La Cava was much sought-after after the huge success of MY MAN GODFREY (1936, 7/10), here, under a refined script adapted from its original play, he continues to hone up his deft mastery in a satirical screwball comedy, laden with inspiring wisecracks and snappy chit-chats, Rogers certainly gives Hepburn a good run of her money with her barrage of bons mots as well as her tap dance, even though predictably she will become the object of Powell's desire, for just one day, she doesn't debase herself being an annoying pest. However, when a tragedy ensues, Hepburn confidently earns back her limelight with a plaintive monologue dedicated to her dear friend, the irony is redolent of the money-seeking reality, unknown to her, Terry's triumph is a mis-carried plan of her omnipotent father (S. Hinds), in order to quench her ambition as an actress. So as a matter of fact, her road to independence is a bust, and for what it is worth, its collateral damage costs a young life. but eventually, girls are still the girls, fame doesn't tarnish their friendship, some has to give up her dreams to a convenient marriage, and new blood is routinely arrived for the line of work. With regard to the supporting bundle, Menjou is perfectly in his wheelhouse and his trademark mustache alone can convincingly exhibit his charming veneer and contemptible nature. Constance Collier is the typical diva who is past her prime, nagging about his old- fashioned methodology and trying to give a protective layer for her impaired dignity. But it is Leeds, who nabs an Oscar nomination as the pathos-arousing Kay, and as for Gregory, he is awarded a consecutive BEST DIRECTOR nomination (alas, it is also his last one) and although the movie is also a BEST PICTURE contender (among 10 nominees at then), it feels a shade rushed and unsatisfied compared to the sheer delight from MY MAN GODFREY, in spite of the same 7/10 rating, I will certainly give the latter an edge.

Stage Door embodies the reasons why I am extremely fond of the Hollywood's Golden Age. Actors and Actresses of substantial talent, cleverly crafted story lines with substance and charming dialogue. Viewing such films with the knowledge of Hollywood's current crop falls below the standards shown in Stage Door enflames my fondness.Set in a boarding house for aspiring actresses, Stage Door's opening moments fixated my spectatorship. The bustling of the tenant's lives living in close quarters, Stage Door's strength is imminent from there-on-in as capturing each personality invested my spectatorship into their lives escalating when Jean (Ginger Rogers, sharing top billing with Katharine Hepburn) finds herself in a verbally heated altercation. The snappiness of Jean's responses to insults and bringing out a rough persona Rogers' embodied within Jean proposed to me a prosperous narrative which did not disappoint. Katharine Hepburn soon appeared as Terry Randall attempting to make her own path out of her privileged existence.Two firm talents in Hepburn and Rogers, each with their knack of dramatic flair that equals the other embroiling as fantastic adversaries. As Stage Door progresses their conflict is perfectly crafted to flourish into new plot elements which for any film is fantastic for spectators. Snapping at each other with remakes and sarcastic mimics made for great entertainment but is was not all about catty rivalries, conflicts, and moments of light fare Stage Door dramatized the price of pursuing theatrical fame.In one of the smaller roles but containing an equally powerful performance to the two head liners was Karen (Andrea Leeds). Although the dream for stardom affected all of those living at the boarding house, it was Karen who bared the greatest burden trying to reclaim her previous success. Her emotional fragile state built right to the boil by sleazy casting agent Anthony Powell (Adolphe Menjou). His arrogant demeanour in exploiting his position for women chasing instead of searching for talent. Menjou succeeded in affirming Powell's antagonistic streak with such naturalism and indifference that when tragic consequences arise, he personified injustice to myself as he had to Jean, Terry and the other characters who knew him. On a brief side note, the tragic consequences mentioned propels the core of the message and acts as a catalyst to a tear jerking sequence which is masterfully directed and written.It is this sequence in particular along with Stage Door's lighter moments, gripping storyline and phenomenal acting which motivates my applause to high esteem.

In fact this film version of a stage play by Edna Ferber and George S Kaufman, directed by Gregory La Cava is 70 years old and although it may show a wrinkle here or there - like having Adolph Menjou as the romantic lead - the youthful energy in the acting and dialog has surfed the waves of time unscathed. The bunch of girls populating the Footlights lodgings is a smashing crowd. Katharine Hepburn, brisk and Hepburnish already to the hilt. Ginger Rogers drinks, scratches and dances a duet with Ann Miller. Eve Arden, as usual, delivers the best one liners and Lucille Ball seems ready for a startling career. Andrea Leeds got an Oscar nomination and Constance Collier plays an over the hill actress that becomes Hepburn's minder, just like in real life. The film moves at an incredible speed and I defy you not to tear up when Hepburn makes her entrance with the Calla Lillies in bloom.

They should have called this one "Upstaged Door", since what I saw was Ginger Rogers, one of the overlooked comediennes of the 1930s (see "Gold Diggers of 1933"), more or less blowing Katherine Hepburn out of the movie. Calla lilies? She did so despite the fact that the script is written around the "Hepburn" character and gives her the big speech at the end, and that the plebeian "Rogers" is the more cruelly satirized of the two, especially in Act I. Hepburn plays herself, as she did in every role after Alice Adams. Rogers, a teetotaler in real life, plays a mean drunk scene, among other things. She mocks a posh accent. She wears great-looking gowns like she was born in them. She plays the ukulele! La Cava wisely nips the ukulele business in the bud. He doesn't let her sing or dance much, either. (Hepburn doesn't sing or dance at all, even though she's living with two dozen chorines.) The haste with which the film was adapted from the play is obvious in the many "staged" entrances and exits. Everyone gets some snappy lines, but some of the support only get a few things to say. Constance Collier, as the washed-up old actress who carries her notices around in her purse, is the best of them. They are all but uniformly great except for Andrea Leeds. Leeds was a pretty, sensitive girl who didn't like Hollywood much. She was also a mediocre actress. This is evident the instant she has to trade lines with anyone. And she was given an Academy Award nomination for this role! That says something about both Hollywood self-loathing and Hollywood self-congratulation. The subplot built around her character, who is barely introduced, feels jury-rigged and maudlin and just doesn't work at all. The idea appeared to be to add "depth" to a plot that was doing fine without any. This mistake knocks the movie down from a 9 to, say an 8. It's still 10 times funnier than most of what's playing now. Don't miss it!