Stage Door (1937)

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.

There were plenty of egos abound in this film version of the Edna Ferber/George S. Kaufman stage play surrounding the lives of the women who live in a boarding house for actresses. The women range from pretentious Katherine Hepburn, a society girl determined to make it on her own away from the influence of her wealthy family to wise-cracking tough girl Ginger Rogers to cat-wearing Eve Arden. There's also tap-dancing Ann Miller (who wore flats so she wouldn't be too tall to dance with her idol, Ginger), husband seeking Lucille Ball, sensitive Andrea Leeds (nominated for an Oscar for her tragic part), bitchy social climber Gail Patrick and eccentric Constance Collier, the hammy character actress in the group.Unlike the later women ensemble film ("The Women", also based upon a popular play), men are involved in the plot, the major male character being Adolph Menjou's David Belasco type theater producer who takes individual interest in several of the girls he sets out to make stars. Leeds, it turns out, was once the most promising new actress in the theater, but hasn't had a job since her first big break. Hepburn storms into Menjou's office to tell him off for not giving Leeds a pivotal role she'd be perfect for, and before you know it, Menjou is escorting her around town and has cast her in the lead. The other residents of the boarding house are horrified by her getting the role Leeds pined for, and after realizing how horrible she is, Kate takes on aid from the unselfish young girl whose emotional distress just gets worse and worse, resulting in tragedy. This just might be the spark to make Kate shine, and Kate shows it utilizing a line from her infamous Broadway flop, "The Lake", where she says "The Calalilies are in bloom again", a line burlesqued many times since she first said it.In their only film appearance together, Hepburn and Rogers exchange wisecracks from the moment they meet, especially when Hepburn becomes Rogers' new roommate. The scene between them discussing Hepburn's audacious trunk has become a comedy classic. While their bitchy rapport is biting, it isn't as caustic as that between Rogers and Patrick who has a nasty comment for every statement Rogers makes. While "The Women" has gone on to become more of a cult favorite, "Stage Door" is equally as classic for its look at how women often bring out the worst in each other rather than the best. Of course, every archetype is here, and you can see a little bit of each character from each play when you compare the two. While "The Women" has been revived several times on Broadway, "Stage Door" has been strangely overlooked even though the movie is considered a classic.

Stage Door (1937)What an amazing movie! Gregory La Cava had a mixed career, but between this and "My Man Godfrey" he has made two of the very best screwball comedies. Best.The first thing you have to confront is a tidal wave of fast, overlapping, group dialogs. The Footlight Club is a flop house for young woman who want to make it on the stage. One zinger after another by these actresses, all without jobs but avoiding dejection by sheer humor and sarcasm. It's a dizzy fun beginning, and it never lets up. Never. Which is great. We get young Eve Arden, even younger Lucille Ball, Ginger Rogers in her famous prime (she dances briefly), and Katherine Hepburn, the rising star who is cast perfectly here as someone who doesn't fit in. (They even make fun of her accent, which the audience can laugh along with knowingly.)And then there is plot, as several of the actresses get involved in either work or men or both. And some competition, and just a little tragedy (but very moving and tragic, a surprise of tears after all these laughs). Men don't fare well here, reminding me of "The Women" where they don't appear at all. La Cava is as good as they get when the going gets fast and complicated. He reminds me of Michael Curtiz in this way, with rooms full of people going every which way and all if it making sense, foreground and background, music and dialog. You could watch "Stage Door" twice in a row and still want more. It's a screwball, and a fabulous one.

I'm always a little hesitant to see a movie made before 1945, particularly one that claims to be a comedy. There's a good chance that it will be corny or silly. Stage Door is very much an old movie, with its snappy humor and callback to a time when live theater was a more popular form of entertainment. And yet, it entertained me in a way that only an old movie can entertain.The film is striking for a number of reasons. First of all, the leading ladies are two established stars - Katharine Hepburn and Ginger Rogers, while two soon-to-be-stars – Ann Miller and Lucille Ball – make appearances as well. Second of all, the film is exhaustively wry. In the words of James Harvey, it "is like going to wisecrack heaven." With the exception of Andrea Leeds (who gives an overwrought performance that begs for an Oscar without actually deserving one), the boarding-house is somehow packed with quick-witted, sardonic dames. Rogers, though not especially know for her comic roles, is their smirking queen. This leads to another striking aspect of the film – how many other genuine comedies are completely driven by women? How about one whose plot does not revolve around romance? Of course the film did not mark the death of female humor, as one up-and-comer in the cast would demonstrate, but it is one of the few films where you will find a certain kind of comedienne – the relentlessly sarcastic gal retorting out of the corner of her mouth to another gal's barb. The sentimental moments don't always work, but when the armor breaks and Hepburn or Rogers feel, they feel, and the effect is rather touching.