Johnny Guitar 1954 - An unusual Western with much sexual symbolism

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IMDB Rating: 7,7

Director: Nicholas Ray
Main Cast: Joan Crawford, Sterling Hayden, Mercedes McCambridge, Scott Brady, Ward Bond, Ben Cooper, Ernest Borgnine, John Carradine

"Few Westerns more obviously begged the question 'What was the studio thinking?' than Nicholas Ray's brilliantly perverse Johnny Guitar. Ray had a knack for finding subversive subtexts in standard material, and on the surface Johnny Guitar's outlaws on the run, factions battling over a town's future, and love and betrayal among the tumbleweeds seem like the stuff of a typical Western. But in Johnny Guitar, nearly all the men are unwilling or afraid to fight, the action is dominated by two aggressive women who hate each other (but are also oddly drawn to each other), the title character is at once the lover and the employee of the female lead, and her arch-rival is driven to near-psychotic hatred and violence by unrequited affection for a handsome outlaw. Lust rules nearly everyone in this film, and in ways that generally fall outside the boundaries of mainstream Hollywood's sexual economy; one look at Joan Crawford's butch Western outfit, complete with string tie, should be enough to signal that this isn't an ordinary sagebrush shoot-'em-up. Ray plays this saga of unusual appetites in a hyper-emotional style against a broad and colorful backdrop, and the result feels more like an opera than a Western, as Martin Scorsese has pointed out. Throw in an allegory of 1950s anti-Communist blacklisting, the bold visual style, Victor Young's moody score, and the con brio performances of Crawford, Mercedes McCambridge, and Sterling Hayden and you have a unique movie that's fascinating and entertaining throughout.
According to most sources, the animosity between Joan Crawford and Mercedes McCambridge was quite real, added several extra dimensions to their scenes together. Director Nicholas Ray and screenwriter Philip Yordan stuff the film with so much sexual symbolism that one wonders why they left out a train going into a tunnel. Ms. Crawford's vivid red-and-blue wardrobe scheme was later appropriated by Ray for James Dean in Rebel Without a Cause - with equally stunning results. In addition to the stars, Johnny Guitar is well stocked with reliable supporting players, including Ernest Borgnine, Ben Cooper, Royal Dano (superb as a consumptive, book-reading hired gun) and Paul Fix." - www.allmovie.com

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Mildred Pierce 1945 - Miss Crawford's tour-de-force performance

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IMDB rating: 8,0

Director: Michael Curtiz
Main Cast: Joan Crawford, Jack Carson, Zachary Scott, Eve Arden, Ann Blyth, Bruce Bennett

"Joan Crawford won an Academy Award for her bravura portrayal of the titular heroine in Mildred Pierce. The original James M. Cain novel concerns a wife and mother who works her way to financial security to provide a rosy future for her beloved daughter, but encounters difficulties and tragedies along the way. Ranald McDougall's screenplay tones down the sexual content, enhancing its film noir value by adding a sordid murder. Under the direction of top Warner Bros. helmer Michael Curtiz, Crawford's glamorously fur-clad Mildred initially appears to be a femme fatale as she walks down a dark, rain-slicked pier after a murdered man dies uttering her name. Evenly lit flashbacks, however, reveal Mildred as an upwardly mobile working mother, bonding with wisecracking co-worker Ida and trying to make a good life for her daughters after her weak husband Bert cheats on her. Ace Warner cinematographer Ernest Haller's noir shadows and skewed angles begin to encroach on Mildred's story as her relationship with hellacious daughter Veda and effete second husband Monte approaches its fateful climax. Crawford's first film for Warners after the end of her MGM contract became her first hit in several years. The film was also nominated for Oscars for Best Picture, Best Screenplay, Best Cinematography, and Best Supporting Actress for Eve Arden's scene-stealing Ida and Ann Blyth's sublimely witchy Veda." - www.allmovie.com

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The women 1939 - It's all about men!

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IMDB rating: 8,0

Director: George Cukor
Main Cast: Norma Shearer, Joan Crawford, Rosalind Russell, Mary Boland, Paulette Goddard, Joan Fontaine

"Based on the Clare Booth Luce play of the same name, this MGM comedy is famous for its all-female cast and deft direction by George Cukor. The themes explored in Clare Boothe Luce's play were so modern in 1939 that audiences found the film audaciously relevant, yet so timeless and universal that The Women could be successfully revived on Broadway in 2001, starring Jennifer Tilly, Kristen Johnston, and Cynthia Nixon. The film crackles with a sharp-toothed sarcasm even on a modern viewing. George Cukor's deft pacing and evident facility with actors (or, we should say, actresses) make The Women both a scathing and hilarious indictment of the institution of marriage. No less important, in fact probably more so, is the film's portrayal of the women's mercenary competitiveness. The ruthlessly casual deceptions they practice on each other are authenticated by the playwright's gender, as well as that of her adapters (Anita Loos and Jane Murfin). The Women recasts the discourse of high society as an exercise in the Darwinism of the animal kingdom, starting with an opening credits sequence that assigns an animal role to each character, from sly fox to gentle lamb. The opening shot says it all, as two dogs aggressively (and metaphorically) yap at each other as their pampered owners restrain them, all against a cacophony of background gossip. The women's ironic commentary on the regimen of exercise and beautification they must maintain to keep their men takes over from here, as does the rapid repartees and the almost incidental backstabbing. Casting the film entirely with women works beautifully, never straining the logic or staging, and the handful of leads each share the credit with Luce and Cukor for a fully realized farce on the warfare of feminine politics and societal advantage.
Snappy, witty dialogue, much of it courtesy of veteran screenwriter Anita Loos, helps send this film's humor over the top. So do the characterizations - Crawford is as venomous as they come, and this was Russell's first chance to show what she could do as a comedienne. And don't discount Shearer - her portrayal of good-girl Mary is never overpowered by these two far-flashier roles. Do keep an eye on the supporting players, though, especially Mary Boland as the Countess DeLage. The role was based on a cafe society dame of that era, the Countess DiFrasso, who had a wild affair with Gary Cooper; that romance is satirized here." - www.allmovie.com

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Grand Hotel 1932 - Garbo 'wants to be alone'

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IMDB rating: 7,7

Director: Edmund Goulding
Main Cast: Greta Garbo, John Barrymore, Joan Crawford, Wallace Beery, Lionel Barrymore, Lewis Stone, Jean Hersholt

"Based on Vicki Baum's novel, Grand Hotel is the prototype for the all-star ensemble film and an excellent example of the rich and glamorous escapist entertainment, often from MGM, that took on enhanced prominence during the Depression. Produced by Irving Thalberg using top-end ingredients and state-of-the-art technology, it is yet another example of MGM's dominance during the 1930s for this type of film. The plot exists merely as a device to get star faces on the screen, particularly that of Greta Garbo. Though only moderately respected by the critics, Grand Hotel has proven itself of enduring influence, both for Garbo's performance and for creating star-heavy blockbusters that peaked in the 1950s with Around the World in 80 Days. Grand Hotel won Best Picture at the 1932 Academy Awards." - www.allmovie.com

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Possessed 1931 - Mature pre-code Hollywood drama

IMDB link: http://www.imdb.com/title/tt0022276/?ref_=fn_tt_tt_15
IMDB rating: 6,7

Director: Clarence Brown
Main Cast: Joan Crawford, Clark Gable, Wallace Ford, Richard 'Skeets' Gallagher, Marjorie White, John Miljan

"Clarence Brown creates an effective melodrama that interestingly examines some of the social mores and topical concerns of the 1930's. The position of women in society is the key theme addressed by the competent director, with Crawford's portrayal being both realistic and touching. Crawford makes great use of the close-up to express inner thoughts and feelings, suggesting a whole range of emotions when she overhears Gable speak of his reluctance towards marriage. Crawford is the film's best asset and she does some great work here, providing the most memorable scenes in the picture.
The film's other triumph is the slick narrative economy employed by Brown. Possessed clocks in at around 73 minutes and is a very efficiently-produced film. MGM's trademark opulent production design suits the penthouse scenes well, with Crawford looking terrific in jewels and well-cut Adrian dresses. Cinematographer Oliver T. Marsh provides some inspired visual style in an early scene that sees Marian standing in awe at the luxury and splendor passing by her on the train. The juxtaposition of Marian's two lifestyles in this short sequence is a nice effect.
The film is let down by Gable's distinct blandness and an average script. Gable conspicuously lacks presence alongside Crawford in their scenes and his dialogue delivery is very wooden here but Crawford manages to cover for him in their romantic scenes, putting in a top-drawer 'cover all bases' performance.
Based on a 1920 play by Edgar Selwyn, Possessed had been filmed previously in 1924 as The Mirage, a vehicle for silent star Florence Vidor."

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Dance fools, dance 1931 - Crawford and Gable sizzle!

IMDB link: http://www.imdb.com/title/tt0021778/?ref_=fn_al_tt_1
IMDB rating: 5,9

Director: Harry Beaumont
Main Cast: Joan Crawford, Cliff Edwards, Lester Vail, William Bakewell, William Holden, Clark Gable, Natalie Moorehead

"This quick-moving and entertaining melodrama was MGM's answer to Little Caesar, The Public Enemy and Scarface, with a woman's angle added to make things a little different. As she did in many of her earlier films (both silent and sound), Crawford dances up a storm, proving herself as one of the best 'Jazz Babies' of the late 20's and early 30's. Star-to-be Clark Gable is billed way down in the credits, playing a brutish role that made him extremely unlikable, although his sexiness does show in his scenes with Crawford and the feisty Natalie Moorehead as his moll. In all of his future movies with the future 'Mommy Dearest', Gable softened his image and was more the lover rather than the brute man, even though he was still all man. Bakewell, who was a major player in the early 30's (usually cast as insensitive and selfish young men who cause their families a lot of heartache), was never really likable on screen, and in bit parts of the late 30's and 40's, this trait continued as well.
Well-written and excellently photographed, this is one of the films that assured Crawford stardom, making her a major threat to Norma Shearer. (Garbo would be in a category all her own.) There's a lot of pre-code innuendo, some great montages, and a memorable exchange between Natalie Moorehead and Gable involving a lit match."

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Paid 1930 - Crawford seeking revenge but finds love

IMDB link: http://www.imdb.com/title/tt0021228/?ref_=fn_al_tt_1
IMDB rating: 5,7

Director: Sam Wood
Main Cast: Joan Crawford, Robert Armstrong, Marie Prevost, Douglass Montgomery

"Joan Crawford dominates the screen in tandem with Robert Armstrong in this surprisingly edgy crime-based melodrama, scripted by Charles MacArthur (and based on Bayard Veiller's stage play). There's surprising chemistry between the two in this fast-paced early talkie, which also benefits from an unusually realistic, down-scale slant on the world of criminals. Armstrong's Joe Garson is the real article when it comes to the latter, whereas Crawford's Mary Turner is a vengeful victim of the legal system - in the end they each displays a touching nobility and loyalty to each other, which helps drive the final section of the film to a powerful conclusion. Directors Sam Wood and Tod Browning end up turning in one of the more enduring dramas of the early sound era;  MGM remade this reliable property (again!) under its old title Within the Law (1939), with Ruth Hussey in the lead." - http://www.allmovie.com/movie/paid-v105382/

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Rain 1932 - Joan Crawford as Miss Sadie Thompson

IMDB link: http://www.imdb.com/title/tt0023369/
IMDB rating: 6,9

Director: Lewis Milestone
Main Cast: Joan Crawford, Walter Huston, William Gargan, Guy Kibbee

"The pleasures of the flesh confront the discipline of the Lord's teachings in this screen adaptation of W. Somerset Maugham's story Miss Sadie Thompson. This is the first sound film adaptation of the play, where young MGM 'flapper' star Joan Crawford's turn as Miss Sadie Thompson revealed that she could play more than just a spirited modern girl. As the South Seas prostitute reformed and then violated by Walter Huston's fire-and-brimstone preacher, Crawford matches Huston's intensity and reveals the depth of emotions behind Sadie's slatternly, free-wheeling façade. The lush, nocturnal tropical setting with its copious precipitation and Polynesian drum music enhances the sensuality of the conflict between spirit and carnality, while director Lewis Milestone's mobile camera and telling visual touches (like Sadie's choice of shoes) offset the potential staginess of a theatrical adaptation. A flop in 1932, Rain has since recovered its artistic reputation, particularly for Crawford's then-shocking 'realism' as Sadie. The play was first adapted as Sadie Thompson in 1928 with Gloria Swanson, then re-made again in 1953 as Miss Sadie Thompson with Rita Hayworth." - http://www.allmovie.com/movie/rain-v40130

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