In 1956 directed Robert Aldrich surprised everyone by trying his hand at a “woman’s picture,” a melodramatic soap opera that on the surface appeared to be a complete departure from his previous work which included two westerns (Apache, Vera Cruz), a film noir (Kiss Me Deadly) and a drama (The Big Knife), whose emotional volatility equals the physical violence in the three preceding films. Continue reading
Today her place in film history rates little more than a footnote in the ascendancy of Warner Bros. as a major Hollywood studio, but Kay Francis was their first major female star whom they had lured away from Paramount in 1931. During her peak years for the studio between 1932 and 1935, she specialized in melodramas, soap operas and lightweight comedies which accented her elegance and chic fashion sense but also stereotyped her in increasingly inferior films.
She was dethroned by Bette Davis as Warners’ top star in 1936 and, by 1938, she was labeled “box office poison” in an article by The Hollywood Reporter. Still, there are several essential must-see titles among the more than sixty-five movies that she made (Ernst Lubitsch’s Trouble in Paradise , Jewel Robbery , Wonder Bar , for example) and Mandalay (1934) is one of her best dramatic showcases as well as an enormously entertaining, eyebrow-raising Pre-Code wonder. (It was made before the Code was officially enforced but released after the fact.) Continue reading