Stage Door (1937)

Framed and shot as though a stage play – which it was originally, but much changed for the film – and with a stage play within the staged play, le tout ensemble in this witty farce delivers a virtual non-stop, wise-cracking, virtuoso performance. Timing is everything and in comedy, it's particularly so; and the director, Gregory La Cava – who cut his teeth, in the silent era, as a director beginning in 1916 – doesn't miss a beat with this one.

From a play by Edna Ferber (of Giant fame) and George S. Kaufman, the film tells the story of what happens to a group of aspiring actresses who happen to board at a place called the Floodlights Club in New York City, supposedly. Of course, there are minor players, as in all plays – Lucille Ball, Eve Arden, Ann Miller and most of the men, the exception being Adolphe Menjou as a caricature (almost) of the Big Bad Producer of those days. The majors, Katharine Hepburn (as Terry), Ginger Rogers (Jean), Gail Patrick (Linda) and Andrea Leeds (Kay) form the core about which this story revolves.

Which, when all is said and done, is about the ascendancy of Terry as an actress and the decline of Kay as another: out with the old, in with the new, if you will. That would tend to make for a somewhat pedestrian story if it were simply that. Happily, what sets this apart from, say, the almost maudlin characterization by Hepburn in Morning Glory (1933) in a similar situation (for which, however, she did receive a Best Actress award in 1934), is, first, the scintillating dialog. Which means the viewer must really listen: it goes so quickly between characters that you'll miss the one-liners and sight gags if you take a chomp on a sandwich or sip of coffee, or whatever. So, be prepared.

What's left? Well, of course, the great acting by Hepburn, Rogers, Ball, Miller, Menjou, Arden, Patrick and Leeds, the latter getting a Best Supporting nomination for her somewhat overly tearful acting; so much so, she reminded me of Olivia de Havilland, in looks and style.

The direction, already mentioned, is in the hands of an old hand and it shows, explicitly. Add to that the camera work that included almost manic cuts up and down stairs, superb face-on tracking shots and perfect timing while up to a dozen people would mill about in the frame concurrently – and with dialog. Confusing? Perhaps to some. Just concentrate on the majors.

What's more interesting for me, however, is the sub-text of this comedy. Made just before USA finally shook free of the Great Depression, as you listen, you'll hear many references to the hard times: at the Floodlights, everybody is down, but not out; rich and unscrupulous producers just want to use and abuse actresses; the women are all scraping for even the lowliest acting or dancing job at the meanest of wages; despondency and depression are endemic. Despite all of that, the women 'soldier' on, pushing themselves to their emotional and physical limits.

Women in the audience at that time must have felt the pull: don't deny your dreams of self-fulfillment, despite what chauvinistic clods of men might say and do, even powerful men. It's a stirring message, albeit idealistic, but it sets the tone for the larger section of a country that was about to engage in the world war which, in a very real sense, changed the role of women as never before. So, some may die, yes, but the show must go on...

There have been a number of introspective and self-referential films about the acting business, Morning

Fmovies: Superb comedy/drama about a theatrical boarding house and its tenants (all women) focusing primarily on Katherine Hepburn and Ginger Rogers. A once in a lifetime cast, all of them in top form. The movie moves VERY quickly with non-stop wisecracks flying across the screen and a very depressing turn at the end. Also, there's no sappy romance subplot - very unusual for a 1930s film. The interplay between Rogers and Hepburn is incredible--they're both holding their own against each other. Nominated for 7 Academy Awards (including Best Picture and Best Supporting Actress--Andrea Leeds). A must-see. "The calla lillies are in bloom..."

Thanks to the BBC this finally appears as a long-overdue TV showing in tribute to Kate Hepburn. A stunning cast includes Ginger Rogers, Eve Arden, Lucille Ball and Ann Miller (both looking impossibly young!), Constance Collier (one of the great old troupers), Andrea Leeds, Adolphe Menjou, and in the cast but not credited an hilarious performance from Franklin Pangborn as Menjou's butler, plus appearances from Jack Carson, Grady Sutton, Ralph Forbes. It is a classic film fan's joy even if the plot does creak along on a variation of the 'heiress who wants to act' theme.

Hepburn looks fabulous and that brittle voice was rarely used better than to deliver the sparkling script required. Great role for Ginger too (time off from dancing with Fred, this being around the middle of their legendary partnership). Love it. One to treasure.

Stage Door fmovies. Something very sinister happened to movies between 1937 and the 1950s that made this kind of film impossible to make. It's a terrific example of ensemble acting, with no one taking a back seat to anyone else. Ginger Rogers is absolutely amazing, especially after seeing some of the fluffy stuff she did with Astaire. It's hard to believe this is the same actress.

The dialogue zips along with lighting speed including some great laugh-out-loud one-liners. What a wonderful script! Very much like "Grand Hotel" in its structure and shockingly adult themes.

The relationships between all the women are so complex it's hard to believe it was actually made when it was. It makes men look very bad - at best we're imbeciles, at worst, Svengalis. And it has the same kind of uneasiness and disillusionment with the theater that "Sunset Boulevard" had with the movies. I wish there were more like it.

I don't quite know how to put my passion for this film into words. It's something I never expected. I taped it off of television because I've been on a Ginger Rogers kick lately (I think I'm in love with her), and very luckily experienced something of enormous quality.

There is not a regular plot. Unlike most classical cinema, the goal towards which the film is striving is quite tenuous. Basically, the goal is for Katherine Hepburn to get a part in a play and give a good performance, but it is never stressed. Instead, what we get is more of an ensemble piece. There are characters who are more central than others, but we get to know well a great number of characters. And we live with them, experience their dreams, hardships, and successes, falling more and more deeply in love with them every minute, caring about them as we would dear friends or siblings.

It is most often referred to as a comedy, and the dialogue tends to be hilarious (Ginger Rogers is in full form here, wisecracking at the speed of light), but the film's drama is very affecting, too. This film's ending is so beautiful, and like all great films, we're reluctant to say goodbye to the characters. Fortunately, since I have it on tape, I can visit the boarding house any time I want. Unfortunately, since this film is neither on VHS nor DVD, you probably cannot. Watch for it on AMC or TCM or other stations that play classic films. You will not be disappointed. 10/10

Watch this movie, *any way* you can.

Seriously, you won't be disappointed.

It's a brilliant way to spend a couple of hours: where else would you get an all-star cast that would make your jaw drop today (Katharine Hepburn, Ginger Rogers, Lucille Ball, Eve Arden, Ann Miller etc. etc.), and a clever, witty script played to the hilt by the astounding cast?

The story is fairly simple: Terry Randall (Hepburn) moves into the Footlights Club to begin her career as an actress. Viewed as an odd cookie by the rest of the girls, her room-mate Jean (Rogers) especially, she starts to win them over until she wins the part belonging to Kaye (Andrea Leeds). Not wins, so much as given. It takes a tragedy to turn Terry into the actress she could be, and the friend she eventually becomes as she remains in the Footlights Club.

This film benefits from a truly amazing cast: Hepburn is glorious as Terry, an independent, in-your-face girl from the upper class, unsure why she's not liked by her new friends as she blithely (and unknowingly) talks down to them; but fiercely loyal and protective of them nonetheless. Witness Terry's outburst in Powell's office, or the way she puts Jean, much the worse for wine, to bed. Hepburn is truly great in her emotional scenes, when she is called to perform on stage despite the revelation she's received just beforehand.

Hepburn alone doesn't make the movie though (as she eventually does in lesser vehicles with less worthy co-stars). Ginger Rogers as Jean is a breath of fresh air. She's quirky, charming, and just generally appealing in her role, playing Jean with a wonderful confidence that bodes well for the character. You warm to Jean immediately. I love Rogers' drunken scenes with Menjou--ditzy yet sweet.

The supporting cast is fantastic as well, Lucille Ball never missing a chance to steal a scene or make a quip, Eve Arden fast on her heels. Andrea Leeds overacts a little, I think, but is generally good in her demanding role as Kaye--she does an excellent job on the staircase towards the end of the movie.

Absolutely A+. Everything Hollywood should be, was, and now isn't.