Stage Door (1937) and Andrea Leeds

Stage Door

Director: Gregory La Cava

USA 1937

92 min

Starring: Katharine Hepburn, Ginger Rogers, Adolphe Menjou, Gail Patrick, Lucille Ball, Andrea Leeds, Eve Arden and Ann Miller, among others.

See it on YouTube here.

Wow! What a film!

Stage Door is a fast-moving drama/comedy about a boardinghouse full of women waiting for their big break as actresses. The dialogue is quick and snappy, so this is probably one of those movies that only gets better with every time you see it!

They say that Gregory La Cava was a "woman director", and I bet you have to be really gifted to handle this crowd of big and promising actresses go, not making the film confusing. And it really manages not to be - the fact that all cthe haracters are interesting and take almost equal amount of space in the film is brilliant. You feel the cat claws in the air when Linda (Patrick) and Jean (Rogers) snap cleverly at each other, the clashing personality differences between the roommates Jean and Terry (Hepburn), and the dejected cynicism among the rest of the girls, with a stunningly beautiful Lucille Ball in the lead. The fact that Ann Miller managed to fake a birth certificate to get the role (she was only 14 here!) and pull off the dancing scenes with Rogers as an equal is simply admirable.


Scene: 14 year old Ann Miller and Ginger Rogers doing their dance routine. A slimy Adolphe Menjou keeps his eyes on the blonde one.

Hepburn, Ball and Rogers.

And after C. K. Dexter Haven's constant lovestruck babbling about Gail Patrick [see here and here], I have come to aknowledge her too - so cool, down-to-earth and charmingly insulting. (I have to admit that I think she manages to steal every scene from the melodramatic Carole Lombard in My Man Godfrey, 1936, and that is something to admire!)

And Adolphe Menjou! I always thought he was such a gentleman, but what an unsympathizing upstart he was as the producer Anthony Powell! I felt sick when seeing how he did "his routine" on the hopeful actresses - inviting them to his flat, giving them champagne, turning off the light, talking about how their names are going to be written in lights... Aweful! And amusing.

Gregory La Cava was nominated for an Oscar for Best Director and Best Picture, and the screenplay got a nomination too. I can't really see why they didn't win. (I can't believe Hepburn wasn't nominated for her "The calla lilies are in bloom again" rehearsals! It can't be easy for a good actress to play a bad one.)

Quotes:

Terry: I see that, in addition to your other charms, you have that insolence generated by an inferior upbringing.

Jean: Hmm! Fancy clothes, fancy language and everything!

Terry: Unfortunately, I learned to speak English correctly.

Jean: That won't be of much use to you here. We all talk pig latin.

Jean: Do you mind if I ask a personal question?

Terry: Another one?

Jean: Are these trunks full of bodies?

Terry: Just those, but I don't intend to unpack them.

Eve: [after a dinner where Terry Randall has evidently spoken very eloquently about Shakespeare] Well, I don't like to gossip, but that new gal seems to have an awful crush on Shakespeare!

Susan: [jokingly] I wouldn't be surprised if they get married!

Mary Lou: [with genuine naiveté] Oh, you're foolin'! Shakespeare's dead!

Susan: [Feigning surprise, playing along to entertain the others] No!

Mary Lou: Well, if he's the same one that wrote "Hamlet", he is!

Eve: [playing along, too] Never heard of it.

Mary Lou: Well, certainly you must have heard of "Hamlet"!

Eve: Well, I meet so many people.

Eve: A pleasant little foursome. I predict a hatchet murder before the night's over.

The character that probably fascinated me most was Kay Hamilton, played by the Olivia De Havilland-lookalike Andrea Leeds. (Two years later she read for the part of Melanie in Gone With the Wind, a part that went to De Havilland.)

Kay plays an actress, who already had her success and is now forgotten. She has gotten her eyes on a part in a new play and puts all her energy in getting the part (at one point leading her to faint of exhaustion and malnutrition), but that part goes to Hepburn's Terry Randall.

Andrea Leeds received an Academy Award nomination for her performance as Kay, well deserved.

When I saw her in Stage Door I was so fascinated with her acting, that I simply couldn't understand why I hadn't heard of her before. She was obviously a pretty popular actress in the late 1930's, but she left her film career in 1940 to become a housewife. I think the motion picture industry really lost something there.

Andrea Leeds - the one that got away:

Symphony of Six Million

Symphony of Six Million

Director: Gregory La Cava

USA 1932

94 min

A City --

Six million human hearts -

Each with a dream --

a hope -- a goal ---

Each soul a vagrant

melody in the eternal

Symphony of Life!

Well, you wouldn't be surprised by a laugh from a modern audience at that intro - but it actually sums up the spirit of this film pretty good.

A lovely pre-code melodrama, about a poor and loud Jewish family living in the ghetto. It doesn't take too many minutes into the film until you realize that one of the three children, Felix Klauber, has high ambitions - he wants to be a doctor. His best friend is Jessica, another poor ghetto child with a spine problem, Jessica.

Felix and Jessica being bullied by some tough guys.

Felix reads a book while playing chess with his temperamental father.

We jump ahead a few years. Felix (Ricardo Cortez) is now a beloved doctor in the ghetto, and Jessica (Irene Dunne) is a school teacher for blind children - all the while limping around because of her spine defect. Felix seems to enjoy his life and get energy for helping those in need, but his brat brother Magnus has some other plans for his talented brother. Magnus manipulates their mother to convince Felix that she doesn't enjoy her life, and that she wishes for him to get a doctor's practice in the fancier part of the town so the family can move. Said and done (who wouldn't do anything for their mother?).

Still best friends, Felix visits Jessica and the blind children every once in a while.

"Oh, Felix, I don't like it here..." That spineless woman!

We take another leap in time. Felix now has a fancy office uptown, and financially supports his whole family. He is too busy with appointments with frustrated high society women who wants to be examined by their handsome, young doctor, that he nearly looses all contact with his family - and Jessica. When he misses an operation on one of Jessica's blind boy students, and he sadly looses his life, Jessica gives him an eye-opener to get nightmares about. What has happened to Felix? What happened to his strong will and moral? Is he happy with his life, even if it includes a lot of money and social status?

A sick boy, waiting for his favorite doctor - Felix Klauber.

Who wouldn't go to the doctor more often if he looked like Ricardo Cortez?

When he finally realizes that he wants to spend more time with his family, he gets to them just in time for his father to get a brain tumour. And who does his family think is the most suitable person to operate him, if not Felix.

It is no surprise that the director behind this enthrilling film is Gregory La Cava, directing My Man Godfrey (1936) four years later. The whole film is very beautiful and engaging - I especially admire the operating scene where Felix is forced to perform brain surgery on his own father. The music grows more and more intense, until it abruptly stops dead when Felix grabs the first operating instrument. It almost feels mean - in an important and intense scene like that, a little musical distraction would help to tell the film apart from real life - but oh, no. This is serious stuff, and you're supposed to feel it.

Behind the camera is cinematographer Leo Tover, also responsible for the photography work of two other films I've reviewed - Thirteen Women (1932) and I'm No Angel (1933).

As Felix grabs the scalpel, the merciless silence falls upon us.

Felix Klauber - not so popular in the ghetto anymore.

A great example of the beautiful photo by Leo Tover.

One more thing. Before seeing this film, I had only encountered Cortez in sleezy bad guy parts (something he is exceptionally good at), so I had some worries that he wouldn't be able to put off a serious dramatic role. But was I wrong? Oh, yes.
More Cortez for the people!