Conway, Jack

TCM Archives - Forbidden Hollywood Collection, Vol. 1 (Waterloo Bridge [1931] / Baby Face / Red-Headed Woman)

Waterloo Bridge:On the eve of World War II a British officer revisits Waterloo Bridge and recalls the young man he was at the beginning of World War I and the young ballerina he met just before he left for the front. Myra stayed with him past curfew and is thrown out of the corps de ballet. She survives on the streets of London falling even lower after she hears her true love has been killed in action. But he wasn't killed. Those terrible years were nothing more than a bad dream is Myra's hope after Roy finds her and takes her to his family's country estate.Baby Face:Lilly (Baby Face) sleeps her way from basement speakeasy bartender literally floor by floor to the top floor of a New York office building. Bank submanager Jimmy McCoy finds her a job in the bank only to be cast aside as she hooks up with the bank's president. When he complains of not seeing her she says: "I'm working so hard I have to go to bed early every night."Red-Headed Woman:Lil works for the Legendre Company and causes Bill to divorce Irene and marry her. She has an affair with businessman Gaerste and uses him to force society to pay attention to her. She has another affair with the chauffeur Albert.Format: DVD MOVIE Genre: TELEVISION/CLASSIC Rating: NR UPC: 012569679641 Manufacturer No: 67964

Here are three films that couldn't and wouldn't have been made at any other time. Contrary to popular belief, the history of Hollywood permissiveness, what filmmakers could "get away with" on screen, is not a steadily rising graph from puritanical early days to the party-hearty present. In the early 1930s, a national mood of shock over the stock market crash and impatience with Prohibition licensed a relaxation of the movie industry's self-censorship policies. Sexuality--always a driving force in movie plots and characterizations, even when repressed--became a more explicit presence, with costuming that sometimes pushed the envelope for exposure of epidermis and dialogue that could be shockingly blunt.

Baby Face (1933) was made at Warner Bros., the golden-age studio with the grittiest style and the most street cred. The gutsy Barbara Stanwyck stars as a young woman from a factory town who hops a boxcar to the big city and sleeps her way to the top--a progress famously indexed by a camera ascending floor by floor outside a Gotham office building as she trades up, one corporate suitor after another. No other major-studio film was more explicit about sex as a tool and a commodity, yetBaby Face is curiously less sexy than any number of movies that weren't so outspoken about it. This TCM collection features both the theatrical-release version familiar for decades and a recently rediscovered preview version that is markedly superior, runs five minutes longer, and includes more sexual liaisons. It also happily lacks an absurd final scene that got tacked onto the release version to explain how the heroine learned to be content with a modest lifestyle.

Red-Headed Woman (1932) is arguably the raunchiest movie Jean Harlow made at MGM (though not as raunchy as her scenes in Howard Hughes' 1930 Hell's Angels). Unlike Stanwyck in Baby Face--a proletarian heroine grimly selling herself to beat capitalism and the patriarchy at their own game--Harlow's character brazenly relishes both the sex and the posh life it wins for her. The lion's share of this sardonic comedy, scripted by Anita Loos and an uncredited F. Scott Fitzgerald, focuses on Harlow's seduction of her married boss (Chester Morris) and the havoc she wreaks in his upper-crust world. Charles Boyer has a role (his first Hollywood credit) as a French chauffeur who knows how to give satisfaction, and the film's air of breezy ribaldry even allows the star a casual flash of bare breast.

The rarest item in the collection, the 1931 Universal version of Waterloo Bridge, has long been unseen because MGM bought the film in order to do a 1940 remake (starring Vivien Leigh) and locked the original away in the vault. Directed by James Whale the same year he did Frankenstein (1931), the picture charts the romance of a chorus-girl-turned-streetwalker (Mae Clarke) and a well-born young soldier (Kent Douglass) on brief furlough from the trenches during WWI. Apart from a zesty prelude in a London music hall and two scenes on the titular bridge, the film remains yoked to its talky theatrical source, a Robert E. Sherwood play flogging the hoary conceit that no fallen woman, however pure of heart, could be permitted to marry into a good family. Unlike the Hays Code-compliant remake, the film leaves no doubt how the heroine makes her living. --Richard T. Jameson

Libeled Lady

Bill Chandler (William Powell) is one of America's great anglers a sports fisherman without peer. That's not the only fish story Chandler tells. Four of Hollywood's greatest stars - Powell Jean Harlow Myrna Loy and Spencer Tracy - reel in this whopper of a screwball romantic comedy classic nominated for a Best Picture Oscar. It all starts when society diva Loy slaps newsman Tracy with a libel suit. Tracy enlists fiancee Harlow and down-on-his-luck Powell in a counter-maneuver involving a rigged marriage a phony seduction a fabulously funny fishing scene fisticuffs broken promises and hearts and eventually true love for all. This Lady is one fine catch.Running Time: 98 min.Format: DVD MOVIE Genre: COMEDY UPC: 012569591929

Newspaper comedy doesn't seem like an MGM genre--ink-stained wretches don't go with Adrian gowns and white deco furniture--but Jack Conway, the designated bull in the Metro china shop (Boom Town, Too Hot to Handle) does what he can to bring some dash and flair to a wildly complicated script. Spencer Tracy is the tough city editor who goes to some spectacular extremes when socialite Myrna Loy files a $5 million libel suit against his paper for calling her a notorious home-wrecker; he hires celebrated ladies' man William Powell to seduce Loy and asks his long-suffering fiancée, Jean Harlow, to marry Powell temporarily so she can play the wronged wife when Loy and Powell are discovered together. The couples crisscross, with frenetic and not entirely unpredictable results, but much of the pleasure here lies in seeing these iconic stars being so thoroughly themselves. The dialogue strains for champagne wit, but the movie's most memorable moment is pure, rotgut slapstick--Powell's bout with an unruly fly-fishing rod. --Dave Kehr

Boom Town

Oil! The ebony lifeblood of American industry...and of mighty fortunes made and lost. In search of one of those black-gold fortunes two bare-knuckle wildcatters dream scheme team up and square off in the make-or-break frenzy of a Texas Boom Town. In this pyrotechnics-filled film classic the only things bigger than the adventure are the four stars: screen giants Clark Gable and Spencer Tracy as the oilmen and Claudette Colbert and Hedy Lamarr as the women in their tumultuous lives. As the foursome struggle through the personal upheaval of love and loyalties wealth comes a gusher and a rig bursts into a screen-filling inferno that could turn dreams to dust. No wonder Boom Town boomed at the box office too as the biggest moneymaker of 1940.Running Time: 119 min.System Requirements:Run Time: 119 minutesFormat: DVD MOVIE Genre: DRAMA UPC: 012569679023 Manufacturer No: 67902

There may be a pair of impressive ladies in the cast, but don't be fooled--Boom Town is a cool love-hate buddy movie from the get-go. Clark Gable and Spencer Tracy are oil wildcatters who meet during a Texas strike, take an instant dislike to each other, go into business together, tussle over a woman, break up, reunite, etc., etc. The film spans years, and various parts of the continent, as each man gets rich and goes bust with regularity. Claudette Colbert, re-teaming with It Happened One Night co-star Gable, is the woman who comes between them, and Hedy Lamarr presents a more exotic temptation later on. Another star here is the dialogue by veteran screenwriter John Lee Mahin, which--despite the wild, credulity-bending twists in the story--is chockfull of salty, slangy talk. The early scenes in the Texas town are crammed with believable oil jargon and great period touches (such as an entrepreneur who charges money to walk on planks across a muddy street). Director Jack Conway (Saratoga) gets the roughneck appeal of the material, and a sequence involving an oil fire is a knockout. Gable and Tracy, who had worked together so memorably in San Francisco, are a terrific match: Gable is all straight-ahead gusto, declaiming every line, as Tracy underplays to crafty effect. Nice supporting parts for Frank Morgan and Chill Wills span the entire movie, which ends, curiously, in a courtroom and a speech about capitalism. --Robert Horton

A Star Is Born

"This is Mrs. Norman Maine," proclaims Janet Gaynor, fighting back the tears as she addresses her fans while still rocked by personal tragedy. It's the kind of grandiose gesture we love in a movie star, and the original A Star Is Born is gloriously grand with a cynical undercurrent. William Wellman, working from a sharp screenplay cowritten by the acerbic Dorothy Parker, strikes a balance between romantic glamour and tragic melodrama, all accomplished with a barely concealed caustic wit. It's a Cinderella story of a fresh-faced farm girl, the improbably named Esther Blodgett (they have a lot of fun with that one) who transforms into screen icon Vicki Lester when she comes to the attentions of matinee idol Norman Maine (Fredric March). But when the deliriously happy couple marries, Vicki's rise to the top is counterbalanced by Norman's fall from grace, a precipitous plummet from stardom to alcoholism and bitterness. Gaynor's milk-fed wholesomeness is a tad corny next to March's worldly cynicism, but she's a movie star through and through. Adolphe Menjou costars as a mercenary agent with a sing-song patter. One of the quintessential Hollywood Self-portraits, A Star Is Born was remade twice and was itself inspired by George Cukor's wonderful What Price Hollywood? and the real-life story of Colleen Moore and John McCormick. March based his character on John Gilbert and John Barrymore. --Sean Axmaker

A Star is Born (1937)

Drunken waining movie star Norman Maine meets showgirl Esther Blodgett when he literally stumbles into her act one night. A friendship develops which blossoms into romance but tensions increase as Esther's career takes off whilst Norman's plummets.

A Star Is Born

"This is Mrs. Norman Maine," proclaims Janet Gaynor, fighting back the tears as she addresses her fans while still rocked by personal tragedy. It's the kind of grandiose gesture we love in a movie star, and the original A Star Is Born is gloriously grand with a cynical undercurrent. William Wellman, working from a sharp screenplay cowritten by the acerbic Dorothy Parker, strikes a balance between romantic glamour and tragic melodrama, all accomplished with a barely concealed caustic wit. It's a Cinderella story of a fresh-faced farm girl, the improbably named Esther Blodgett (they have a lot of fun with that one) who transforms into screen icon Vicki Lester when she comes to the attentions of matinee idol Norman Maine (Fredric March). But when the deliriously happy couple marries, Vicki's rise to the top is counterbalanced by Norman's fall from grace, a precipitous plummet from stardom to alcoholism and bitterness. Gaynor's milk-fed wholesomeness is a tad corny next to March's worldly cynicism, but she's a movie star through and through. Adolphe Menjou costars as a mercenary agent with a sing-song patter. One of the quintessential Hollywood Self-portraits, A Star Is Born was remade twice and was itself inspired by George Cukor's wonderful What Price Hollywood? and the real-life story of Colleen Moore and John McCormick. March based his character on John Gilbert and John Barrymore. --Sean Axmaker

A Star Is Born

"This is Mrs. Norman Maine," proclaims Janet Gaynor, fighting back the tears as she addresses her fans while still rocked by personal tragedy. It's the kind of grandiose gesture we love in a movie star, and the original A Star Is Born is gloriously grand with a cynical undercurrent. William Wellman, working from a sharp screenplay cowritten by the acerbic Dorothy Parker, strikes a balance between romantic glamour and tragic melodrama, all accomplished with a barely concealed caustic wit. It's a Cinderella story of a fresh-faced farm girl, the improbably named Esther Blodgett (they have a lot of fun with that one) who transforms into screen icon Vicki Lester when she comes to the attentions of matinee idol Norman Maine (Fredric March). But when the deliriously happy couple marries, Vicki's rise to the top is counterbalanced by Norman's fall from grace, a precipitous plummet from stardom to alcoholism and bitterness. Gaynor's milk-fed wholesomeness is a tad corny next to March's worldly cynicism, but she's a movie star through and through. Adolphe Menjou costars as a mercenary agent with a sing-song patter. One of the quintessential Hollywood Self-portraits, A Star Is Born was remade twice and was itself inspired by George Cukor's wonderful What Price Hollywood? and the real-life story of Colleen Moore and John McCormick. March based his character on John Gilbert and John Barrymore. --Sean Axmaker

A Star Is Born

"This is Mrs. Norman Maine," proclaims Janet Gaynor, fighting back the tears as she addresses her fans while still rocked by personal tragedy. It's the kind of grandiose gesture we love in a movie star, and the original A Star Is Born is gloriously grand with a cynical undercurrent. William Wellman, working from a sharp screenplay cowritten by the acerbic Dorothy Parker, strikes a balance between romantic glamour and tragic melodrama, all accomplished with a barely concealed caustic wit. It's a Cinderella story of a fresh-faced farm girl, the improbably named Esther Blodgett (they have a lot of fun with that one) who transforms into screen icon Vicki Lester when she comes to the attentions of matinee idol Norman Maine (Fredric March). But when the deliriously happy couple marries, Vicki's rise to the top is counterbalanced by Norman's fall from grace, a precipitous plummet from stardom to alcoholism and bitterness. Gaynor's milk-fed wholesomeness is a tad corny next to March's worldly cynicism, but she's a movie star through and through. Adolphe Menjou costars as a mercenary agent with a sing-song patter. One of the quintessential Hollywood Self-portraits, A Star Is Born was remade twice and was itself inspired by George Cukor's wonderful What Price Hollywood? and the real-life story of Colleen Moore and John McCormick. March based his character on John Gilbert and John Barrymore. --Sean Axmaker

A Star is Born

STAR IS BORN A (DVD MOVIE)

A Farewell to Arms (1932) / A Star Is Born (1937) / The Scarlet Letter