Joan Crawford appeared in 109-Roles that spanned Seven-Decades. I have chosen feature films that reflect each decade of the actress's on-screen career.
Lucille Fay LeSueur was born on March 23rd, the year is the mystery, caused partly by her. When she passed away, Joan Crawford was either, 69, 70, 71, 72, or perhaps, 73-years-of-age.
The "IMDb" website, at:
https://www.imdb.com/name/nm0001076/bio/
Lists her birth year as 1906, making the actress 71 years-old, when she passed away.
Another year is found on the website, "Find a Grave Memorial" at:
https://www.findagrave.com/memorial/242/joan-crawford
Which shows Lucille Fay LeSueur being born on March 23, 1908, making her 69-years-old, when she passed away.
While, the "Turner Classic Motion Picture" website at:
https://www.tcm.com/tcmdb/person/40864%7C83574/Joan-Crawford#overview
Has a third possibility, listing Lucille's birth date as March 23, 1904, making her 73-years-old, when she passed away.
What we know as fact is that Lucille was born in San Antonio, Texas, her mother was Anna Bell "Annie" Johnson LeSueur, and was pregnant when she divorced Lucille's father, Thomas L. LeSueur, or Thomas E. LeSueur. I could not confirm his middle name. Thomas's profession is listed as a "Laundry Laborer" on "IMDb".
Another confirmed fact, was that Lucille Fay LeSueur was an excellent dancer, and while appearing in a traveling show, as the story goes. She was spotted by Jacob J. Shubert, the youngest brother of the Broadway producer family, "The Schubert's", who hired her. Jacob put the young dancer in the chorus line in his 1924, "Winter Garden Theatre" show, "Innocent Eyes".
As the story continues, according to author Shaun Considine, in his 1989 biography, "Bette and Joan: The Divine Feud". Lucille met a saxophone player, named James Welton, the two were married, and lived together for several months. However, I could not confirm this in my research, and Considine does state, that this meeting and marriage may never have happened, adding that Joan Crawford never mentioned Welton. Her list of marriages normally start with actor Douglas Fairbanks, Jr., from 1929 into 1933.
Returning to "Innocent Eyes", Lucille wanted more work and she approached Niles Granlund. He was the publicist for Marcus Loew, who created both the "Loew's" legitimate theatre chain and the "Lowe's" motion picture theatre chain. Marcus Lowe was also the organizer of others into what became the "Metro-Goldwyn-Mayer" studio. Granlund arranged a position with popular 1920's, bandleader, actor, comedian, and songwriter, Harry Richman, as a means of getting Lucille a screen-test with "MGM".
The screen-test was next sent to motion picture producer Harry Rapf of "MGM". Lucille Fay LeSueur received a contract and appeared in her first motion picture, 1925's, "Lady of the Night", starring Norma Shearer. The "uncredited", Lucille LeSueur was her body double, and appeared in one scene with Shearer, who portrayed dual roles, having her character's speaking to each other. Below, Shearer is on the left, LeSueur on the right. Remember this was a silent motion picture and their different voices was not a problem.
Six-roles followed either as an uncredited actress, or as Lucille LeSuerer.
The head of the publicity department for "Metro-Goldwyn-Mayer", Pete Smith, believed that the young actress had the ability to become a major star, BUT her name was wrong. Smith went to studio head Louis B. Mayer, explained what he was thinking about LeSuerer, whose name to him sounded like "Sewer", and a movie naming contest appeared in the next issue of "Movie Weekly". The winning name, "Joan Arden", was already being used by another actress, so Pete Smith awarded Lucille Fay LeSeurer with "Joan Crawford". Which, according to the 1980, "Conversations with Joan Crawford", by Roy Newquist, the now "Joan", wanted her first name pronounced as, "Jo-Anne", and hated her last name of "Crawford", because it sounded to close to "Crawfish". However, thinking it over, she felt her new name gave her a "sense of security". This was all followed by Joan Crawford receiving 2nd-billing to Jackie Googan (Uncle Fester on television's "The Adams Family), in November 9, 1925's, release, "Old Clothes".
THE UNKNOWN premiered in Springfield, Missouri, on May 29, 1927
The motion picture was produced by Irving Grant Thalberg, known in the industry as "The Boy Wonder" for his young age as a producer. Thalberg successfully chose the right scripts, director's, actor's, cinematographer's, and the overlooked film crew, to make major box office hits. He also nicknamed Lon Chaney, Sr., as "The Man of a Thousand Faces". Irving Thalberg's previously produced motion pictures with Lon Chaney, included 1923's, "The Hunchback of Notre Dame", 1924's, "He Who Gets Slapped", 1925's, "The Unholy Three", and 1926's, "The Road to Mandalay".
"The Unknown" was directed by Tod Browning. Browning had started out directing shorts in 1915, with Lon Chaney, he had directed 1925's, "The Unholy Three", 1926's, "The Blackbird", and 1926's, "The Road to Mandalay". After this motion picture, Tod Browning directed Lon Chaney in the lost, 1927, "London After Midnight", see my article, "Tod Browning: Lon Chaney Meets Bela Lugosi: A Tale of Two Motion Pictures" found at:
https://www.bewaretheblog.com/2019/11/tod-browning-lon-chaney-meets-bela.html
The following, with very slight modifications, comes from my article "Tod Browning: The Lon Chaney Films" to be read at:
https://www.bewaretheblog.com/2024/02/tod-browning-lon-chaney-films.html
Although Tod Browning received credit for writing the story this picture is based upon. There is a reference for an unnamed novel, supposedly written by American mystery authoress, Mary Roberts Rinehart. I found this unnamed mystery novel referenced in several reviews, or articles about this motion picture. However, I could not find any novel by Rinehart that is connected with this story, or any article about her that mentions a connection to this movie's scenario. Additionally, her name does not appear on posters, or in media promotional materials.
The idea that the reference to Mary Roberts Rinehart is false can be backed-up by both Stuart Rosenthal in his 1975, "Tod Browning: The Hollywood Professionals, Volume 4", and, Vivian Sobchack's, 2006, "The Films of Tod Browning: An Overview Long Past", Both writers reference the following quotation from Tod Browning:
The story writes itself after I have conceived the characters. The Unknown came to me after I had the idea of a man [Alonzo] without arms. I then asked myself what are the most amazing situations and actions that a man thus reduced could be involved...
Waldemar Young wrote the scenario, he had just written the scenario for the 1927 drama, "Women Love Diamonds".
The title cards were by Joseph Farnham and he followed making this scenarios title cards with those for Renee Adoree's, 1927 crime comedy, "On Ze Boulevard".
Lon Chaney portrayed "Alonzo the Armless". Lon had just portrayed dual Chinese roles in director William Nigh's, 1927, "Mr. Wu", as the title character and his grandfather. The character actor would follow this motion picture with 1927's, "Mockery", set during the Russian Revolution.
Above, it appears that Lon Chaney was actually using his own feet to lift a cup to his mouth to drink. As Jeff Stafford for "Turner Classic Movies (TCM)" writes:
https://www.tcm.com/tcmdb/title/2297/the-unknown#articles-reviews
It was widely believed at the time that Chaney really had learned to throw knives with his feet and light cigarettes with his toes for The Unknown. In some wide-angle scenes, he does use his own feet but for medium and close-up shots Browning used a double named Dismuki who was born without arms. Later, Dismuki went on to tour with the Al G. Barnes Circus and Sideshow where he was billed as "The Man Who Doubled for Lon Chaney's Legs in The Unknown".
Norman Kerry portrayed "Malabar the Mighty". Kerry had already appeared in two Lon Chaney classic films, he was "Pheobus de Chateaupers" in the 1923 version of French author Victor Hugo's, "The Hunchback of Notre Dame", and "Vicomte Raoul de Chagny", in the 1925 version of French author Gaston Leroux's, "The Phantom of the Opera".
Joan Crawford portrayed "Nanon Zanzi". Just prior to this motion picture, Joan Crawford starred in the 1927, adventure drama romance, "The Understanding Heart", with co-star, Francis X. Bushman, Jr. The young actress followed this feature film co-starring with John Gilbert, in the 1927 drama, "Twelve Miles Out".
The motion picture was originally to be entitled, "Alonzo the Armless", and Joan Crawford's role was originally named "Estrellita". In his 2008 article, "The Unknown", for the "San Francisco Silent Film Festival", website at https://silentfilm.org/the-unknown/, Scott Brogan writes that:
Metro-Goldwyn-Mayer originally sought to pair new Swedish property Greta Garbo with Chaney “the man of a thousand faces” who was emerging as the studio’s top box office draw in 1927, but the female lead went to the eighteen-year-old Joan Crawford, another M-G-M starlet
A Brief Overview of the Scenario:
Once again Tod Browning uses his favorite setting of either a circus, or sideshow. "Alonzo the Armless" throws knives with his feet and fires a rifle the same way. His favorite target is his partner "Nanon".
What "Nanon" and the others at the sideshow do not know, except "Cojo the Dwarf", portrayed by John George, is that "Alonzo" is a fraud. He does the tricks with his feet, but he is actually a criminal hiding out from the law with arms, strapped tightly to his body.
"Alonzo" is in love with "Nanon", as is "Malabar the Mighty", but she has a fear of "being pawed" by a man and shuns the strongman. "Nanon" however, feels safe and unthreatened with"Alonzo the Armless".
This is actually a love story turned into a horror film. One day "Nanon" kisses "Alonzo" and he tells "Cojo" how happy that made him, but the dwarf warns that should "Nanon" hold him too tightly, she might feel his arms.
Above left to right, Joan Crawford, Nick De Ruiz portraying "Nanon's father Antonio Zanzi", John George, and Lon Chaney
The circus owner, "Antonio Zanzi" discovers "Alonzo's" secret and is strangled by him. "Nano" is looking outside of her coach during a dark storm and sees it happening, a bolt of lightening reveals not the killers face, but that he has two thumbs on one hand.
Of course, "Alonzo" is not even considered a suspect, because he has no hands.
The circus leaves the town it was performing in, but "Alonzo" is able to convince "Nanon" to remain behind with him in a plan to completely win over her love. However, he knows if she sees his arms, "Nanon" will know he's a fraud and the murderer of her father. Especially, because he has the two thumbs on one of his hands that she saw.
In what makes this drama a horror story, is what "Alonzo" does next. He blackmails a surgeon to remove his arms, so that he can truly be "Alonzo the Armless", and the man "Nanon" loves, or so he believes.
According to the PBS Series, "America Masters", Season 17, Episode 2, "The Man of a Thousand Faces". https://www.pbs.org/wnet/americanmasters/lon-chaney-the-man-of-a-thousand-faces/552/
When he saw the amputation sequence, actor Burt Lancaster allegedly:
commented on Chaney’s performance that in one particular scene, Chaney gave “one of the most compelling and emotionally exhausting scenes I have ever seen an actor do.”
Not only was Lancaster a fellow actor to Lon Chaney, but like Tod Browning, he also ran away as a teenager to join the circus and become an acrobat. For those of my readers who might be interested, my article is "Burt Lancaster: Circus Acrobat Turned Actor" at:
http://www.bewaretheblog.com/2016/04/burt-lancaster-circus-acrobat-turned.html
While "Alonzo" is having his arms removed, "Nanon" is being pursued by "Malabar". Time passes with the other away, she overcomes her phobia to having a man's arms around her, and "Nanon" and "Malabar" plan their wedding.
At this point "Alonzo" returns, and is told by "Nanon" that she and "Malabar" are to be married. In shock, "Alonzo" realizes he has cut off his arms without gaining his love and starts to cry. "Nanon" misunderstands the other's tears, and happily tells "Malabar" that "Alonzo" is crying for their happiness.
Revenge seems sweet to "Alonzo", and he learns the "Malabar" has a new strong man act with "Nanon". Two horses appear to be pulling his arms out of his body, but they're on treadmills. Which is the source of the illusion the audience sees, as he brings the horses back under his control.
During the first audience performance of the new strongman act, "Alonzo" stops one of the treadmills. In the hope that it will at least maim, but perhaps even kill "Malabar". Suddenly, "Nanon" attempts to turn the treadmill back on, and "Alonzo" threatens her with a knife, telling her to step back. "Nanon" turns to the two frightened horses and attempts to calm them down, but they react violently. "Alonzo" pushes her out of the way to safety, and is trampled by both horses ending with his death. Meanwhile, "Nano" has turned the machinery off, saving "Malabar".
At the time of this writing, the following link will take my reader to the 49-minute, "The Unknown":
https://www.youtube.com/watch?v=dCSgg3oCSgM
For my next motion picture, Joan Crawford found herself at odds with "Prohibition Laws" in a Western.
MONTANA MOON released March 20, 1930
On the "Turner Classic Film's" website at
My reader will find the following about this "Metro-Goldwyn-Mayer" motion picture:
The jazz age met the Wild West in Montana Moon (1930), a film that, quite by accident, introduced the singing cowboy to the screen. Originally, another film, Dangerous Nan McGrew, had been slated as the screen's first musical Western, but it got held up in post-production. Ironically, both films were directed by silent-screen veteran Malcolm St. Clair, who went to MGM for Montana Moon after completing the earlier film only to see the later picture hit the screen first.
"Paramount Pictures" released "Dangerous Nan McGrew" on June 22, 1930.
However, the above "TCM" quote, and both mentioned movie studios, had overlooked "The Wagon Master", from "Universal Pictures", starring Singing-Cowboy, Ken Maynard, released on September 8, 1929.
The film's director, Malcolm St. Clair, had started directing shorts in 1919. His first feature film was 1924's, "Find Your Man", starring the original "Rin-Tin-Tin", and a screenplay by future producer and co-founder of "20th Century Fox", Darryl F. Zanuck.
I seldom mention the "Film Editor" on a motion picture, but Carl L. Pierson was the father of one of my neighbors and she let me borrow her mother's scrapbook about her father for an article I was writing. Pierson was one of the first silent film editors to switch to the new medium of sound. One of his first such films was a hybrid, part silent, part talkie, part color, part black and white. This was the 1929 "Metro-Goldwyn Mayer" release, started in 1926, of French author Jules Verne's, "The Mysterious Island", starring Lionel Barrymore. My article for your reading enjoyment is "CARL L. PIERSON FORGOTTEN FILM EDITOR" found at:
https://www.bewaretheblog.com/2015/12/carl-l-pierson-forgotten-film-editor.html
The "screenplay and continuity" was from two writers:
Sylvia Thalberg was the sister of producer Irving Thalberg. Frank Russell Butler was an Oxford, England born stage and screen actor, and writer. This was the second of several collaborations on screenplays by the two.
Joan Crawford portrayed "Joan 'Montana' Prescott". Crawford had just co-starred with Robert Montgomery in 1929's, "Untamed", from a screenplay by Thalberg and Butler. Both Crawford and Montgomery followed this feature film with 1930's, "Blushing Brides".
Johnny Mack Brown billed as John Mack Brown portrayed "Larry Kerrigan". Mack Brown followed this motion picture starring as the title character, in 1930's, "Billy the Kid". He would become a major "B" Western star after that Western.
Dorothy Sebastian portrayed "Elizabeth 'Lizzie' Prescott". From December 19, 1930 to her divorce on May 19, 1936, she was married to William 'Hopalong Cassidy' Boyd.
Above left, Dorothy Sebastian and right, Joan Crawford
Richardo Cortez portrayed "Jeff Pelham", below with Joan Crawford. In 1931, Cortez, became the first on-screen "Sam Spade", in the pre-code, "The Maltese Falcon". He played "Perry Mason" in 1936's, "The Case of the Black Cat". My article is "The Stuff That Dreams Are Made Of': The Maltese Falcon in Writing and on the Motion Picture Screen" solving the mystery at:
"Montana Moon" is listed as a "Pre-Code Western Musical". I located a sheet music cover for "The Moon Is Low". A list of the film's 5-songs, and who sang them, can be found on the "IMDb". website at:
According to the website, Joan Crawford sang, "The Moon Is Low", "Montana Call", and "Let Me Give You Love".
The Film's Plot:
On a privately owned train, are the "Prescott" sisters, with their wealthy Montana father, "John Prescott", portrayed by Lloyd Ingraham, and all their socially elite friends.
Also on the train is "Jeff", whom "Lizzie" tells "Joan", she's in love with. However, "Jeff" is more interested in young sister, "Joan", and when "Lizzie" is not with them, kisses "Joan". Her reaction is to get off the train at the next stop, still on her father's land. There, "Joan" meets, "Larry", a cowboy rancher, whose small spread is also on her father's land. He expresses his animosity at the spoiled "Prescott" daughter's, whom he has never met. "Joan" doesn't reveal who she is, and tells him to name her for something he really loves. "Larry" loves Montana, and "Joan" now becomes "Montana".
At no surprise to the audience, "Joan" and "Larry" fall in love, and she meets some of his friends.
After she reveals who she really is, they decide to get married, but next, the two have to tell her father. To their surprise, he is very happy that the two had fallen in love and are getting married. He looks upon "Larry" as someone who can settle "Joan" down.
At their wedding party, "Joan" sees "Jeff", and the two do a daring jazz age dance. As I mentioned, Joan Crawford, started out as a dancer, and Richard Cortez was an established dance hall and Broadway dancer. So their dance is the high spot of this feature film.
At the end of the dance, "Jeff" and "Joan" have a passionate kiss. Which doesn't go well with "Larry", who starts a fight with "Jeff". Which doesn't go well with "Joan", but it seems later that "Joan" and "Larry" have gotten their feelings under control. That is until, after becoming more familiar with "Larry's" cowboy friends, "Joan" wants him to meet her "Highbrow" friends. She wants to go back to New York City to live, where her father can take care of her and "Larry". "Larry" wants to be the provider of his family and will have nothing to do with "Joan's" plan to move permanently from Montana to New York State, so her father can take care of them.
At another dinner party, "Jeff" again makes a play for "Joan". Which turns into a verbal fight between the married couple. In a rage, "Joan" tells "Larry" that the biggest mistake she ever made was marrying him, and to leave her alone. "Larry" starts to walk away, and finally "Joan" realizes her own mistake. However, "Larry" rebuffs "Joan's" plea to stay together and leaves the "Prescott" train. As he walks away from it, "Mr. Prescott" speaks to "Larry" about taking "Joan" back, but he sees too many differences between her world and his.
The private train now starts to leave Montana, but a hold-up takes place.
Every member of the audience recognizes the hold-up leader as "Larry". To everyone on the train's surprise, no money is demanded, and only "Joan" is taken as a "Hostage". For the picture's happy ending on "Larry's" small ranch.
Prohibition Censorship and "Montana Moon":
In 1930, Censorship was controlled by the "Motion Picture Producers and Distributors of America (MPPDA)", and its president Will Hays. The 1930, "Motion Picture Production Code", was nicknamed, "The Hays Code". In 1934, Will Hayes would appoint Joseph Breen as his main representative between "The Hays Office" and the motion picture industry. Breen's power would last for 20-years into 1954.
The release of "Montana Moon" had been delayed awaiting script approval by the "MPPDA". When the final list of changes arrived, the entire motion picture's running time was shorten.
The above scene on the private train, showing people drinking liquor had to be removed. In fact, any scene with someone drinking liquor had to be removed. "Prohibition" had started in 1920, and it would be another 3-years before "Prohibition" would be repealed. According to "The Hayes Code Office", American's did not drink, and especially in public, so you couldn't show drinking on the motion picture screen.
There were two major scenes at the wedding, one had people in the background drinking, it had to be cut out of the movie. Another had Joan Crawford's character of "Joan Prescott" drinking and getting a little tipsy with "Jeff". Both sequences were ordered cut out and the character of "Joan Prescott" changed as a result. Instead of being a little flirtatious with "Jeff", and innocently drunk. She now appears promiscuous, raising the question, which version is more morally right for 1930 American audiences, and the overall goal of "The Hays Code's"?
The following link, at the time of this writing, will take my reader to "Montana Moon":
The next motion picture is a fictional version of a actual historical event in American history, with Joan Crawford portraying:
THE GORGEOUS HUSSY released August 28, 1936
The screenplay was based upon author Samuel Hopkins Adams's historical novel of the same name. Adams also wrote the short story that became the Clark Gable and Claudette Colbert classic 1934, "It Happened One Night", as directed by Frank Capra.
The screenplay was written by two writers:
Ainsworth Morgan, was the writer of the 1935 version of author Ouida's, classic, "A Dog of Flanders". Morgan was an uncredited writer on the 1936 version of the "Three Godfathers", in all he only wrote 6-screenplays.
Stephen Morehouse Avery, started his 17-screenplays in 1934. His screenplay for the 1935 romantic comedy, "The Gay Deception", gave the writer an "Academy Award" nomination.
The motion picture was directed by Clarence Brown. His film career included the Wallace Beery, 1920 version, of American author, James Fenemore Cooper's, "The Last of the Mohicans", Rudolph Valentino's, 1925, "The Eagle", Greta Garbo's, 1930 version, of American playwright, Eugene O'Neill's, "Anna Christie", and Garbo's, 1935 version, of Leo Tolstoy's, "Anna Karenina".
Joan Crawford portrayed "Peggy Eaton". She had just co-starred with Brian Aherne in the comedy drama romance, 1935's, "I Live My Life", and followed this motion picture with the screwball comedy, 1936's, "Love on the Run", co-starring Clark Gable.
Robert Taylor portrayed "Beau", some sites spell his name as "Bow", Timberlake". Taylor had just co-starred with Barbara Stanwyck, in 1936's, "His Brother's Wife", and would follow this feature film co-starring with Greta Garbo, in 1936's, "Camille".
Lionel Barrymore portrayed "United States President Andrew Jackson". Barrymore had just been seen in director Tod Browning's horror classic, 1936's, "The Devil-Doll". He would follow this motion picture with Greta Garbo's, 1936, "Camille".
Franchot Tone portrayed "John Eaton". Tone had just co-starred with Jean Harlow and Cary Grant, in the war drama, 1936's, "Suzy". He followed this movie with the screwball comedy, 1936's, "Love on the Run", that starred Joan Crawford and Clark Gable.
Melvyn Douglas portrayed "John Randolph". Douglas had just co-starred with Mary Astor in the 1936 romantic comedy, "An So They Were Married". The actor followed this picture with Irene Dunne's 1936 screwball comedy, "Theodora Goes Wild".
Above left to right, Melvyn Douglas, Joan Crawford, and Franchot Tone
James Stewart portrayed "Rowdy' Dow". Stewart had just co-starred with Hong Kong born British actress Wendy Barrie, in the 1936 sports drama, "Speed". He followed this feature film co-starring with Eleanor Powell and Virginia Bruce, in the 1936 musical, "Born to Dance".
Above left to right, James Stewart, Joan Crawford, and Robert Taylor
The Basic "Fictional" True Story:
The real Margaret Eaton aka: "Peggy", was born Margaret O'Neil. The "Teenage Peggy" married 39-years-old, United States Naval Officer John Bowie Timberlake.
Above, Peggy Timberlake
John Bowie Timberlake had been a purser, the person in charge of the money on board a United States Navy warship. He had a reputation of being a drunk who was heavy in debt. Shortly after Timberlake married "Peggy", the two met the new widower, 28-years-old, United States Senator, John H. Eaton of Tennessee, and the three became close friends.
Next, John Bowie Timberlake died under mysterious circumstances while in the Navy, assigned to the USS Constitution, on a 4-year Mediterranean cruise. I could not locate a picture of him.
Andrew Jackson was elected President in November 1828, and President elect, knew and liked Peggy Timberlake. He convinced his future Secretary of War, John H. Eaton, to marry her and their marriage took place on January 1, 1929.
Andrew Jackson took office as President, on March 4, 1829, with John C. Calhoun as Vice President.
Below, President Andrew Jackson
Above, "Peggy's" second husband, Senator John Henry Eaton, and below Vice President John C. Calhoun
Rumors went back to the day John Bowie Timberlake died at sea. It was rumored that he had committed suicide over his wife's affair with Eaton, and those rumors formed the means for the
scandal known as the "Petticoat Affair" aka: the "Eaton Affair". The scandal was led by Vice President John C. Calhoun's wife, Floride Bonneau Calhoun. Who, using her position as the "Second Wife", led the other wives of President Jackson's cabinet, dubbed "The Petticoats", in a "Social War" against "Peggy" Eaton. Floride believed "Peggy" Eaton had committed adultery. Which Floride Calhoun felt was unbecoming of the wife of the Secretary of War in the President's cabinet.
Above, Floride Calhoun
However, the result of Floride Calhoun's "Social War Scandal" was not what she had hoped. Her husband became the first Vice President of the United States in history to resign while still in office, and all but one of the President's cabinet members followed Calhoun.
The screenplay is based upon the above facts with the usual "Hollywood Gloss Over". For example, there is no Floride Calhoun listed in the official cast of characters.
The screenplay starts in 1823 Washington D.C., by introducing the audience to "Major O'Neal", portrayed by Gene Lockart, and his daughter "Margaret 'Peggy' O'Neal", who would have been 24-years-old that year, not a teenager, and note the spelling of the last name. Along with "Peggy's" mother, run an inn that local politicians frequent. "Peggy" is shown, being unlike what is expected of a "Proper Woman" of the period. She has the habit of telling anyone she meets, what she thinks of them and their political views and other positions on current events.
When "Tennessee Senator Andrew Jackson" visits the inn, "Peggy" refers to him as "Uncle Andy". In 1823, he was 56-years-old. The screenplay also states that she is secretly in love with "Virginia Senator John Randolph". Who, that year, would have been 50-years-old. It should be noted that "Randolph" was actually "Senator" from December 25, 1825 through March 3, 1927.
When new inn resident, "Beau Timberlake", refers to "Peggy" as a "Tavern Girl", while he is drinking, "Randolph" slaps him in the face over the remark.
Over time, "Beau" falls in love with "Peggy", but she's in love with "Randolph". "Randolph" wouldn't consider "Peggy" as a wife, because he believes he is too old for her.
Above left to right, Melvyn Douglas, Sidney Toler portraying "Daniel Webster", Joan Crawford, and Robert Taylor.
By the time "John Randolph" realizes he is in love with "Peggy", she's accepted "Beau's" proposal of marriage, and they've set a date.
Above, an autographed portrait of John Randolph
On the night of their marriage, "Uncle Andy" hears a commotion in their room, he's invited in, and can't believe "Beau" and "Peggy" are married. However, instead of showing him their marriage license, "Beau's" reads "Andrew Jackson" his orders to ship out on the USS Constitution the next morning for a three-month tour of duty, not four-years.
The USS Constitution returns and "Peggy" learns that "Beau" died after his men lost track of him.
Switch to 1828, "John Randolph" returns from Russia after being the American Minister (Ambassador). He tells "Peggy" how unhappy he was in the position, It should be noted that Randolph held that position from May 26 through September 19, 1830.
"Uncle Andy" is elected "President of the United States", but faces attacks over his wife "Rachel", portrayed by Beulah Bondi, who he accidentally married, around 1791. Both had actually believed her divorce had been final and they could finally marry. After the Jackson's found out that "Rachel" was still legally married in 1791. They had a second marriage ceremony in 1794, to legally correct their mistake.
Above left to right, Lionel Barrymore, Joan Crawford, and Beulah Bondi.
"Rachel" dies after asking "Peggy" to look after her husband and "Peggy" Eaton becomes the "Official Hostess of the White House" and Presidential confidante. Rachel Jackson had actually passed away on December 22, 1828, days before Andrew Jackson's inauguration.
Above Rachel Jackson in 1823
Because of this odd relationship between the President and the widowed Margaret Timberlake, gossip starts about the two. Next, Jackson is faced with political attacks by Southerners, like "John Randolph", who feels Andrew Jackson has turned against them over his views on "State's Rights".
At a ball, "Peggy's" childhood friend, "Rowdy' Dow", a fictional character, wants to fight "South Carolina Senator John C. Calhoun", portrayed by Frank Conroy, over an insulting remark he made about her. Instead, she stops this by asking "Rowdy" to dance with her. As I mentioned above, "Calhoun" wasn't a Senator, but Vice-President of the United States in 1928. He didn't become a Senator until November 26, 1845, such is "Hollywood" history!
Back to the screenplay, as "Peggy", after the party ends, follows "John Randolph" to his home, but realizes their political views would not mix and they could never been happy. The two depart as good friends.
A short time later, Secretary of War, "John Eaton", who has loved her for years, proposes to "Peggy" and they marry. "Peggy" believes this marriage will also bring her some respectability and a year passes.
"Rowdy" comes to her with news that "John Randolph" has been shot and is dying. She asks "Rowdy" to take her to "Randolph", who was shot by a fictional character, a man named "Sunderland", portrayed by Louis Calhern. He's a Southerner who shot "Randolph" to prevent him from revealing a proposed rebellion to the President. "John Randolph" dies peacefully after being seen by "Peggy".
There was no real shooting and John Randolph passed away peacefully on May 24, 1833.
On their way back to Washington, "Rowdy" and "Peggy's" coach is accosted by "Sunderland". He demands that the other two give him safe passage to Washington, or he will reveal having seen the two at "John Randolph's" home. "Rowdy" throws him out of the coach and the two continue toward Washington. Meanwhile members of "President Andrew Jackson's" cabinet and their wives in a "Hollywood variant of the Petticoat Affair", all go to the President to demand that "Peggy" leave Washington. When "Mrs. John Eaton" arrives at this makeshift meeting, the President lies that he sent her to see "John Randolph", and that "John Eaton" asked "Rowdy" to escort her. Next, "President Andrew Jackson" requests that his entire cabinet, except "Eaton", resign.
The screenplay ends with "Peggy Eaton" telling the President his lie will not get her acceptance within Washington and asking to have her husband being appointed "Special Envoy" to Spain.
The real John Henry Eaton resigned as the Secretary of War to end the "Petticoat Affair". He was appointed Governor of the Florida Territory from April 24, 1834 through March 16, 1836, and next served as Ambassador to Spain until April 1840.
As of this writing, the following link will take my reader to "The Gorgeous Hussy" at:
Released, just 18-days, over a year, since the Japanese Naval attack on Pearl Harbor was:
REUNION IN FRANCE released December 25, 1942
The original story was written by Jewish, Austrian Hungarian Empire born writer, Ladislaus Bus-Fekete, after he and his wife escaped Hitler's Germany, and he was billed as Leslie Bush-Fekete.
It took three screenplay writers to change Bus-Fekete's story into a screenplay. They were:
American novelist Marvin Borowsky, this was the second of his seven screenplays.
1930, "Pulitzer Prize" author, and collaborator with Broadway playwright, George S. Kaufman, Marc Connelly.
Austria-Hungarian Empire (Czech Republic) born writer H. G. Lustig aka: Jan Lustig. Who escaped the Nazi's to France, and worked in the French film industry and the German's invaded the country and came to the United States.
The motion picture was directed by Jules Dassin. He would become an "Academy Award" nominated director, but that was for his 1960, Greek motion picture, "Never on Sunday". In 1950, Dassin had been "Blacklisted" as an alleged member of the "Communist Party USA". For the next two-years he could not find work in the American film industry.
In 1952, Bette Davis hired Jules Dassin to direct her Broadway play, "Two's Company". After 90-performances, the show closed because of the actress's poor health. Dassin was next offered a film position in France, that led to his work in Europe. Where no one cared about a person being "Blacklisted" by the "House Committee on Un-American Activities", and the frightened for retaliation major American studio heads.
Joan Crawford portrayed "Michele de la Becque". Crawford had just been in the romantic comedy, 1942, "The All Kissed the Bride", co-starring Melvyn Douglas and Roland Young. She would follow this feature film with the war thriller, 1943's, "Above Suspicion", co-starring Fred MacMurray and Conrad Veidt.
John Wayne portrayed "Patrick 'Pat' Talbot". Wayne had just co-starred with Marlene Dietrich and Randolph Scott in 1942's, "Pittsburgh". He followed this feature film with 1943's, "A Lady Takes a Chance", co-starring Jean Arthur.
In his 1996 book, "Starring John Wayne as Genghis Khan: Hollywood's Worst Casting Blunder's", author Damien Bona mentions that years after this motion picture, Joan Crawford had this to say about John Wayne's co-starring role:
Oh God. If there is an afterlife and I am to be punished for my sins, this is one of the pictures they'll make me see over and over again. John Wayne and I both went down for the count, not just because of a silly script but because we were so mismatched. Get John out of the saddle, and you've got trouble.
As Bona's title references Wayne's performance in 1956's, "The Conqueror". There is more to the story than Bona's title implies. Here's a link to my article, "JOHN WAYNE: Four Gutsy Role Choices" found at:
Philip Dorn portrayed "Robert Cortot". Dorn had just been seen in the Ronald Coleman and Greer Garson, 1942 production of author James Hilton's "Random Harvest". He followed this feature film by starring in another Second World War feature, 1943's, "Chetniks" aka: "The Fighting Guerrillas".
Reginald Owen portrayed "Schultz". Called "Hollywood's" busiest character actor, Owen was "Dr. Watson" in 1932's, "Sherlock Holmes", and "Sherlock Holmes" in 1933's, "A Study in Scarlet". He was "King Louis XV" in 1933's, "Voltaire", repeating the role in 1934's, "Madame Du Barry". Owen portrayed "C. J. Stryver", in 1935's, "A Tale of Two Cities", "Tallyrand", in 1937's, "Conquest", and "Scrooge", in 1938's, "A Christmas Carol". Moving forward, Reginald Owen was "Admiral Boom", in 1964's, "Mary Poppins", and again for Walt Disney, he was "General Teagler", in 1967's, "Bedknobs and Broomsticks".
Above left, Howard Da Silva portraying "Gestapo Agent Anton Stregel" and Reginald Owen.
Albert Bassermann portrayed "Nazi General Hugo Schroeder". He had just been seen in the Ginger Rodgers and Cary Grant, 1942 screwball comedy, "Once Upon a Honeymoon", and followed this motion picture with the Claire Trever and Edgar Buchanan, war romance, 1943, "Good Luck Mr. Yates".
Ann Ayars portrayed
"Juliette". According to the
"Los Angeles Daily News", May 20, 1942, Joan Crawford had a private screening of director
Jules Dassin's, 1942, "Nazi Agent", for the purpose of agreeing to him as her director. The screening ended and she asked producer
Joseph L. Mankiewicz to hire
Ann Ayers, who had starred in
"Nazi Agent", as the
second-leading actress in this movie.
Ann Ayars is in the background and Joan Crawford is buying something from "Marie", portrayed by AVA GARDNER, in her 13th of 15-uncredited roles. Gardner's 1st-credited-role was in 1943's, "Ghosts on the Loose", a comedy starring "The Eastside Kids", and second billed, Bela Lugosi.
John Carradine portrayed "Ulrich Windler", head of the City of Paris Gestapo. Carradine had just co-starred with James Craig, William Lundigan, and Patricia Dane, in the 1942, western, "Northwest Rangers". He followed this feature film with 1943's, "I Escaped from the Gestapo". He was being type cast as John Carradine, because also in 1943, he portrayed the real life, Reinhard Heydrich, the architect of the "Holocaust", in "Hitler's Madman".
Above left to right, John Carradine, Phillip Dorn, and Joan Crawford.
Found in a French television interview with director Jules Dassin, May 20, 2012:
On the first day of shooting, Jules Dassin dared to yell "Cut" in the middle of shooting a scene with Joan Crawford. His action upset the actress who went directly to the office of Louis B. Mayer and Jules Dassin was directly called there. Arriving, it took "Louie B" just moments to fire the director and inform him his career was over. To his surprise, Crawford invited him to her house for dinner, and the two became life-long friends.
The Basic Screenplay:
For what was considered by "Metro-Goldwyn-Mayer" as an "A-List Cast", with now, an "A-List Director", the story could have been filmed by "Republic Pictures", "Columbia Pictures", or even "Monogram Pictures", as a low budget production and the audience wouldn't have noticed any difference. That's how bad the story was on screen.
"Michele de la Becque" is a French woman enjoying the rich upper-class world of France. It is the summer of 1939 and she is in love with automotive manufacturer "Robot Cortot". The film opens as she is having a new wardrobe made by designer "Madame Montanot", portrayed by Odette Myrtil, and thinks life in France will go on and on. When "Robert" tells her how much he loves France and his worry about the Nazi's in Germany. "Michele" brushes his fears off and wants to go on vacation in the South of France. However, this somewhat fantasy world of "Michele de la Becque" is about to come crashing down upon her.
After the "Battle of France", May 10 through June 25, 1940, and the start of the German Occupation of France. "Michele" finds that her fiancé, "Robert", is spending a lot of time with German Officers, including "General Hugo Schroeder", the military commandant of Paris, and the overall officer in charge of the Gestapo in a large section of France with Paris at its center.
"Robert Cortot's" factories are making trucks and weapons for the German's. Forced into the realization of German occupation, "Michele" now calls him a collaborator and is unsure of his love. "Robert" does not seem to deny her accusations. One evening, dinning at their favorite hotel, "Michele" discovers that "Robert" is a favorite of several highly placed Nazi's.
Above left to right, John Carradine, Albert Bassermann, Joan Crawford, and Phillip Dorn.
As the couple walk the streets of Paris, people spit on "Michele de la Becque" and "Robert Cortot", threatening them with a future day of reckoning.
Her house has been turned over to the German command and she now lives in the exterior servant's quarters. There "Robert" attempts to reason with her, but the now changed "Michele", refuses to speak to him with his pro-Nazi sympathies. The following day, the once fun-loving, couldn't care about politics, and the threat of the Nazi's, "Michele", has gone to "Madame Montanot", begging for a job.
On her way home, she is accosted by a man, who turns out to be an exhausted, on the run, downed American flyer.
As the United States is not in the Second World War at the time of this story. The American had joined the British "Royal Air Force (RAF)" by crossing the Canadian border and becoming a part of the American "Eagle Squadron". His name is "Patrick 'Pat' Talbot", from Wilkes Barre, Pennsylvania. Although suspicious, "Michele" lets the American into her room, because she realizes that both are now being followed by Gestapo Agent, "Anton Stregel" and French gendarme "Durand", portrayed by J. Edward Bromberg. The next morning, after a good night's sleep, "Pat" volunteers to leave, but "Michele" decides to have him stay and to help him.
"Stregel" has been watching the house all night, and in the morning is relieved by an apparent superior, "Herr Schultz". That day, "Madame Montanot", and her assistant "Juliette", agree to help "Pat" with money and forged papers. When "Robert" shows up at the shop, he warns "Michele" that her attitude will get her in trouble with the Nazi's. "Robert", next, begs "Michele" to let him help her get out of France.
That night as "Pat" and "Michele" flirt, the German officer occupying her house enters the servant's quarters drunk. As "Pat" is an American and Germany is not at war with the United States. To avoid a possible confrontation, "Michele" starts to flirt with the drunken Nazi, and "Juliette's" boyfriend arrives and escorts him to back to the main house.
Next, "Michele" goes to "Robert" to help her leave France and, also, help an American student who lost his papers to get out of France. She'll need a car and the American can pretend to be her chauffeur. "Robert" agrees to help, but "Pat" now thinks "Michele" is doing this, because she's in love with him.
Meanwhile, in a small hotel, a photo of "Pat" confirms to two men, that he is the missing RAF crewman. They next inform "Schultz" of their discovery. and agree that they must work quickly. Meanwhile, "Michele's" butler, "Honore", portrayed by Charles Arndt, brings her the papers she will need to get out of France to safety. "Robert" comes to "Michele", and tells her how much he loves her and France. He now turns her over to "Schultz" and he takes "Michele" to a car with two German officers in it. This now confirms her fears that "Robert" is working with the Nazi's and had betrayed her.
Above left, it appears to be Moroni Olson portraying "Paul Grebeau", Joan Crawford, and Henry Daniell portraying "Emile Fleuron".
"Pat" is picked-up and placed in another car and "Michele" assumes he is now a Nazi prisoner. Both cars arrive at a Nazi check point and "Michele" realizes that the two Nazi's with her, are in reality, British agents. "Schultz" creates a diversion and the two cars speed away from the check point with the Nazi's giving chase to the car that "Michele" is riding in with "Schultz". He is mortally wounded by the gunfire from the pursuing car, but before he dies. "Schultz", whose real name is "Pinkum", reveals that "Robert Cortot" is actually the leader of the French underground in this area of France.
At the secret air field, as "Michele", "Pat", and others await the landing of the plane. She thinks of what "Pinkum" had told her about "Robert".
The next morning, "General Hugo Schroeder" and "Gestapo Ulrich Windler" arrive at "Robert's" house to arrest him. After receiving news of "Pat's" escape and "Michele" fleeing to France. Additionally many of the trucks and weapons "Robert Cortot" manufactures seem defective. However, as they speak to "Robert", in walks "Michele". To the general her entry is enough to convince him that he was wrong about "Robert Cortot" and the two German officers leave.
The screenplay ends with "Michele" and "Robert's" feelings being hurt. When small children spit at them and call the two traitors, but they are strong in the knowledge of what they're really doing for France.
At the time of this writing, the following link will take my reader to "Reunion in France":
A musical, Jazz Age, "B" Western, is one thing in 1930, and would lead into hundreds of copies with interchangeable heroes and heroines. The same for the non-singing, formula "B" Western, of hero meets girl, girl gets into trouble, hero recuses girl, going back to the silents.
The following Western, except for, perhaps, 1952's, "High Noon", was surprising "Adult" in its content and very complex in its story.
What was seen on the screen was misunderstood by the American film critics. Who were used to writing about those formula "B" Westerns in their sleep, so to speak. However, the same film that was seen in the United States was praised in Europe. By, at the time, movie reviewers, such as French future film directors, Jean-Luc Goddard, and Francois Truffaut.
I must admit, this is my favorite Joan Crawford motion picture.
JOHNNY GUITAR the Los Angeles premiere was on May 5, 1954
Initially the director and star were to make a motion picture for "Paramount Studio's" entitled "Lisbon". Which was based upon a 1951 short story by Martin Rackin, but both of them thought the screenplay unacceptable. That movie, from the Rackin story, would be made two-years later, not at "Paramount", but by "Republic", who bought the rights from the other studio, and it starred and was directed by actor Ray Milland.
Joan Crawford owned the film rights to the 1954 novel, "Johnny Guitar", written by screenplay writer and novelist Roy Chandler. He had been writing screenplays since 1931, and his other novels included 1956's, "The Ballad of Cat Ballou".
The screenplay was written by three-time nominated, "Academy of Motion Picture Arts and Sciences", screenplay writer, Philip Yordan. At this time, he was also "A Front" for his friends that had been "Blacklisted". They wrote the screenplays, but Yordan's name appeared on the motion picture. He passed the payments back to the actual writer. An example was fronting for Ben Maddow for producer George Pal's, 1954, "The Naked Jungle". While the following year, Philip Yordan adapted Outer Space artist, Chesley Bonestell, and Rocket and Space Scientist, Willy Ley's, major work on space flight, "The Conquest of Space", into a screenplay for George Pal's, 1955, motion picture of the same name. In 1963, Yordan fronted for Bernard Gordon's screenplay of author John Wyndham, "The Day of the Triffids".
The director was Nicholas Ray, who was having an affair with Joan Crawford at the time. This was Ray's 12th-directing position, that began with the 1948 film-noir, "They Live by Night", starring Cathy O'Donell, Farley Granger, and Howard Da Silva. The following year it was the film-noir, "Knock on Any Door", starring Humphrey Bogart, and John Derek, in 1952, Nicholas Ray directed Susan Hayward, Robert Mitchum, Arthur Kennedy, and Arthur Hunnicutt, in the contemporary Western, "The Lusty Men". While, in 1955, Nicholas Ray directed James Dean, Natalie Wood, and Sal Mineo, in the classic, "Rebel Without a Cause".
The Credited Cast the includes a few recognizable faces, if not names:
Joan Crawford portrayed "Vienna". Crawford had just starred in a musical drama with British actor Michael Wilding and Gig Young, 1953's, "Torch Song". She followed this film with 1955's, "Female on the Beach", co-starring with Jeff Chandler and Jan Sterling.
Sterling Hayden portrayed "Johnny 'Guitar' Logan". Hayden has just co-starred with Coleen Gray and Keith Larsen in the 1954 "B" Western, "Arrow in the Dust", and followed this feature film with 1954's, "Suddenly", co-starring Frank Sinatra as a psycho-gang-leader. Who is waiting for the train carrying the President of the United States on it, to kill him. It's an excellent motion picture.
Joan Crawford wanted either Bette Davis, or Barbara Stanwyck, for the second women's role, but the two were too expensive to hire. Next, Crawford wanted Claire Trevor, but she was committed to another motion picture/ That was director William "Wild Bill" Wellman's, 1954, "The High and the Mighty".
So, the role went to:
Mercedes McCambridge portraying "Emma Small". According to her obituary in the "New York Times", March 18, 2004, Orson Welles had called McCambridge "The Greatest Living Radio Actress". In 1949, she won the "Best Supporting Actress Academy Award" for the original 1949,"All the King's Men". Two-years after this motion picture, Mercedes McCambridge, would be nominated for the "Best Supporting Actress" award for "Giant", portraying Rock Hudson's sister. Oh, speaking to that radio voice Orson Welles liked, McCambridge was the voice of the "Demon", in 1973's, "The Exorcist".
Above, the antagonist's, Joan Crawford and Mercedes McCambridge.
According to authors Lawrence J. Quirk and William Schoell's, 2002, "Joan Crawford: The Essential Biography". On and off the set, Crawford and McCambridge were feuding and truly hated each other. According to the two authors, this feud was over Canadian actor, screenplay writer, television actor, and director, Fletcher Markle, McCambridge's husband since 1950. Apparently, McCambridge was needling Crawford over how she got Markle, even while Joan and Fletcher were having a heated affair. Speaking to "Affairs", Mercedes apparently disliked that Joan was having an affair with their director, Nicholas Ray. While, Joan, was upset over what she believed was Nicholas giving special attention to Mercedes. On the other hand, Nicholas Ray, enjoyed using the Crawford - McCambridge - feud, and saw that it appeared on-screen, through the two actress's character's.
Below a publicity photo for the movie of "the close friend's".
Scott Brady portrayed "The Dancin' Kid". Brady had just starred in the Second World War movie, 1953's, "El Alamein", and followed this motion picture by portraying "William 'Billy the Kid' Bonney", in 1954's, "The Law vs Billy the Kid".
Ward Bond portrayed "John McIvers". The previous year, Bond had 3rd-billing in the 1953, 3-D Western, "Hondo", starring John Wayne. My article is "Ward Bond of Director John Ford's Stock Company" found at:
Ben Cooper portrayed "Turkey Ralston". Cooper was a familiar young supporting actor on both 1950's television and movies.
Ernest Borgnine portrayed "Bart Lonergan". He had been appearing on television, but his previous motion picture was 1953's, pre-Pearl Harbor War drama, "From Here to Eternity", and Borgnine followed this feature film with the Biblical epic, 1954's, "Demetrius and the Gladiators".
Above left, Ernest Borgnine with Ben Cooper.
John Carradine portrayed "Old Tom". Shakespearian actor Carradine, had just been seen in "An Evening with Hamlet", an episode of televisions popular "The Adventures of Ozzie and Harriet". He followed this motion picture as "A Grave Robber" in the epic motion picture, 1954's, "The Egyptian".
Royal Dano portrayed "Corey". Character actor Dano had just been seen on several television series, but followed this motion picture with James Stewart's, 1954, "The Far Country".
Frank Ferguson portrayed "Marshall Williams". Character actor Ferguson had just appeared in the Randolph Scott Western, 1954's, "Riding Shotgun", and followed this feature film with the John Derek, 1954 Western, "The Outcast". My reader my recognize his face as the owner if the wax museum in 1948's, "Abbott and Costello Meet Frankenstein".
Frank Ferguson standing tall beside Mercedes McCambridge.
Paul Fix portrayed "Eddie, Vienna's poker dealer". His last feature film was 1953's, "Hondo", and he was appearing on television prior to this movie. After this picture, Fix was seen in 1954's, "The High and the Mighty", and of course there was the role of "Marshall Torrance", on televisions, "The Rifleman". My article is "PAUL FIX: The Character Actor Who Taught John Wayne To Walk" found at:
An Overview of the Story:
The main setting is a saloon, a short ride outside of a small Arizona town that is frequented by the local cattlemen and their cowboys, but is owned by a strong willed woman named "Vienna". Who is frequently at odds with her customers and the townspeople, especially over the issue of the railroad coming through the town. One would think the cattlemen would be for a railhead at their town, but if "Vienna" supports something, it is wrong. Another reason the townspeople are opposed to "Vienna", is she lets the outlaw "The Dancin' Kid", her former lover, and his gang stay at her saloon.
Wanting to force "Vienna" out of their town, are a group of "Law-abiding Citizens", led my cattleman "John McIvers", edged on by "Emma Small". Who has her own agenda against "Vienna" that she hides from the townspeople. "Emma" is the still jealous and envious rival of "Vienna" for the affections of "The Dancin' Kid". "Emma" using her pawn, "McIvers", will attempt to blame "The Dancin' Kid" for a stagecoach robbery he had nothing to do with.
Meanwhile, a stranger arrives at "Vienna's" saloon wearing a guitar.
"The Dancin' Kid" looks at the stranger, who is at "Vienna's" for a job, as a possible competitor for her.
"McIvers" and his men arrive about the same time as the stranger, and are faced down by "Vienna", helped by that stranger. "John McIvers" gives "Vienna", "The Dancin' Kid" and his men, and adding in the stranger, 24-hours to be gone from the saloon and his town.
The stranger, known as "Johnny Guitar", is a reformed gunslinger, and also "Vienna's" ex-lover, whose real name is "Johnny Logan". What follows over the next 24-hours is a love - hate relationship between the two, and as handled by director Nicholas Ray, is described as "Smoldering and Very Sexual" by many film critics and audiences.
Instead of being concerned about "McIvers" threat, "The Dancin' Kid" and his gang rob the town bank. "Vienna" happens to be in the bank to get the money needed to fund all of their escapes to California to start over again. Now, the railroad comes into play, at the same time as the robbery, a blasting crew blocks the only pass to California from the town's location to widen it, when cleared, for the train. "The Dancin' Kid" and his gang are forced to change their plans as a result of the blasting and go to their secret hideout at a played out silver mine behind a waterfall.
Back in town, "Emma" sees another way to get at "Vienna". "Emma" knows why "Vienna" happened to be at the bank, but turns it around. "Emma Small" now works up the towns people into believing "Vienna" is behind the robbery, and a posse led by her and "John McIvers" ride out to "Vienna's" saloon.
Meanwhile, at the saloon, the youngest member of "The Dancin' Kid's" gang, "Turkey", is found wounded and in hiding under a table.
The posse arrives and "Emma" convinces the posse to take "Vienna" and 'Turnkey" to be hanged.
"Old Tom" is killed attempting to protect "Vienna".
"Emma" lets the others at the saloon go, and then burns it down in a madden frenzy of joy.
The posse now hangs "Turkey", and is placing the noose around "Vienna's" neck. When "Johnny Guitar" appears, rescues her, and the two head for the silver mine.
The posse tracks "Vienna" and "Johnny" down and the climax comes to a boil. A shoot out starts between the posse and those inside the silver mine. "Bart" is killed by "Johnny", when "Bart" was going to betray "The Dancin' Kid" and shoot him, hoping to save his own life. A halt to the bloodshed is called by "John McIvers". "Emma" challenges "Vienna" to a showdown and shoots her in the shoulder, in return, "The Dancin' Kid" calls out "Emma" to stop, before she kills "Vienna". Instead, the jealous, insanely frenzied, "Emma Small", shoots "The Dancin' Kid" in the forehead killing him.
"Vienna" shoots "Emma" in her head, killing the totally insane woman. Coming to his own senses, "McIvers" lets "Vienna" and "Johnny" leave the hideout and the whole posse watches the two ride away together.
Today,
"Johnny Guitar" is considered a classic psychological Western ahead of its time. It is a favorite of director
Martin Scorsese, and currently hold a
94-percent score on the website,
"Rotten Tomatoes". https://www.rottentomatoes.com/m/johnny_guitarJohnny Guitar confidently strides through genre conventions, emerging with a brilliant statement that transcends its period setting -- and left an indelible mark.
Vienna and Jill McBain (Claudia Cardinale) of Sergio Leone's Once Upon a Time in the West have similar backstories (both may be former prostitutes who become saloonkeepers), and both own land where a train station will be built because of access to water. Also, Harmonica (Charles Bronson), like Sterling Hayden's title character, is a mysterious, gunslinging outsider known by his musical nickname. Some of West's central plot (Western settlers vs. the railroad company) may be recycled from Johnny Guitar.
As of this writing, the following link will take my reader to "Johnny Guitar". Which was, also, turned into a successful Broadway production.
In 1964, HE put Joan Crawford in a "Strait-Jacket", from a story and screenplay by the author of "Psycho", Robert Boch. Now, HE puts Joan Crawford, as the unintended victim of two teenage girls who told another:
I SAW WHAT YOU DID AND I KNOW WHO YOU ARE that premiered in Minneapolis, Minnesota, on May 14, 1965
HE was the producer and director of both Joan Crawford motion pictures. My article is "A Tale of WILLIAM CASTLE the Motion Picture "GIMMICK KING" found at:
The above movie poster carries the tag line:William Castle Warns You : This movie is about UXORICIDE!
To save my readers unfamiliar with the word, "Uxoricide", from looking it up. It comes from the Latin and means murdering your wife, or romantic partner. Imagine all the potential audience members that did go to their dictionaries. As of course, the Internet didn't exist at the time.
In the trailer for "I SAW WHAT YOU DID AND I KNOW WHO YOU ARE", William Castle advised his potential audience of special seating in each theater. Seats in that section would have "Seat Belts" installed for those audience members:Who might be scared out of their seats.
The idea was dropped prior to the actual film's release. Which brings me to the writing of the screenplay based upon the 1964 novel, "Out of the Dark", by mystery writer Ursula Curtiss. Which was a variation of her 1948 novel, "Voice Out of Darkness".
The screenplay was written by television drama writer, William P. McGivern.
Joan Crawford portrayed "Amy Nelson". Crawford had just been seen in the previously mentioned 1964, "Strait-Jacket". She followed this feature film with the made-for-television, 1965, "Della". Which had elements of Crawford's, 1964, William Castle film, including actress Diane Baker, in it. That picture was also the proposed pilot for a weekly television series to star Joan Crawford, but it went unsold.
John Ireland portrayed "Steve Marak". Ireland is associated with several major Westerns such as director John Ford's, "My Darling Clementine", director Howard Hawks's, 1948, "Red River",
Rodger Corman's, 1956, "Gunslinger" and director John Sturges's, 1957, "The Gunfight at the O.K. Corral". John Ireland was also in two major Roman period epics, director Stanley Kubrick's, 1960, "Spartacus", and director Anthony Mann's, 1964, "The Fall of the Roman Empire". My article is "John Ireland: Westerns, Film-Noirs, A Little McCarthyism and a Few Affairs" at:
Above a critical scene with Joan Crawford and John Ireland.
Leif Erickson portrayed "Dave Mannering". Erickson portrayed "Bill Cutler" in 1964's, "Strait-Jacket", that same year he was "Jonas Cord, Sr", in the motion picture version of Harold Robbins's, "The Carpetbaggers". Earlier in his career, Leif Erickson was the father, "George MacLean", in director William Cameron Menzies classic, 1953 science fiction, "Invaders from Mars", and back in 1948, he was in the Barbara Stanwyck and Burt Lancaster, "Sorry Wrong Number". However, he is best remembered by 1960's television audiences as "Big John Cannon", on "The High Chaparral", 1967 - 1971.
Patricia Breslin portrayed "Ellie Mannering". Breslin, a television actress, was in William Castle's, 1961, "Homicidal", the movie with the "Fright Break". Patricia Breslin's only other motion picture in her 71-roles, was the failed reboot of the 1940's, "Andy Hardy" movies, 1958's, "Andy Hardy Comes Home", still starring Mickey Rooney in the role.
Sara Lane billed as Sarah Lane, portrayed "Kit Auston". This was Lane's first of only 5-roles, but her second was for 105-episodes of televisions "The Virginian", 1966 - 1970. The young actress dropped her first name for the last two movies she made, 1974's, "The Trail of Billy Jack", and 1977's, "Billy Jack Goes to Washington", and used her middle name of Russell as her first name.
Andi Garrett portrayed "Libby Mannering". Garrett also appeared in 4-episodes between 1966 and 1968, on televisions "The Wild Wild West", and 1-episode of televisions 1977's, "The Black Sheep Squadron" and ended her on-screen career. Other than that information, I could find nothing more on the actress.
Sharyl Locke portrayed "Tess Mannering". Before this feature, Sharyl was in the Cary Grant and Leslie Caron, 1964, "Father Goose". Her career also included three television show appearances.
John Arthur portrayed "John Austin". Among his motion pictures are 1941's, "King of the Zombies", 1943s, "Sherlock Holmes in Washington" starring Basil Rathbone and Nigel Bruce, and portraying "George Barnes", in producer George Pal's classic science fiction, 1950's, "Destination Moon". Otherwise he was became primarily a television actor.
The Basic Thriller Plot:
"Libby Mannering's" parents are about to leave for Santa Barbara, 90-miles from their home. They're awaiting the arrival of their 12-years-old daughter "Tess's" babysitter. The phone rings, and the babysitter, at the last minute, can't come. This means 17-years-old "Libby" is stuck babysitting her sister. Their parent's leave and "Libby's" friend "Kit" arrives, also not planning to babysit.
As the title implies, if you're familiar with the teenage prank of calling a random phone number, and when somebody answers, saying:
I Saw What You Did, and I Know Who You Are?
You have the basis for the reminder of the entire motion picture. EXCEPT, that teenage girl's "Libby" and "Kit", just made the wrong prank call. "Libby" has just given the above line to "Steve Marak"! Who, a short few hours earlier, has murdered his wife, "Judith", portrayed by Joyce Meadows, in the shower, and just returned from burying her in the countryside.
Now, based upon "Libby's" prank call, "Steve" believes someone has seen him murder his wife.
When he was burying her body, a couple in a car passed him by at the time, but he thought he was unseen. Could one of them be the caller? At this point in the screenplay, "Steve Marak", wants to kill the person who made the call, but has no idea who was the caller?
"Steve's" next door neighbor, "Amy Nelson" is in love with him, and think's "Judith" isn't right for him. He should divorce his wife and marry her. Believing "Judith" is, as lately, out. "Amy" enters the house aa if it's her's, and meets with "Steve".
Joan Crawford might have had first billing, but the role of "Amy" is more of a cameo designed to get the information on the unknown caller to John Ireland's "Steve Marak".
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To "Kit" and "Tess", it appears that "Libby" has become obsessed with how "Steve's" voice sounded over the phone. She decides to call him once more, and in their conversation, "Libby", calling herself "Suzette", agrees to meet "Steve Marak" at his house.
Now, way over her head, it is "Libby's" plan to just see what "The mystery voice" looks like and leave without being noticed. However, unknown to both "Libby" and "Steve", "Amy" was listening in on the call on another house extension. Her imagined belief that "Suzette" is "Steve's" secret lover, makes her even more jealous than she was of "Judith Marak".
Next, "Amy Nelson" goes into "Steve" and "Judith Marak's" bathroom and finds "Judith's bloody clothing". "Amy" quickly figures out what happened, but looks upon this as her means of finally having "Steve".
At the same time, "Libby" makes "Kit" and "Tess" go with her to the "Marak" house, at the address she has gotten from the phone book.
Waiting for the arrival of "Suzette" is "Amy", watching the girl's car drives up at a distance. Confronting the girls, "Amy" scares them away, but not before getting the car's registration from "Libby". Next, planning to blackmail "Steve" over his wife's murder, "Amy" becomes "Steve's" next victim. Searching her, he finds the registration taken from "Libby Mannering" and now has the address of the girl he still believes saw him murder his wife.
What comes next, as of this writing, can be found out by watching the motion picture at the following link:
The last motion picture I will be mentioning was also the last motion picture Joan Crawford made. Although she would appear two more times, but on television in 1970 and 1972.
TROG released in the United Kingdom in July 1970
This British science fiction - horror motion picture was produced by Detroit, Michigan's, Herman Cohen. Not familiar with his name? Some of his other features include 1954's, "Target Earth", both 1957's, "I Was a Teenage Werewolf", and "I Was a Teenage Frankenstein", 1959's, "Horrors of the Black Museum", 1961's, "Konga", and Joan Crawford's, 1967, "Berserk".
The motion picture was directed by Freddie Francis. Some of his previous movies were 1963's, "The Day of the Triffids", 1963's, "Paranoiac", 1964's, "The Evil of Frankenstein", 1965's, "Dr. Terror's House of Horrors", and 1968's, "Dracula Has Risen from the Grave".
It took two writers to come up with the story. They were:
Peter Bryan, 1959's, "The Hound of the Baskervilles", 1960's, "Brides of Dracula", and 1966's, "The Plague of the Zombies".
John Gilling, 1956's, "The Gamma People", 1964's, "The Gorgon", and 1967's, "The Mummy's Shroud".
Their story was turned into the screenplay by Aben Kandel, 1957's, "I Was a Teenage Werewolf" billed as Ralph Thornton, "I Was a Teenage Frankenstein", billed as Kenneth Langtry, also as Thornton, producer Herman Cohen's, 1958, "Blood of Dracula", and as himself, Cohen's, 1958's, "How to Make a Monster", and other features including Herman Cohen's overlooked, 1963, "The Black Zoo".
Joan Crawford portrayed "Dr. Brockton". Crawford proceeded this motion picture with two American television programs. She portrayed "Miss Claudia Menlo" in "Eyes", the pilot episode for Rod Sterling's, "Night Gallery", and "Stephanie White" in Season 8, Episode 16, "Nightmare", on the Western series, "The Virginian".
The following comes from both the producer and director of "Trog", and are their observations of the actress after 45-on-screen-years of acting:
In his 1992 interview with Herman Cohen, Tom Weaver for the magazine "Fangoria", unavailable to reference, quoted the producer on Joan Crawford:
Well, on Trog, her drinking was worse than it was when we were doing Berserk. I had to reprimand her a few times for drinking without asking. She had a huge frosted glass that said Pepsi Cola — but inside was 100-proof vodka! In fact, when she arrived to do Berserk as well as Trog, she arrived with four cases of 100-proof vodka, 'cause you can't get it in England'.
In his "Tales from the Script", "Hammer Horror Magazine #6:
Christopher Koetting, quotes director Freddie Francis as to why he made this motion picture:
I did it because of Joan Crawford, and poor Joan by this time was a very sad old lady. We had to have idiot cards all over the place because she couldn't remember her lines. It was the last thing she ever did and she shouldn’t have done it. Neither should I... She had no friends, and she kept writing sad letters to my wife and I until she died.
Michael Gough portrayed "Sam Murdock". Before he was known as "Alfred Pennyworth" in the 1989 - 1995, "Batman" movies. Gough was seen in both Walt Disney's historical drama's, 1953's, "The Sword and the Rose", and "Rob Roy: The Highland Rogue", 1958's, "Dracula aka: The Horror of Dracula", 1959's, "Horrors of the Black Museum" in "Hypnovista", 1961's, "Konga" and 1962's, "The Phantom of the Opera".
The Very Basic Screenplay:
The motion picture was supposed to be a horror film and is publicized as such, BUT, according to the "British Film Institute's", "Monthly Film Bulletin", for January 1, 1971:
Aben Kandel's script has played down the horror to concentrate on the dramatic possibilities of the monster's humanization. The result is a kind of horror-comic L'Enfant Sauvage, with Joan Crawford's lady anthropologist patiently initiating her uncouth pupil in the ways of classical music (it doesn't like jazz), clockwork toys, and finally human speech.
Released on February 26, 1970, in France, 6-months before "TROG", was director Francois Truffant's, "L'Enfant Sauvage (Wild Child)".
Based upon a true story, "L'Enfant Savage" is set in 1798, the actual incident was possibly a year earlier. In the French forest, an approximately 9-years-old boy was found who could not walk, talk, read, or write. A doctor, Jean Marc Gaspard Itard sets out to change his condition and gave him the name of "Victor". As of this writing, the following link takes my reader to the original French motion picture with English subtitles:
https://vimeo.com/752961045
Returning to "Trog":
Instead of a French forest, the opening setting is the countryside outside a small British town. Three British students are exploring a large cave in that area. They are "Malcolm Travers", portrayed by David Griffin, "Cliff", portrayed by John Hamill, and "Bill", portrayed by Geoffrey Case, the three are attacked by a described "ape-like-beast", and "Bill" is killed. "Malcolm" and "Cliff" report the incident to the local, but skeptical police, and renowned anthropologist "Dr. Brockton". The news media hear about the ape-man and set up their cameras at the cave entrance. Some of the reporters and cameramen enter the cave, but are chased out by the prehistoric man.
The police plan on shooting and killing the prehistoric caveman, but "Dr. Brockton" persuades them to let her try and capture him by using a tranquilizer gun.
Once "Dr. Brockton" is successful and she has the apeman in her laboratory in the town proper . "Dr. Brockton" discovers the apeman is actually a "Troglodyte". The believed missing link between modern and prehistoric man,"TROG", as he is nicknamed, is portrayed by Joe Cornelius.
Some of the locals are overwhelmed by the publicity "Trog" is causing their quiet community, especially a local business man named "Sam Murdock". "Murdock" believes the discovery of "Trog" will have a negative effect on business, his business. However, there is another problem in "Sam Murdock's" mind, a woman, "Dr. Brockton" as head of the scientific investigation of the "Missing Link".
What follows, as with the boy in "L'Enfant Savage", a test of the mental capacity of "Trog". Along with medical surgeries and equipment to give "Trog" a voice and the ability to remember his history.
"Dr. Brockton's" experiments are upheld by a municipal court and a decision to protect "Trog" is also given.
This upsets the town's people, but they will follow the court's decision. That is all but "Sam Murdock" who feels his business ventures are still being affected by that woman, "Dr. Brockton", and her experiments on the
"Monster".
To prove
"Trog" is the
"Monster" that
"Murdock" believes it is, he goes into
"Dr. Brockton's" laboratory and frees the missing link from its cage.
"Trog" then proceeds to beat "Sam Murdock" to death, exits the laboratory and kills three other people.
"Trog" takes a young girl from a playground and heads for his cave. The two enter "Trog's" cave, as the police and army arrive there.
"Dr. Brockton" convinces the military to let her go into the cave and rescue the girl. She finds the girl and "Trog", who is initially aggressive towards the doctor, but does surrenders her to "Brockton", The moment "Dr. Brockton" and the girl emerge from the cave to safety , the army blows the charges they have planted, the cave is sealed and "Trog" is believed dead.
At the time of the writing, the following link will take my reader to "TROG":
On May 10, 1977, Joan Crawford passed away, age unknown.
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