All *kinds* of observable differences: The world of Ruth Gordon

wac2

It’s that wonderful time of the year when we all get to celebrate those unsung actors with loads of character, thanks to Aurora of Once Upon a Screen, Paula’s Cinema & Club & Outspoken and Freckled who are hosting the Fifth Annual WHAT A CHARACTER! BLOGATHON 2016… This will be my fourth time contributing to this fantastic event, having covered Jeanette Nolan, Burgess Meredith and last year’s Agnes Moorehead. As many of you know, it’s often the actors on the periphery of some of our most favorite films that fill out the landscape with their extraordinary presence, a presence that becomes not only essential to the story, but at times become as memorable perhaps even larger than life when compared with the central stars themselves. I’m thrilled to be joining in the fun once again and am sure that it’s going to be just as memorable this year as ever before!

Actress Ruth Gordon (Photo by © Alex Gotfryd/CORBIS/Corbis via Getty Images)
Actress Ruth Gordon (Photo by © Alex Gotfryd/CORBIS/Corbis via Getty Images)

The ASTONISHING… RUTH GORDON!

quote-3

“The earth is my body; my head is in the stars.”-Ruth Gordon as Maude

harold-and-maude

Maude:A lot of people enjoy being dead. But they are not dead, really. They’re just backing away from life. *Reach* out. Take a *chance*. Get *hurt* even. But play as well as you can.”

I’ve been waiting to write about my love of Ruth Gordon for quite some time, and felt that this would be the best way to get off the pot and just start singing those praises for this remarkable lady of theatre, film and television. Ruth Gordon in so many ways channeled her true personality through the character of Maude, in life –she too always projected a spirit that played as well as she could…

capturfiles_3

capturfiles_10

“Choose a color, you’re on your own, don’t be helpless.” –Ruth Gordon -An Open Book

capturfiles_10

quote-2

There’s a vast dimension and range to Ruth Gordon’s work both her screenwriting and her acting, the effects leave a glowing trail like a shooting star. With her quirky wisdom and sassy vivacity that plucks at your hearth, Ruth Gordon stands out in a meadow of daisies she is emblazoned as bright and bold as the only sunflower in the field. No one, just no one has ever been nor will ever be like this incredible personality.

capturfiles_17

For a woman who is impish in stature she emanates a tremendous presence, a smile like the Mona Lisa, sporting a unique and stylish way she expresses herself with a poetic & fable-like language. Ruth Gordon is a character who dances to a different rhythm — how she sees herself and how she performs *life* is uniquely mesmerizing as it is burgeoning with all the colors of the universe.

capturfiles_4-copy-3

harold-and-maude-dance

Ruth Gordon is a dramaturgical pixie, with a curious hitch in her git along… an impish dame who rouses and fortifies each role she inhabits with a playful, mischievous and almost esoteric brand of articulation.

In a field of different daisies Ruth Gordon is that sunflower that Maude soliloquies poetically to Harold —

Maude-“I should like to change into a sunflower most of all. They’re so tall and simple. What flower would you like to be?”

Harold-“I don’t know. One of these, maybe.”

Maude-“Why do you say that?”

Harold-“Because they’re all alike.”

Maude-“Ooooh, but they’re *not*. Look. See, some are smaller, some are fatter, some grow to the left, some to the right, some even have lost some petals. All *kinds* of observable differences. You see, Harold, I feel that much of the world’s sorrow come from people who are *this”, (pointing to a daisy) yet allow themselves to be treated as *that*.” (she gestures to a field of daisies)

harold-and-maude

ruth-as-minnie

quote-1

From the Arlene Francis 1983 interview with Ruth Gordon– actress, screenwriter and playwright…

ruth-gordon-1975-photo-by-alfred-eisenstaedt

Ruth Gordon 1975 photo by Alfred Eisenstaedt

Ruth Gordon never wanted to be told how to write nor be instructed on how to act… from her autobiography An Open Book- “I don’t like to be told how to act either. When I’m left alone thoughts come… ‘Don’t try to think’ said our New England philosopher, Emerson, leave yourself open to thought. If you find out stuff for yourself, you get to know what you believe; what you like, how to live, how to have a good time. It’s important to have a good time.”

capturfiles_22

capturfiles_24

from Hugh Downs Interview

“ I did grow up to have character. And I’m always doing some damn thing that uh I don’t wanna do but I know it’s right to do. And I finally thought of something in my next book and I’m gonna have it in there and it’s a very important thing to remember. Just because a thing is hard to do doesn’t make it any good. You tackle something and you work at it and slave at it and say now I’m gonna do this I’m gonna do it and when you’ve done it better think it over and see if it was worth it… some easy things like falling off a log and stuff  those easy things probably just as good but a New Englander has to do it the hard way. “

capturfiles_25

Arlene Francis “You once said ‘never face facts’ how can you avoid it?”
Ruth Gordon-“Oh my god look, we’re not facing facts now surely cause I might dry up and not have a thing to say in the world and then where would you be, you know… […] it would be stupid there are enough hazards in the world, I’m 85 now and I’m at my very best peak of my looks which might be an interesting thing to anybody because you figure, 18 why wouldn’t I be better looking than now?… “Don’t lets anyone tell their symptoms, it would be the most boring thing, even though everybody has so many… so the ‘don’t face your facts’ is if you face what’s the matter with you, you know we’d open a window and say goodbye everybody like tinker bell and take off and hope you could fly (she laughs) Don’t face the facts you know, I was 18 years old I was going on the stage didn’t know anybody in New York and I didn’t know anybody on the stage, and I wasn’t beautiful and I wasn’t tall which everybody was in those days, and uh I didn’t have any money and how was I gonna do this, so if I didn’t ‘not face those facts’ I’d say too bad she wanted to be an actress…”

capturfiles_35

Ruth Gordon, who always dreamed of becoming a ‘film’ star, beside an astonishing stage presence talks about winning awards for her work–“ The main award that I really value is the award I give myself and people say Oh you don’t know when you’re good you know, the audience knows, people know but you don’t know Well that’s stupid I know when I’m good for myself You might not like it, they might not like it, the public might not like it, but I know that wonderful performance that doesn’t happen too often, when anticipation and realization come together because that night when it’s all perfect and is great and you know … that you’ve just taken off… that’s my award…” 

capturfiles_31

Ruth Gordon is bold and vibrant and an actress who never shied away from taking the quirkiest and eccentric roles. From irreverent Ma in Every Which Way But Loose (1978)  the poignant Becky Rosen in Boardwalk (1979) to the perspicacious Maude in Harold and Maude (1971) George Segal’s tushy biting batty mother-Mrs. Hocheiser in Where’s Poppa? (1970) and of course the queen of campy kitschy New York City’s enigmatic coven hostess with the mostest– Minnie Castavet in Rosemary’s Baby (1968)

minnie-in-the-kitchen-with-rosemary

ruth-as-minnie

Once Ruth Gordon personified the unforgettable Minnie Castavet in “Rosemary’s Baby” in 1968 she manifesting a lasting and unfading, enigmatic character that only Ruth Gordon could infuse with that unforgettable energy.

Minnie is perhaps one of the most vividly colorful film characters with her sly and farcical mispronunciations and a wardrobe that is distinctly tacky. Part cosmopolitan part menacing, no one could have performed Minnie Castavet quite like Ruth Gordon, that next door meddling neighbor who befriends an American housewife, who is secretly waiting to become the godmother to the devil’s unborn son.

rosemarys-baby-ro-and-min

rosemarysbaby_097pyxurz

Gordon appears as if she was cut from a mold that makes her seem like a rebel to the inner workings of Hollywood. And as extremely unconventional as she can be, there is always a depth and authenticity to the wackiest of characters she’s portraying. From the lyrically loving and life devouring Maude in Hal Ashby’s different style of love story.

harold-maude

“ Well it’s a very good movie, I was absolutely wonderful Collin Higgins wrote a great movie Bud Cort was sensational, Hal Ashby became one of the top directors so how do you account for that, well it just happened. But, you see, some guy in Cambridge Mass. he wrote from the YMCA he wrote me a letter and he said, ‘I’ve seen Harold and Maude’ I don’t know how many times he’d seen it, and he said I’m at a loss to know why it means so much to me and I think about it , I think about it a lot and I finally came to the conclusion that it’s because to get through life you have to have somebody to tell it to’ that’s a very profound remark. I’ve had lovers I’ve have friends I’ve had family and I didn’t exactly tell it to them but Garson Kanin I tell it to him whether it’s bad whether I’m a failure whether I’m going grey. Somebody to tell it to. And it’s a very very necessary part of life. And in Harold & Maude Harold who was a kind of helpless geek with looks riches money everything he had … except knowing how to live. And Maude who didn’t have anything except she knew how to live. And Harold could tell it to her. he could tell it to her. She didn’t always have the answer. But he could pour it out. And so it was wonderful really, just pour it out, I said once even if I’m wrong agree with me because you know to Gar, have somebody you know would stand up for you.”

garson-and-ruth

Ruth and husband Garson Kanin… super writing team!

bud-and-ruth-this-is-your-life

Bud Cort remained very close friends with Ruth Gordon. Here he is talking about her tremendous influence on This is Your Life television show honoring the extraordinary actress/writer.

budd-and-gordon-on-the-set

ruth-and-hal-ashby-on-set

Ruth Gordon and Hal Ashby on the set of Harold and Maude 1971

harold-and-maude-bw-funeral-shot

capturfiles_23

from the Dick Cavett interview from September 19, 1969 expressing how if you had never seen Ruth Gordon on the stage “You would lament that facta lady who is one of the incomparable ladies of American Theatre. There have been cults about Ruth Gordon for years and years and years. When great performances on Broadway are discussed, Laurette Taylor in The Glass Menagerie or Mildred Dunnock in Death of a Salesman, or Vivien Leigh or any of the classics are referred to Olivier in Oedipus, Ruth Gordon in *The Matchmaker* is always brought up as one of the masterpieces of all time. And she has been a wondrous presence in the theatre for over 50 years. Splendid comedian and a splendid comic writer.”

capturfiles_8

capturfiles_28

Ruth Gordon Jones was born October 30, 1896 in Quincy, Massachusetts. “growing up with the brown taste of poverty in her mouth.” As a child she wrote fan letters to her favorite film stars and received a personal reply from Hazel Dawn. So struck with stage actress Hazel Dawn after seeing her  perform in “The Pink Lady” in Boston, Ruth Gordon decided to go into acting. After high school she went to the American Academy of Dramatic Arts in New York City, and was an extra in silent films made in Fort Lee, New Jersey making $5 in 1915. She made her Broadway debut in 1915 as one of the Lost Boys later that year in Peter Pan or The Boy Who Wouldn’t Grow Up as Nibs. She garnered a favorable review by Alexander Woolcott, who at the time was an extremely influential theater critic eventually the two became close friends and he her mentor. Gordon was typecast in “beautiful but dumb” roles in the early 20s.

Ruth Gordon began to hone her craft and push the range of her acting ability which she revealed in Edith Wharton’s Ethan Frome, the restoration comedy The Country Wife in which she appeared at the influential theater–London’s Old Vic. She eventually found her way to Broadway, and landed a role in Henrik Ibsen’s A Dolls House during the 1930s.

Severely bow-legged, in 1920 she spent time in a hospital in Chicago where she had her legs broken and straightened.

capturfiles_19-copy
ruth-gordon-dr-erlichs-magic-bullet
Ruth Gordon as Edward G. Robinson’s wife in director William Dieterle’s Dr. Erhlich’s Magic Bullet 1940
two-faced-woman-2
Ruth Gordon with the great Greta Garbo in director George Cukor’s Two-Faced Woman 1941.
Ruth Gordon (1931)
Ruth Gordon (1931)
She was married to actor Gregory Kelly from 1921-1927 when he died of heart disease. In 1929, she had a child (Jones Harris) with Broadway producer Jed Harris. She stared in plays in New York City and London, not doing another film until she played Mary Todd in director John Cromwell’s Abe Lincoln in Illinois 1940, co-starred with Edward G. Robinson in director William Dieterle’s Dr. Ehrlich’s Magic Bullet 1940 and appeared as Miss Ellis in director George Cukor’s film starring  Greta Garbo film Two-Faced Woman 1941 and co-starred with Humphrey Bogart in Action in the North Atlantic 1942.
abe-lincoln
spirit-of-the-people-1940
 


Ruth Gordon plays Ann Sheridan’s mother in director Lewis Milestone’s story of a small fishing village in Norway and the resistance to the Nazi occupation, Gordon plays Anna Stensgard the unassuming wife and neurotic mother who lives too much in the past in Edge of Darkness 1943.
edge-of-darkness
capturfiles_25
In 1942, active on Broadway again, she married writer Garson Kanin and started writing plays. Together with her husband she wrote screenplays for Katherine Hepburn and Spencer Tracy like A Double Life 1947, Adam’s Rib 1949, and Pat and Mike 1952. She also wrote an autobiographical play “Years Ago”, that then became a film directed by the great George Cukor starring Jean Simmons, Spencer Tracy and Teresa Wright in The Actress 1953 about her life growing up and getting into the theatre.
capturfiles_16
capturfiles_15
Ruth Gordon and her husband were included in a round up of theatre actors questioned by the House on Un-American Activities in 1947 and flown to Washington for questioning. Nothing came of the investigation.
In the 1960s she returned to Hollywood with roles in films and television adaptations–
The television movie version of Noel Coward’s 1941 play Blithe SpiritRuth Gordon manifests the spiritual medium Madame Arcati in the 1966 tv version.
capturfiles_1
lord-love-a-duck
Ruth Gordon as Stella Barnard co-starring with Roddy McDowall and Tuesday Weld in Lord Love a Duck 1966.
Playing Mrs. Stella Barnard in Lord Love a Duck 1966 The film stars Tuesday Weld as the innocent attention seeking teenager from a broken home who aspires to become loved by everyone, wears 12 colorful cashmere sweaters given to her by friend and mastermind Roddy McDowall (who was 36 at the time playing a teen!) Director George Axelrod’s biting satire that pokes fun at teen beach movies of the 1960s, elitism and the adults that satellite around their machinations …

Stella Bernard: (Ruth Gordon) “You lied to me, Miss Greene. You permitted me to believe your father was dead.”

Barbara Ann: (Tuesday Weld) “Well, they’re divorced.”

Stella Bernard: (Ruth Gordon) “In our family we don’t divorce our men; we *bury* ’em!”

Where’s Poppa? 1970 In director Carl Reiner’s black comedy- Ruth Gordon lets it rip as the irreverent Mama Hocheiser who’s senile antics are driving New York attorney Gordon Hocheiser (George Segal) to the brink. When he finally meets the loving and naive nurse Louise Callan (Trish Van Devere) , worried his mother’s idiosyncrasies will ruin his budding romance, he grasps at any means to finally get rid of her! Ron Leibman is hilarious as brother Sidney!
 
Inside Daisy Clover 1965, for which Ruth Gordon returning to the screen after almost 20 years -was nominated for an Oscar and won a Golden Globe as Supporting Actress… One of my favorite directors Robert Mulligan creates a portrait of a tomboy (Natalie Wood) who dreams of being a singer, lives in a trailer and runs a beach side concession stand where she forges the autographs of Hollywood stars — suddenly discovered Daisy rises to stardom herself, falls in love with Robert Redford, only to turn her back on the viciousness of the business.
capturfiles_38
capturfiles_37
Ruth Gordon plays her quirky card playing mother whom she calls ‘Old Chap’ who lives in her own world. Daisy loves her dearly, but the studio heads force her to hide Old Chap/Mrs. Clover in an old age home and tell the public she’s dead in order to project her star image without an eccentric & batty mother in her life. Ruth Gordon once again plays batty to the poignant level of art form.
Inside Daisy Clover co-stars Christopher Plummer, Robert Redford and Roddy McDowall, with a wonderful soundtrack “You’re Gonna Hear From Me” by André Previn and Dory Previn.
inside-daisy-clover-beach-scene
Police (Harold Gould)-“You waited seven years to report your husband missing?” Mrs. Clover-‘The Dealer’ “I just started missin’ him this morning.”
Natalie Wood grew so fond of Ruth Gordon after working on the film Inside Daisy Clover that she made her the godmother to her daughter Natasha Gregson Wagner
capturfiles
ruth-natalie-and-redford-inside-daisy-clover
Gordon plays Alice Dimmock involved in a dangerous battle of wits with the menacing Clare Marrable who buries her victims in her lovely rose garden–Geraldine Page hires companions who have a nice savings built up and no relatives to come around looking for them in What Ever Happened to Aunt Alice 1969.
What Ever Happened to Aunt Aice?
WHAT EVER HAPPENED TO AUNT ALICE? 1969 directed by Lee H. Katrin Produced by Robert Aldrich Music by Gerald Fried.
In this taut Grande Dame Guignol horror thriller Whatever Happened to Aunt Alice 1969 Ruth Gordon portrays Alice Dimmock who sets out to uncover the truth behind her companion’s (Mildred Dunnock) disappearance after she takes a job with the austere and cunning Clare Marrable, a prolific serial killer who sows the seeds of her rose garden with her victims.
Director Lee H. Katzin and Bernard Girard’s psychological thriller that positions two powerful actresses in a taut game of cat and mouse…
Geraldine Pages plays the ghastly & audacious serial killer Claire Marrable, whose husband left her penniless. In order to keep living a life of luxury and comfort she begins offing her paid companions who have stashed doe and no family to come looking for them. When Edna Tinsley played by Mildred Dunnock goes missing and becomes part of Mrs Marrable’s wondrous garden of roses, Ruth Gordon pretends to be Page’s companion in order to get to the truth about her missing friend.
Ruth Gordon was amazed at the showing of What Ever Happened to Aunt Alice? She figured that by playing the part of a woman in peril at the mercy of the ruthless and calculating psychopath, performed perfectly by Geraldine Page, at the final moment of confrontation her split decision to for self preservation and become a murderer herself or be true to her inherent goodness allowing herself to be a victim. Ruth Gordon believed that it was this defining moment the goodness that ruled Alice’s heart and head would be the most powerful moments in the film. Yet, when the audience responded at this critical scene, to her surprise they screamed out “Kill her, kill her!” The audience had wanted Ruth’s character to live so badly…

from director Hal Ashby’s Harold and Maude (1971)

harold-and-maude

A 79 old woman and a twenty year old lost soul meet at a funeral, and find love and life together in a darkly light comedy. Bud Cort creates an iconic figure of a young privileged young man disillusioned by life, who gets a kick out of antagonizes his priggish mother Mrs. Chasen (Vivian Pickles) with creative faked suicides. Once Harold is exposed to the wisdom and insight that Maude imparts, she manages to open up his heart and teaches him how to reach out and embrace the substance of life’s beauty.

harold-and-maude-1

capturfiles_13-copy

ruth-as-maude

“You know, at one time, I used to break into pet shops to liberate the canaries. But I decided that was an idea way before its time. Zoos are full, prisons are overflowing… oh my, how the world still *dearly* loves a *cage.* “-the inimitable Maude
harold_et_maude
Harold: “Maude” Maude: “Hmm?” Harold: “Do you pray?” Maude: “Pray? No. I communicate.” Harold: “With God?Maude: “With *life*”

Every Which Way But Loose 1978

ma-in-everywhich-way

Ruth Gordon plays the impertinently, uninhibited Ma to Clint Eastwood as trucker Philo Beddoe & Orville (Geoffrey Lewis) who travel around the West Coast looking for street style prize- fights. Along for the ride are Beverly D’Angelo as Echo, and evasive love interest Sondra Locke as country singer Lynn Halsey-Taylor. There’s a hilarious assorted misfit motorcycle gang members and Philo’s pet Orangutan Clyde who’s always stealling’s Ma’s Oreo cookies!

Ruth Gordon reprised her role as the cantankerous Ma in Any Which Way You Can 1980.
Ma after Clyde has eaten her bag of Oreos-“Ohh! Stop that, ya goddamn baboon. No respect! No privacy! No nothing!”
 
ruth-every-which-way-but-loose

co-staring with Lee Strasberg in Boardwalk 1979

boardwalk-lee-and-ruth

boardwalk1

boardwalk

Lee Strasberg plays David Rosen and Ruth Gordon portrays wife Becky who own a wonderful little diner, a loving older couple who have lived in their Coney Island jewish neighborhood for 50 years, until a gang moves in and changes the communities quality of life by threatening the local store owners with violence if they don’t pay ‘protection’ money. When David defies them, they burn down the diner and desecrate the synagogue. Janet Leigh also co-stars as Florence Cohen.

Ruth Gordon manifests a marvelously warm and poignant chemistry with master actor/teacher Lee Strasberg.

art_boardwalk_031414_584

boardwalk-ruth-and-lee
She personified the unforgettable role as Minnie Castavet in “Rosemary’s Baby” in 1969. Manifesting an unfading, enigmatic character that only Ruth Gordon could perform.
Ruth Gordon started to get more regular film and television roles. Reprising the role of Minnie Castavet in the made for tv fright-flick Look Whats Happened to Rosemary’s Baby (1976) and played the devouring Jewish mother Cecilia Weiss in the television movie The Great Houdini 1976. And the television movie The Prince of Central Park 1977.
capturfiles_28
ruth-gordon-the-prince-of-central-park-tv-movie
Ruth Gordon was cast in the feature film The Big Bus (1976) among a terrific ensemble of actors. She appeared as Arvilla Droll in Scavenger Hunt 1979 and the very touching film about growing up and friendship- My Bodyguard 1980 in -Maxie (1985) Ruth Gordon plays Chris Makepeace’s kindly but rascally grandmother, while he finds a way to school bully Matt Dillon from beating him to a pulp, he finds an outcast that everyone is afraid of to be his bodyguard in Adam Baldwin. The film also co-stars John Houseman.
ruth-in-my-bodyguard
ruth-and-makepeace-in-my-bodyguard
Ruth Gordon co-stars with Chris Makepeace in 1980’s My Bodyguard
maxie-close-and-gordon
Ruth Gordon co-stars with Glenn Close in Maxie 1985
maxie
 
As the eccentric Marge Savage in the ABC tv Movie of the Week directed by John Badham starring Alan Alda- Isn’t It Shocking (1973) Gordon possessed the seamless ability to oscillate between a delightfully aerated conviviality and acerbic snapdragon capable of delivering the most colorful tongue lashing!
Alda plays a small town sheriff with his quirky secretary/sidekick Blanche (Louise Lasser) who is daunted by a string of mysterious deaths that are plaguing the elderly town folk. Edmund O’Brien plays Justin Oates an odd serial killer who is holding a lifetime grudge against his old friends who humiliated him in high school. Marge was his great love who might have done him wrong! Co-stars Lloyd Nolan, and Will Geer and the county coroner who uncovers the weird details that connect the murders.
mrs-warrens-profession-stageplay-george-bernard-shaw-gordon-plays-mrs-warren-and-redgrave-plays-daughter-vivie
Lynn Redgrave stars with Ruth Gordon in the stage production of George Bernard Shaw’s Mrs. Warren’s Profession.
Ruth Gordon was nominated for Broadway’s 1956 Tony Award as Best Dramatic Actress for playing Dolly Levy in Thornton Wilder’s “The Matchmaker.” Ruth Gordon says that Wilder had been a tremendous help and influence to her, having ‘picked him up in front of The Booth Theater’ way back when. She won a Golden Globe award as Best Supporting Actress as Natalie Wood’s mother she calls Old Chap in Inside Daisy Clover, and a much deserved Academy Award for Best Supporting Actress in Rosemary’s Baby.
She was nominated for a Golden Globe for playing Maude in Harold and Maude in 1971.
In the 1970s and 1980s she played parts in well-known television shows like Kojak as psychic Miss Eudora Temple in Season 2 “I Want to Report a Dream”, Rhoda, and Taxi (which she won an Emmy for.)
ruth-gordon-dances
and in the superb episode of Columbo as mystery writer Abigail Mitchell one of the most sympathetic murderess’ of the series as she avenges the death of her beloved niece with unrelenting Lt. Columbo dauntlessly nipping at her heels. And though Abigail finds Columbo to be a very kind man,  he tells her not to count on that. He must stay true to his calling as a homicide detective though we wish he would just Abigail get away with murder– in “Try and Catch Me.”
Ruth Gordon as mystery writer Abigail Mitchell: I accept all superlatives.

Ruth Gordon also had the distinguished honor of hosting Saturday Night Live in 1977.

Ruth Gordon died of a stroke at 88 in Massachusetts with her husband Garson at her side.
the-final-shot

“She had a great gift for living the moment and it kept her ageless.” 

— Glenn Close

Ruth Gordon had quite a unique way of expressing herself on stage, screen and in person and as Dick Cavett had said about the great actresses’ ability to always project her incomparable persona, what we get!  —  “It’s a lesson in something that only Ruth Gordon can teach.” And as she would say, she had “a lot of zip in her doo dah.” 

I’ll end by saying this about this astonishingly iconic character whose sagacity and spark will never dim, when asked that particularly interesting question, ‘if you had 3 people you could meet in Heaven who would you choose?’ Ruth Gordon, you would be one of them!- With all my love, MonsterGirl

Enduring Empowerment : Women Who didn’t Give a Damn! …in Silent & Classic film!

THE SILENT YEARS: When we started not giving a damn on screen!

godless-girl-chair-smash
THE GODLESS GIRL (1929) CHAIR SMASH courtesy of our favorite genius gif generator- Fritzi of Movies Silently

anti-damsel-banner

In celebration of our upcoming Anti Damsel Blogathon on August 15 & 16, I had this idea to provide a list of bold, brilliant and beautiful women!

There was to be no indecent exposure of the ankles and no SCHWOOSHING!  Not in this Blogathon baby!

From the heyday of Silent film and the advent of talking pictures, to the late ‘20s to 1934 Pre-Code Hollywood, films were rife with provocative and suggestive images, where women were kicking up a storm on screen… The end of the code during the early 60s dared to offer social commentary about race, class, gender and sexuality! That’s our party!

In particular, these bold women and the screen roles they adopted have become legendary. They sparked catchy dialogue, inspired fashion trends, or just plain inspired us… All together there are 111 of SOME of the most determined, empowered and uniquely fortified femmes of classic film…!

First of course I consulted the maven of all things splendid, shimmery and SILENT for her take on silent film actresses and the parts that made them come alive on the immortal screen…. Fritzi at Movies Silently has summoned up these fabulous femmes….

Rischka Wildcat
1) Rischka (Pola Negri) in The Wildcat (1921) Ernst Lubitsch’s hyperactive Dr. Seussian comedy is worth seeing for the sets alone but the best part is Pola Negri’s Rischka, a young bandit queen who is terrorizing the mountains. She meets the local Lothario during a robbery and by the end of the scene she has stolen his heart. And his pants.
Countess A Woman of the World
2) The Countess (Pola Negri) in A Woman of the World (1925) Anyone who thought going to Hollywood would tame Pola Negri’s wild side had another thing coming. In this film, she plays a countess whose skull tattoo causes an uproar in Anytown, USA. The film also features a romance between Negri and the stuffy local prosecutor, who soon finds himself on the receiving end of her bullwhip. Not a metaphor.
Miss Lulu Bett
3) Lulu (Lois Wilson) in Miss Lulu Bett (1921) Independent women weren’t always given to violence and thievery. In the case of Lulu, she is a single woman trapped in two Victorian social conventions: spinster and poor relation. During the course of the film, she rejects both titles, learns her own self-worth and empowers herself to enter into a healthy relationship with the local schoolmaster. Tasty feminism!
She's-a-Sheik
4) Zaida (Bebe Daniels) in She’s a Sheik (1927) Silent movie audiences enjoyed reversals of gender tropes. The Rudolph Valentino vehicle The Sheik (1921) had been a smash hit and had spawned many rip-offs and parodies. (kidnapping = love = box office!) In this case, a warrior princess falls for a French officer and decides the most sensible course of action is to abduct him for the purpose of marriage. Sadly, this comedy seems to be one of many silent films that is missing and presumed lost.
Eves Leaves
5) Eve (Leatrice Joy) in Eve’s Leaves (1926) Another gender reversal comedy, Eve’s Leaves features twenties fashion icon Leatrice Joy as a tomboy sailor who finds the perfect man while ashore on business. She ends up saving the day– and her favorite dude in distress– through quick thinking, a knowledge of knots and a mean right hook.
Ossi The Doll
6) Ossi (Ossi Oswalda) in The Doll (1919) Ernst Lubitsch featured another feisty heroine in this surreal comedy. Our hero wishes to dodge marriage but cannot gain his inheritance without a bride. A plan! He will buy a lifelike doll from a famous toymaker and marry that. What he doesn’t know is that the doll was broken, the toymaker’s daughter has taken its place and she means to teach the reluctant bridegroom a lesson. Oswalda’s mischievous antics are a delight.
Molly Sparrows
7) Molly (Mary Pickford) in Sparrows (1926) Mary Pickford was America’s Sweetheart during the silent era and audiences adored her fearless heroines. Molly is one of her boldest. She’s an orphan raised in a Southern swamp who must rescue a kidnapped infant. The epic final race across the swamps– complete with alligators– is still harrowing to behold.
Helen Lass of the Lumberlands
8) Helen (Helen Holmes) in A Lass of the Lumberlands (1916) Helen Holmes was an action star who specialized in train-related stunts and adventure. In this 1916 serial, she saves the day on numerous occasions and even saves her love interest from peril on the train tracks. (It should be mentioned that the Victorian “woman tied to the train tracks” cliche was incredibly rare and usually treated with ridicule in silent films.) This is another movie that is missing and presumed lost.
Musidora Judex
9) Diana Monti (Musidora) in Judex (1916) Not all the empowered women in classic film were heroines. In the case of Musidora, her most famous roles were as criminals. She was the deadly thief/hit-woman Irma Vep in Les Vampires and then took on the titular caped crusader in Judex. Smart, stealthy and likely to slip a stiletto between the ribs… in short, a woman not to be trifled with.
Ambassador's-Daughter
10) Helen (Miriam Nesbitt) in The Ambassador’s Daughter (1913) This short film from Thomas Edison’s motion picture studio features espionage and a quick-thinking heroine. She tracks down spies at the embassy, follows her suspect and manages to steal back the documents that he purloined from her father. Not at all bad for a film made seven years before the Nineteenth Amendment was ratified.
Cornelia The Bat
11) Cornelia Van Gorder (Emily Fitzroy) in The Bat (1926) It’s a dark and stormy night and a murderous costumed villain means to recover stolen loot in an isolated mansion. What is an elderly woman to do? Take up her trusty pistol and investigate, of course! She also wields a dry wit and keeps cool under pressure. The Bat doesn’t stand a chance
Catherine The Eagle
12) Catherine the Great (Louise Dresser) in The Eagle (1925) As mentioned above, Rudolph Valentino specialized in aggressive wooing but he finds the shoe on the other foot in this Russian romance. Louise Dresser is a kick as the assertive czarina who knows what she likes and goes for it.

Now to unleash the gust of gals from my tornadic mind filled with favorite actresses and the characters that have retained an undying sacred vow to heroine worship… In their private lives, their public persona and the mythological stardom that has & still captivates generations of  fans, the roles they brought to life and the lasting influence that refuses to go away…!

Because they have their own unique rhythm to the way they moved through the world… a certain kind of mesmerizing allure, and/or they just didn’t give a hoot, a damn… nor a flying fig!

tumblr_mc3ckyQi1w1qjnz9go1_500

“The most courageous act is still to think for yourself. Aloud”-Coco Chanel

Stars like Bette Davis, Barbara Stanwyck and Joan Crawford managed to keep re-inventing themselves. They became spirited women with an inner reserve of strength and a passion for following their desires!

Stanny
Barbara Stanwyck posing with boxing gloves!

The following actresses and their immortal characters are in no particular order…!

Double Indemnity
13. Phyllis Dietrichson (Barbara Stanwyck) Double Indemnity (1944) set fire to the screen as one of the most seductive femme fatales— a dame who made sunglasses and ankle bracelets a provocative weapon. She had murder on her mind and was just brazen enough to concoct an insurance scam that will pay off on her husbands murder in Double Indemnity (1944). Walter Neff (Fred MacMurray) is the insurance guy who comes around and winds up falling under her dangerous spell… Walter Neff: ”You’ll be here too?” Phyllis: “ I guess so, I usually am.” Neff: “Same chair, same perfume, same ankle?” Phyllis:  “I wonder if I know what you mean?” Neff: “I wonder if you wonder?”
Bacall Slim To Have and Have not
14. Marie “Slim” Browning in To Have and Have Not (1944) Lauren Bacall walked into our cinematic consciousness at age 19 when Howard Hawks cast her as Marie “Slim” Browning in To Have and Have Not (1944). A night club singer, (who does a smoking rendition of Hogie Carmichael’s ‘How little We Know”) She’s got a smooth talking deep voiced sultry beauty, possesses a razor sharp wit to crack wise with, telling it like it is and the sexiest brand of confidence and cool. Slim has the allure of a femme fatale, the depth of a soul mate and the reliability of a confidant and a fearless sense of adventure. Playing across Bogart as the jaded Captain Harry Morgan who with alcoholic shipmate Eddie (Walter Brennan ) run a boating operation on the island of Martinique. Broke they take a job transporting a fugitive running from the Nazis. Though Morgan doesn’t want to get involved, Slim is a sympathizer for the resistance, and he falls in love with her, while she makes no bones about wanting him too with all the sexual innuendo to heat things up! Slim: “You know you don’t have to act with me, Steve. You don’t have to say anything, and you don’t have to do anything. Not a thing. Oh, maybe just whistle. You know how to whistle, don’t you, Steve? You just put your lips together and… blow.”
Bette as Margo Channing in All About Eve
15. Margo Channing (Bette Davis) All About Eve (1950) In all Bette Davis’ films like (Jezebel (1938) Dark Victory (1939) The Letter (1940) Now, Voyager (1942)), she shattered the stereotypes of the helpless female woman in peril. Davis had an unwavering strength, fearlessly taking on the Hollywood system and embracing fully the moody roles that weren’t always ‘attractive.’  Davis made her comeback in 1950, perhaps melding a bit of her own story as an aging star in All About Eve. Margo must fend off a predatory aspiring actress (Anne Baxter as Eve Harrington) who insinuates herself into Margo’s territory. Davis’ manifests the persona of ambition and betrayal which have become epic… “Fasten your seat belts, it’s going to be a bumpy night.” 
a dead ringer bette david Paul Henreid
16. Margaret DeLorca / Edith Phillips (Bette Davis) plays the good twin/bad twin paradigm in Dead Ringer (1964). Edith, is struggling working class gal who owns a nightclub, and Margaret is her vein and opportunistic twin who stole her beau Frank away and married into a wealthy lifestyle. On the night of his funeral, Edith shoots Margaret in a fit of vengeful pique, then assumes her identity with ironic results. Davis again proves even though she commits murder, she can manifest a pathos like no one else… Margaret DeLorca: You really hate me, don’t you? You’ve never forgiven me in all these years.”  Edith Phillips: “Why should I? Tell me why I should.”  Margaret DeLorca: “Well, we’re sisters!”  Edith Phillips: “So we are… and to hell with you!”
bette
17. Jane Hudson (Bette Davis) in What Ever Happened to Baby Jane? (1962) is a forgotten alcoholic former child star living in a faded Hollywood mansion with her invalid sister Blanche (Joan Crawford), herself an aging Hollywood star. They punish each other with vicious mind games, temper tantrums and repressed feelings of revenge and jealousy.  Jane is a tragic tortured soul who’s life becomes ‘ugly’ because she’s been shunned and imprisoned by a fatal secret in which sister Blanche holds the key. What makes Jane such an empowered figure are the very things that have driven her mad. Jane’s itching for a comeback and is ready to dance and sing her way back into everyone’s heart! Jane has a child-like innocence that gives her that ambition and pure drive to see herself back on the stage. She believes it. While other people might laugh at her behind her back, Jane’s repressed rage also leaves room for joy. She’s an empowered aging actress who refuses to give up the spot light… Good for you Jane, now put down that hammer and feed Blanche something edible… Davis delivering yet another legendary line… Blanche: “You wouldn’t be able to do these awful things to me if I weren’t still in this chair.” Jane: But you *are*, Blanche! You *are* in that chair!”
Neal and Newman
18. Alma Brown (Patricia Neal), in Hud (1963): Playing against the unashamed bad boy Hud Bannon (Paul Newman), Alma is a world-weary housekeeper who drips with a quiet stoic sensuality and a slow wandering voice that speaks of her rugged womanly charm. The philandering Hud is drawn to Alma, but she’s too much woman for him in the end… Hud Bannon: “I’ll do anything to make you trade him.” Alma Brown: “No thanks. I’ve done my time with one cold-blooded bastard, I’m not looking for another.”
Ball of Fire (1941) Directed by Howard Hawks Shown: Henry Travers, Oscar Homolka, Gary Cooper, Leonid Kinskey, Aubrey Mather, S.Z. Sakall, Richard Haydn, Tully Marshall, Barbara Stanwyck
19. Sugarpuss O’Shea (Stanny) in Ball of Fire (1941) she is just that, a sexy ball of fire and a wise-cracking night club singer who has to hide out from the mob because her testimony could put her mobster boyfriend Joe Lilac (Dana Andrews) away for murder! Some nerdy professors (including Gary Cooper) want to exploit her to study slang and learn what it’s like to speak like real folk and does she turn their world upside down. Sugarpuss O’Shea: [needing help with a stubborn zipper] “You know, I had this happen one night in the middle of my act. I couldn’t get a thing off. Was I embarrassed!“
Killer Jo Walk on the Wild Side
20. Jo Courtney (Barbara Stanwyck) in Walk on The Wild Side (1962). Jo runs the New Orleans bordello called The Doll House with an iron hand— when anyone steps out of line she knows how to handle them. Stanwyck had the guts to play a lesbian in 1962, madly in love with Hallie Gerard (Capucine). Stanwyck’s Jo Courtney is elegant, self-restrained and as imposing as Hera in tailored suits. Having to be strong in a man’s world, her strong instinct for survival and the audacious will to hold onto Hallie brings her world to a violent conclusion…  “Oh you know me better than that Hallie. Sometimes I’ve waited years for what I wanted.”    
high-sierra
21. Marie Garson (Ida Lupino) in High Sierra (1941) Roy “Mad Dog” Earle has been pardoned from a long prison term. Marie, a rough around the edges taxi dancer, finds herself resisting her attraction to this brutal gangster, forming a very complicated dynamic with a second mobster who wants to pull off a high stakes robbery. Marie is a force of nature that bristles from every nerve she purely musters in this tale of doom-fated bad boys, but more importantly here… A woman can raise a rifle with the best of them! Marie Garson “Yeah, I get it. Ya always sort hope ya can get out, it keeps ya going.”
ida-lupino-in-private-hell-36
22. Lilli Marlowe (Ida Lupino) in Private Hell 36 (1954) This rare noir gem is written by the versatile powerhouse Ida Lupino who also plays Lilli Marlowe. Lilli has expensive tastes. After getting caught up in an investigation of a bank heist, she falls in love with the blue collar cop Cal Bruner (Steve Cochran). Cal has secretly stashed away the missing money from that bank heist, and then begins to suffer from a guilty conscience.  Lilli’s slick repartee is marvelous as Cal and his reluctant partner Jack Farnham (then husband Howard Duff) focus on her, hoping she’ll help them in their investigation. Lilli’s tough, she’s made it on her own and isn’t about to compromise now… Cal may be falling apart but Lilli knows what she wants and she always seems to keep it together! Lilli Marlowe: “Ever since I was a little girl, I dreamed I’d meet a drunken slob in a bar who’d give me fifty bucks and we’d live happily ever after.”
Tallulah Lifeboat
23. Constance Porter (Tallulah Bankhead) in Lifeboat 1944. It’s WWII and Connie is a smart-talking international journalist who’s stranded in the middle of the Atlantic ocean with an ensemble of paranoid and desperate survivors. Eventually her fur coat comes off, her diamond bracelet and expensive camera gets tossed in the sea. But she doesn’t give a damn, she can take the punishment and still attract the hunky and shirtless (yum) John Kodiak… survival’s just a state of mind… and she does it with vigor and class and a cool calm! Connie Porter: “Dying together’s even more personal than living together.” 
member-of-the-wedding-ethel-waters-julie-harris-1952
24. Berenice Sadie Brown (Ethel Waters) The Member of the Wedding 1952. Berenice doesn’t take any crap. She’s in charge of the brooding, temperamental tomboy Franky Addams (Julie Harris) who feels like an outsider. Berenice’s kitchen is a place of wisdom as she tries to bestow some life lessons, to a child who is a wild and longing little soul… Berenice is the only steady source of nurturing and a strong pair of shoulders to lean on… Thank god Franky/Harris didn’t start having her droning inner monologues until The Haunting (1963). Frances ‘Frankie’ Addams: [throws the knife into the kitchen door] “I’m the world’s greatest knife thrower.”  Berenice Sadie Brown: [when Frankie threatens her with a knife] “Lay it down, Satan!” 
CapturFiles
25. The Bride (Elsa Lanchester) Bride of Frankenstein (1935) The Bride might be one of the first screen woman to rabidly defy an arranged/deranged marriage. She’s iconic,  memorable and filled with glorious hiss!.. because The Bride may have come into this world in an unorthodox way, but she’ll be damned if any man is going to tell her who to love! James Whale isn’t the only one who brought about life in this campy horror masterpiece… Elsa Lanchester manifested The Bride with a keen sense of fearsome independence. No matter whether the Monster demands a Mate, The Bride isn’t ready and willing. Lanchester always took daring roles that were larger than life because she had a way of dancing around the edges of Hollywood convention. Charming, hilarious and downright adorable even with the wicked lightning struck hair and stitches and deathly pale skin! the bride-“Hiss…Scream….”
Annex - Russell, Rosalind (His Girl Friday)_01
26. Hildy Johnson (Rosalind Russell) in His Gal Friday (1940) Hildy is a hard-bitten reporter for New York City’s The Morning Post. She’s just gotten back from Reno to a get a divorce from her louse of a husband who happens to also be her boss Walter Burns (Cary Grant). Hildy’s anxious to break ties with her manipulative ex-husband who just isn’t ready to let her leave the job or their marriage so she can marry straight-laced Bruce (Ralph Bellamy)… and he’ll do so by any means. But she’s nobody’s fool… and if she stays it’s because she’s made up her mind to embrace Walter’s crazy antics… Hildy Johnson: [to Walter on the phone] “Now, get this, you double-crossing chimpanzee: There ain’t going to be any interview and there ain’t going to be any story. And that certified check of yours is leaving with me in twenty minutes. I wouldn’t cover the burning of Rome for you if they were just lighting it up. If I ever lay my two eyes on you again, I’m gonna walk right up to you and hammer on that monkeyed skull of yours ’til it rings like a Chinese gong!” 
025-gloria-swanson-theredlist
27. Norma Desmond (Gloria Swanson) in Sunset Boulevard (1950) There’s just no one quite like Norma Desmond. It’s 1950’s decadent Hollywood, the heyday of the Silent Era long gone… and a true screen icon, a sympathetic soul, fights her way to a comeback. brought to life by Gloria Swanson. Swanson, who knew very well what it was like to be a screen goddess railing against fading away, creates an atmosphere of fevered madness. She’s a woman whose desires are punished by an industry and the men who hold the reigns. But Norma doesn’t give a damn she’ll always be ready for that eternal close-up… Yet another memorable phrase is turned and a legend both on and off screen is reborn. Joe Gillis: “You’re Norma Desmond. You used to be in silent pictures. You used to be big.”  Norma Desmond: “I *am* big. It’s the *pictures* that got small.” 
Vivien Leigh in The Roman Spring of Mrs Stone
28. Karen Stone -(Vivien Leigh) in The Roman Spring of Mrs Stone (1961) Karen Stone has the misfortune of being a 50 year old actress. There’s no place in theatre for an old woman of 50. On the way to Italy with her husband who is much older than she, he dies of a heart attack on the plane. Karen decides to settle in Rome and live a quiet life of solitude in her magnificent villa. Contessa Magda Terribili-Gonzales (Lotte Lenya) is an opportunistic Madame who employs charming young gigolos to wine, dine, and bleed dry wealthy older women. She introduces Paolo di Leo (Warren Beatty) to Karen in hopes that it will bring about a showering of riches from this great American lady. Karen has no use for her old theatre friends, the status, and the game of staying on top. She enjoys the serenity of her life at the villa. Yet she is shadowed by a young Italian street hustler’s mysterious gaze. At first Karen is reserved and cautious but soon she allows Paolo to court her, and the two eventually begin an affair. Karen is aware Paolo is using her for her money, but her passion has been released. She is using him as well. But when his mood begins to sour and he turns away, Karen finds him with a younger wealthy upcoming starlet that he is already sizing up as his next meal ticket… The fling ends but Karen has taken back the power of attraction and sexual desire, and turns the usual stigmatizing dichotomy on it’s head, for while it was okay when she was a younger woman married to a much older man,  she takes a younger male lover Karen Stone: “You see… I don’t leave my diamonds in the soap dish… and when the time comes when nobody desires me… for myself… I’d rather not be… desired… at all.” 
Ava-and-Richard-Burton-in-The-Night-of-the-Iguana
29. Maxine Faulk (Ava Gardner) in Night of the Iguana (1964). Maxine is a the personification of the loner. She is sexually, morally and socially independent from opinion. When Ava was cast as the “earthy widow” the director said her “feline sexuality” was perfect for one of Tennessee Williams’ “hot-blooded ladies.” Maxine runs a quiet out-of-the-way tourist oasis in Mexico. When a bus load of provincial middle aged ladies break down, Maxine has to host Judith Fellowes (Grayson Hall) a repressed lesbian, her gaggle of ladies who lunch, and Sue Lyon, a Lolita who is chasing Rev. T. Lawrence Shannon (Richard Burton) a defrocked alcoholic priest, that Maxine would like to become better acquainted with. Once Hannah Jelkes (Deborah Kerr) and her elderly grandfather arrive, the atmosphere seems to shift and Shannon is confronted with questions of life and love. Everyone at the hotel has demons and the rich and languid air seems to effect everyone… Maxine waits patiently for Lawrence to realize that they could have a passionate life together if he’d stop torturing himself… Gardner’s scene dancing in the ocean with the two young men is daring and provocative and purely Ava Garnder- Judith Fellowes: [Yelling at Shannon] “You thought you outwitted me, didn’t you, having your paramour here cancel my call.”  Maxine Faulk: “Miss Fellowes, honey, if paramour means what I think it does you’re gambling with your front teeth.”
AVA-GARDNER-AS-MAXINE-FAULK-IN-THE-NIGHT-OF-THE-IGUANA_3
 Ava Gardner | Maxine Faulk in Night of the Iguana 1964
HAROLD AND MAUDE, Bud Cort, Ruth Gordon, 1971
30. Maude (Ruth Gordon) in Harold and Maude (1971) There is no one quite like Ruth Gordon. She’s a sage, a pixie filled with a dreamy light that shines so bright from within. You can’t help but believe that she was as effervescent off screen as she was on screen.  Maude has a transcendent world view and a personal dogma to live life to the fullest and not waste time with extraneous matters. She believes everyone should be themselves and never mind what other people think… What else can you say about a character that vocalizes as much wisdom as any of the great and insightful spiritual leaders? Maude and Ruth both have a tenacity, vivacity and perspicacity…  Maude: “Harold, *everyone* has the right to make an ass out of themselves. You just can’t let the world judge you too much.”  — Maude: “I should like to change into a sunflower most of all. They’re so tall and simple. What flower would you like to be?”  Harold: “I don’t know. One of these, maybe.”  Maude: “Why do you say that?”  Harold: “Because they’re all alike.”  Maude: “Oooh, but they’re *not*. Look. See, some are smaller, some are fatter, some grow to the left, some to the right, some even have lost some petals. All *kinds* of observable differences. You see, Harold, I feel that much of the world’s sorrow comes from people who are *this*”

tumblr_n2uvdas0cl1rvcjd7o3_500

bloody-mama-cast
31. Ma Kate Barker (Shelley Winters) in Bloody Mama 1970: You know that Roger Corman was going to get the BEST woman who didn’t give a damn to play Ma Barker, the machine gun wielding matriarch of a notorious gang of bank robbers. She’ll do anything for her boys… Four boys only a mother could love. She’d kill for them! Ma Barker was irreverent and as mean as a bear backed into a beehive. A bold and brazen nature that delves into a whole other level of ‘no fucks given.’  Holding up a bank with her machine gun in hand “Alright everybody now reach for the nightgown of the lord, REACH!” 
Grayson-Hall-in-Satan-in-High-Heels-1962-grayson-hall-
32. Pepe (Grayson Hall) in Satan in High Heels (1962). Pepe is the owner of a posh burlesque house in mod-yet-gritty 60s New York City. Pepe is an incessant smoker and savvy, domineering woman who brings the story about a new ‘singer’ Stacey Kane (Meg Myles) who joins the club, to a boil— even as she stays as cool as the center seed of a cucumber. Pepe tilts her head sizing up all the various patrons who inhabit her club with just the right mix of aloof and self-possession as she puffs on her cigarette. She’s always ready with the quick lash of her tongue like a world-weary drag queen.  “Bear up, darling, I love your eyelashes.” — “You’ll EAT and DRINK what I SAY until you lose five pounds IN THE PLACES WHERE!”
Dunne, Irene (Awful Truth, The)_01
33. Lucy Warriner (Irene Dunne), The Awful Truth (1937) Before the ink on the divorce papers is dry Jerry (Cary Grant) and Lucy Warriner (Irene Dunne) torture each other and sabotage any chances of either of them getting re-married. Both Lucy and Jerry carry on monologues to themselves throwing out quick witted repartee, so that we can see both sides of the story. One evening, when Jerry is flirting with the idea of marrying into a high society family, Lucy impersonates his sister, playing at it like a cheap bimbo. At one point she does a fabulous drunken Hoochie dance, wiggling around with a provocative sway falling into her ex-husbands arms in a way that should definitely put a dent in Jerry’s plans. Lucy is hell bent on driving Jerry crazy, yet becomes flustered herself when the tables are turned on her as she tries to carry on with her new fiancé (Ralph Bellamy). Jerry Warriner: “In a half an hour, we’ll no longer be Mr. and Mrs. Funny, isn’t it.”  Lucy Warriner: “Yes, it’s funny that everything’s the way it is on account of the way you feel.”  Jerry Warriner: “Huh?”  Lucy Warriner: “Well, I mean, if you didn’t feel that way you do, things wouldn’t be the way they are, would they? I mean, things could be the same if things were different.”  Jerry Warriner: “But things are the way you made them.”  Lucy Warriner: “Oh, no. No, things are the way you think I made them. I didn’t make them that way at all. Things are just the same as they always were, only, you’re the same as you were, too, so I guess things will never be the same again.”
Ruth and Steve
34. Catherine ‘Cay’ Higgins (Ruth Roman) in Tomorrow is Another Day (1951). Catherine is a tough dance hall girl who isn’t afraid to get herself dirty. She goes on the lam for the sake of self preservation when her new love interest Bill Clark (Steve Cochran) is wrongfully accused of killing her abusive pimp… and geez he’s just gotten out of prison after a long stretch. Cay is ballsy, extremely earthy, and exudes an inner strength that is so authentic it’s hard not to believe she could take one on the chin and still keep going. She embodies an indestructible sort of sex appeal, powerfully passionate and self-assertive woman you’d want to be with you if you’re ever on the lam… Catherine ‘Cay’ Higgins: “You worked a whole day just to dance a minute at Dream Land?  Bill Clark: It was worth it.”
Lizabeth Scott and Raymond Burr in Pitfall 1948
35. Mona Stevens (Lizabeth Scott) Pitfall (1948) Mona is a sultry dewy blonde fashion model with a low simmering voice in the greatest tradition of the noir femme fatale. Forbes falls for her, and they begin to see each other, though she unwittingly starts the affair without knowing he’s married. It’s a recipe for disaster because ex-cop turned private dick J B MacDonald (Raymond Burr) is psychotically obsessed with Mona and will set things up so Forbes goes down. Mona is a tough cookie, who unfortunately keeps attracting the wrong men. But she can take on any challenge because she’s got that noir frame of mind. She’s a doll who can make up her own mind and can hold a gun in her hand as easily as if it were a cigarette. Mona “You’re a little man with a briefcase. You go to work every morning and you do as you’re told.”
Fugitive_kind_Anna
36. Lady Torrence (Anna Magnani ) in The Fugitive Kind (1960) Lady is an earthy woman who’s passions run like a raging river & her emotions and truths flow freely on the surface clear and forceful. She is a shop owner in Louisiana who is stoically existing in a brutal marriage to her cruel and vindictive husband Jabe (Victor Jory) who’s bed-ridden and dying of cancer. Lady dreams of building a confectionary in the back of the store. Along comes Marlon Brando as Valentine “Snakeskin’ Xavier, a guitar playing roamer who takes a job in the shop. Lady’s jaded loneliness and Valentine’s raw animal magnetism combust and the two begin a love affair. And Lady suddenly sees possibility again and her re-awakened passion empowers her to live her dreams. Lady-“Let’s get this straight, you don’t interest me no more than the air you stand in.”
and-the-wild-wild-women
37.  Egle (Anna Magnani) … And the Wild Wild Women (1959) Egle is the toughest inmate at this Italian prison for women. When Lina (Giulietta Masina) is convicted on a wrong felony charge, Egle takes her under her hardened wing and tutors her in the ways of crime. Egle is an instigator, she’s volatile and inflammatory and stirs up quite a riot at times. She’s got no fear. She is a tougher-than-nails, armpit-washing dame who just could care less about anyone else’s comfort or freedom. She’s a woman who has built up a tough exterior long enough that she truly is made of steel. The only thing that may betray that strength is at times the past sorrow or suffering that swims in her deep dark eyes.
The Rose Tattoo
38. Serafina Delle Rose (Anna Magnani) in The Rose Tattoo (1955) As the tagline states ‘Seething with realism and frankness!” You can’t get any other kind of performance from Magnani, her passionate soul is right up front, on her face and in her movements like a wild animal she moves so freely. Serafina is perpetual grieving widow filled with fire, playing against another actor (Burt Lancaster) whose bigger-than-life presence comes her way to bring about a lighthearted romance… Serafina is a seamstress in a small New Orleans town. She lives with the memory of her dead husband as if he were a saint. She mourns and wears black to show she is still committed to her man, even after he’s been killed by police while smuggling drugs for the mafia hidden in the bananas in his truck. With the presence of the local Strega or witch (Serafina gives deference to these things illustrating that she is of an older world of ancient feminine magic and empowerment), and her wandering goat, the town of fish wives & gossips who point, stare, judge, wail and cackle with their unkind insults put Serafina it forces her to fight for every last bit of dignity. Serafina gives deference to these things illustrating that she is of an older world of ancient feminine magic and empowerment. Once she learns her dead husband Rosario Delle Rose (who had a rose tattoo on his chest) was having an affair, the spell that leaves her imprisoned by mourning, breaks and awakens her will to celebrate life once again. She is stubborn, & passionate, and she has a strength that commands the birds out of the trees.  Serafina “We are Sicilians. We don’t leave girls with the boys they’re not engaged to!” Jack “Mrs Delle Rose this is the United States.” Serafina “But we are Sicilians, and we are not cold-blooded!”
Virginia Woolf Liz
39. Martha (Elizabeth Taylor) in Who’s Afraid of Virginia Woolf? (1966) Martha who is the archetypal Xanthippe and George (Richard Burton) are a middle-aged couple marinated in alcohol, using verbal assaults, brutal tirades, and orgies of humiliation as a form of connecting to one and other. All the characters spew biting blasphemous satire and are each neurotic in their own ways. But Martha is a woman who spits out exactly what she wants to say and doesn’t hold back. It’s an experiment in at home couple’s therapy served with cocktails, as they invite Nick and Honey (George Segal and Sandy Dennis) to join the  humiliating emotional release. In the opening of the film Martha arrives home and does a nod to Bette Davis while also condemning her own personal space and the state of her marriage, as she says “What a dump.” “I swear to GOD George, if you even existed I’d divorce you.”– Martha: “You’re all flops. I’m the Earth Mother, and you are all flops.”
1353301663_4-elizabeth-taylor
40. Gloria Wandrous  (Elizabeth Taylor) in Butterfield 8 (1960) Gloria is a fashionable Manhattan beauty who’s part model, part call-girl–and all man-trap. She grew up during the Depression and couldn’t escape the sexual advances of her uncle. New York City was for her a great escape. Gloria becomes an independent, sexually free woman who wants to get paid for her time. She hits the bottle a lot, because she has those dark troubling memories from her past that make her want to drown her thoughts. She winds up meeting a wealthy business executive who’s married, Weston Liggett, (Laurence Harvey) instantly he becomes entranced by her. She’s thrown off course and headed toward a fateful end, because she sees a kindred soul in the disillusioned Liggett who isn’t happy in his marriage. Their passion breathes new life into both lonely people. Though we can admire her sexual liberation, in cinema, women in the 60s ultimately had to be punished for their willful freedom, though it’s a double standard of course. Liz Taylor is another screen goddess who never shied away from bold & provocative roles. Gloria Wandrous: “Command performances leave me quite cold. I’ve had more fun in the back seat of a ’39 Ford than I could ever have in the vault of the Chase Manhattan Bank.”
22bbb68b30f14b6ef29d4a360c05ea07
41. Severine Sevigny (Catherine Deneuve) in Belle du Jour (1967) A whole new world opens up to Severine, a repressed housewife married to a doctor, when she decides to spend her midweek afternoons as a prostitute. While she can not seem to find any pleasure or intimacy with her husband, she blossoms in the brothel run by Madame Anais (Geneviève Page) and adopts a persona that can experiment with her secret desires of being dominated, her sexual appetites flourish during the day, when often she runs into more rough clients. But, sexual freedom has a price and ultimately, a relationship with a volatile and possessive john (Pierre Clémenti) could prove to be dangerous. Severine breaks free of the confines of convention, like marriage, and explores a provocative even deviant kind of sexual behavior. She allows herself to go further and explore the most secret desires by indulging them, it is quite adventurous and risky and Deneuve masters it with a transcendent elegance. Madame Anais: “I have an idea. Would you like to be called “Belle de Jour?”  Séverine Serizy: “Belle de Jour?”  Madame Anais: “Since you only come in the afternoons.”  Séverine Serizy: “If you wish.” 
Moreau Bride Wore Black
42. Julie Kohler (Jeanne Moreau) in The Bride Wore Black (1968) Julie Kohler is on a mission of revenge for the men who accidentally shot her husband on their wedding day outside the church. It was a short marriage… Julie finds a maniacal almost macabre sort of presentation to her theater of revenge, she moves through the film with the ease of a scorpion. But there’s dark humor and irony  (in François Truffaut’s homage to Hitchcock) running through the narrative. Like a good mystery thriller it utilizes very classic iconographic motifs. Julie is a captivating figure of sadness and passion put out at the height of it’s flame. Once passion for her late husband, and now passion for revenge. It’s playful and sexy and Moreau is utterly brilliant as the resourceful Julie Kolher who creates a satirically dire & elaborate, slightly Grande Guignol adventure of a vengeful woman on a crusade to exact poetic justice where the system has failed. Coral: “Permit me to make an impossible wish?” Julie Kohler: “Why impossible?” Coral: “Because I’m a rather pessimist.” Julie Kohler: “I’ve heard it said: “There are no optimists or pessimists. There are only happy idiots or unhappy ones”. .Julie-“It’s not a mission. It’s work. It’s something I must do” Priest–“Give it up”
 Julie–“That’s impossible, I must continue til it’s over”
Priest–“Have you have no remorse in your heart?… don’t you fear for your soul?”
Julie-“NO… no remorse, nor fear.”
Priest-“you know you’ll be caught in the end”
Julie-“The justice of men is powerless to punish, I’m already dead. I stopped living the moment David died. I’ll join David after I’ve had my revenge.”
Brigitte Helm Alraune
43. Alraune ten Brink -Brigitte Helm as Alraune 1928. A daughter of destiny! Created by Professor Jakob ten Brinken (Paul Wegener) Alraune is a variation on the Shelley story about man and his womb envy- which impels him to create a human-oid figure from unorthodox methods. A creation who does not possess a soul. He dared to violate nature when he experiments with the seed (sperm) of a hanged man and the egg of a prostitute. Much like James Whale’s Frankenstein who sought the secrets of life, Alraune is essentially a dangerous female who’s origin is seeded from this socially constructed ‘deviance’ of the hanged criminal and the whore (the film proposes that a whore is evil- I do not) Mixing the essence of sin with the magical mandrake root by alchemist ten Brinken he is seeking the answer to the question of an individual’s humanity and whether it be a product of nature or nurture. Alraune stumbles onto the truth about her origin when she reads the scientist’s diary… What could be more powerful than a woman who isn’t born with the sense of socially ordered morality imposed or innate. Is she not the perfect femme fatale without a conscience, yet… A woman who knows she is doomed to a life without a soul, she runs away with her creators love-sick nephew, leaving Professor ten Brinken, father figure and keeper- alone.
night-of-the-hunter
44. Rachel Cooper (Lillian Gish) in Night of the Hunter (1955) “I’ve never been in style, so I can never go out of style.” Lillian Gish. There are certain images that will remain with you long after seeing masterpieces like Night of the Hunter. Aside from Harry Powell and Mitchum’s frightening portrayal of an opportunistic sociopath, beyond the horror of what he is, the film is like a childhood fairy tale. It’s a cautionary tale about the boogeyman but it’s also a story about the resilient spirit and far reaching imagination of children. And those who are the guardian angels of the world. One of the most calming and fortifying images- is that of Rachel Cooper (Lillian Gish) protecting the children from harm, holding the rifle and keeping watch like a wonderful fairy god mother elected by fate to guard those little ones with her powerful brand of love… There’s just something about Gish’s graceful light that emanates from within and the character she manifests in the righteous Rachel Cooper…. Rachel Cooper: “It’s a hard world for little things.”
Lucille Ball in The Dark Corner
45. Kathleen Stewart- (Lucille Ball) in The Dark Corner (1956) Kathleen Stewart is the always faithful and trustworthy secretary of private investigator Bradford Galt (Mark Stevens) She’s the right amount of snarky and just a sexy bundle of smarts… Bradford Galt: “You know, I think I’ll fire you and get me a Tahitian secretary.”  Kathleen Stewart: “You won’t like them; those grass skirts are a fire hazard.”  Kathleen just won’t quit her boss. She knows he’s in trouble and wants to help him face it head on. She keeps pushing Galt to open up that steel safe “heart”, of his and let her help. Once she’s in on the intrigue, she’s right there with him, putting her secretarial skills aside and getting into the fray with her love interest/boss. She shows no fear or hesitation, doesn’t look down on Galt’s past, and is quite a versatile sidekick who really helps him out of a dangerous set up! She’s that other sort of  film noir heroine Not quite the ‘good girl’ nor a femme fatale. A strong sassy woman who doesn’t shy away from danger and when she’s in… She’s in it ‘for keeps.’ And say… isn’t that empowering!. Kathleen tells it like it is, sure she dotes on the down and out guy and is the strong shoulder to lean on, whenever things get frenzied or rough. Doesn’t make her a sap, it makes her a good friend and companion! Kathleen: “I haven’t worked for you very long, Mr. Galt, but I know when you’re pitching a curve at me, and I always carry a catcher’s mitt.”  Bradford Galt: “No offense. A guy’s got to score, doesn’t he?”  Kathleen: “Not in my league. I don’t play for score, I play for keeps “
Bella-Donna-Mae-West
46. Lady Lu (Mae West) in She Done Him Wrong (1933) In the Gay Nineties, Lady Lu is a voluptuous nightclub owner/singer (she sings-A Guy What Takes His Time) who has men falling all over themselves. One is her ex lover who just escaped from prison, and a few waiting in the wings. Lu is interested in the handsome Captain Cummings (Cary Grant) who runs the temperance league across the way. Lady Lu loves to be bathed in and dazzled by diamonds, lots of diamonds. But Lu is also determined to seduce missionary Cary Grant… who is more interested in her soul than in her body-Marvelous Mae tells him- “Maybe I ain’t got no soul.” Mae had a hand in creating the woman who didn’t give a damn! She gave us the immortal line… “Come up’n see me sometime. I’m home every evenin’–“Lady Lou: “Listen, when women go wrong, men go right after them.”  Captain Cummings: “Well, surely you don’t mind my holding your hand?”  Lady Lou: “It ain’t heavy – I can hold it myself.” 
CapturFiles
47.  Nicole Horner (Simone Signoret) in Diabolique (1955) Simone Signoret is a torrent of sensuality (Room at the Top 1959, Ship of Fools 1965) Christina Delassalle (Véra Clouzot) plays the wife of a sadistic husband Michel Delassalle (Paul Meurisse) the controlling headmaster at their boarding school for boys. Nicole is the mistress of the cruel Michel, who has formed a special bond with Christina. Nicole incites the timid and weakly woman to kill the bastard by drowning him in a bathtub and then dumping his body in the school’s unused and mucky swimming pool. Nicole is determined and forceful in her mission to rid Christine of this abusive beast and the two women go through with the plan.  Nicole Horner: [to Christina] “I won’t have any regrets.”  In short, the pool is drained, the body isn’t there. And then there are numerous eerie sightings of the dead man which eventually drives the murderesses into a panic…  Is Nicole in on an even more nefarious scheme to drive Christina crazy? For now, the main focus is how Nicole summons a thuggish type of power that is riveting.  What’s remarkable about the film, aside from Clouzot’s incredible construction of a perfectly unwinding suspense tale, Signoret’s performance exudes grit and an unrelenting audaciousness. Nicole.  Christina Delassalle: “Don’t you believe in Hell?”  Nicole Horner: “Not since I was seven.” 
rosemarysbaby
48 Mia Farrow is Rosemary Woodhouse in Rosemary’s Baby 1968
Ruth and Mia
48. Rosemary Woodhouse (Mia Farrow) in Rosemary’s Baby 1968. Rosemary has a fearless defiance in an ordinary world that becomes an unsafe space and a deep well of paranoia. Beyond guarding her body and motherhood against all intruders, Rosemary has an open mind, a delicate brand of kindness although troubled by a catholic upbringing that haunts her, she is still ‘too good’ and too independent to taint. And she winds up taking life and the life of her baby on her own terms. No one could have manifested the spirit of Rosemary Woodhouse like Mia Farrow. It’s an indomitable image of striking resiliency. A heroine who braves an entire secretive cult of devil worshipers entrenched in the high society of NYC. That takes a lot of guts people!… Ruth Gordon as well personifies a meddling old New York busybody who just happens to be a modern day witch. Minnie Castavet also does what she wants -as she is empowered with her quirky style and her beliefs, as wicked as they may be…And her wardrobe is bold, kitschy and fabulous! Rosemary Woodhouse: “Pain, begone, I will have no more of thee!”
Geraldine Page
49. Alexandra Del Lago (Geraldine Page) in Sweet Bird of Youth (1962) Alexandra Del Lago is a decadent, soaked in boozed, and fading film star who is picked up by drifter by Chance Wayne (Paul Newman) for a tumble in the sheets. He’s been trying to break into the film biz for years, and hoping that Alexandra can help him get a screen test. He also wants to be reunited with his old flame Heavenly Finley (Shirley Knight). Chance Wayne: “I had my picture on the cover of Life magazine!… And at the same time I was… employing my other talent, lovemaking.”  Alexandra Del Lago: “That may be the only talent you were ever truly meant for.” The roles that Geraldine Page would often take were filled with an intellect that transcends the strong female archetype. As Alexandra, she has a unique sort of cynical romanticism that exudes, a bit of alienation, a touch of longing and a penetrating intensity. She might be a washed up film star but she’s also a philosopher with a grasp of vocalizing the ironies and tragedies of life. She wants to drown her sorrows in liquor so she can escape from the pain of her life, and the uncertainty the future holds. But within that internal tumult is the soul of a great lady. Narcissistic, world-weary and a spirit stoked by those heart-aches.
Anna Lucasta (1958) | Pers: Eartha Kitt, Sammy Davis Jr | Dir: Arnold Laven | Ref: ANN040AE | Photo Credit: [ United Artists / The Kobal Collection ] | Editorial use only related to cinema, television and personalities. Not for cover use, advertising or fictional works without specific prior agreement
50. Anna Lucasta (Eartha Kitt) (1958) Young Anna is rejected by her sanctimonious father Joe played to the hilt by Rex Ingram. While the rest of the family wants Anna to come home, her self-righteous father can’t resist demonizing his daughter, with an underlying incestuous desire that he is battling.  Anna takes the cliched road of the fallen woman and becomes a good time gal who meets Danny (Sammy Davis Jr.) a cab driving sailor who is as smooth as silk and as fiery as molten lead. Though there is an underlying sadness because of the estrangement with her father, Anna possesses a strong sense of self, and exudes a fiery passion that cannot be denied… She isn’t a bad girl, she had to find her own way and again, it often leads to taking control of who you love and how you love. She and Sammy have a smoking hot chemistry on screen, and Kitt is just powerful as a woman who made that road her own…  Danny- “Tell her who Papa is” (speaking about the little carved wooden Haitian idol he’s given her) Lester – “That’s the model of Agwé the Haitian god of the sea. Seems he’s good to sailors” Anna- “Looks like Papa and me’s got something in common…”
phantom_lady_2
51. Carol Richman (Ella Raines) in Phantom Lady 1944 Carol Richman risks her life to try to find the elusive woman who can prove her boss (Alan Curtis) didn’t murder his wife. The unhappy guy spends a fateful evening with a woman he has picked up in a bar. He doesn’t know her name but she wears an unusual hat, which might be a clue for Carol to try and track down. Carol’s got so much guts, she puts herself in harms way so many times but she’s fearless just the same. Even when she meets the super creepy jazz drummer Cliff Milburn, who obviously is manic and might just be a sadist in bed, (if his drumming is any indication.) Plus there’s always the deranged sculptor Jack Marlow (Franchot Tone) who seems to be a menacing force.  Cliff Milburn (Elisha Cook Jr) “You Like Jive?” Carol ‘Kansas’ Richman “You bet, I’m a hep kitten” 
femme-fatale-pam-grier-coffy-theringtrick-tumblr
52. Pam Grier is Coffy 1973  Okay okay tho I’m sneaking in past the 1970 cut off… I’m a woman who doesn’t give a damn and nodding to one of the greatest 70’s icon… Pam Grier set the pace for strong female heroines that laid the groundwork for all the others to follow… so she gets a nod from me! She plays a nurse who becomes a vigilante in order to get justice against the inner-city drug dealers who are responsible for her sister’s overdose… Coffy sets the bar high for strong female characters who wouldn’t back down, and who possessed a strength that is meteoric and a force to be reckoned with. Beautiful, resourceful, intelligent -a strikingly irrepressible image that will remain in the cultural consciousness for an eternity. Arturo Vitroni: “Crawl, n*gger!” Coffy: [pulls out gun] “You want me to crawl, white mother fucker?” Arturo Vitroni: “What’re you doing? Put that down.” Coffy: “You want to spit on me and make me crawl? I’m gonna piss on your grave tomorrow.”
shadow-of-a-doubt-joseph-cotten-teresa-wright-strangling-1943
53. Charlie (Teresa Wright), in Shadow of a Doubt (1943) Charlie is tired of small-town life with her parents and annoying younger sister. She’s a girl starved for new adventures, longing for something exciting to happen, to stir up her life. Careful what you wish for… She’s overwhelmed with joy when her beloved Uncle Charlie (Joseph Cotton) decides to pay the family a visit. But something isn’t quite right with her idol, he begins to exhibit a strange sort of underlying hostility and troubling secret nature… Her mother’s (Patricia Collinge) younger brother is actually a sadistic serial killer who preys on rich widows by marrying them, then strangling them! He’s so charming and charismatic that women can’t help being drawn to him. But young Charlie begins to see through his facade. Why would he cut out the news headline in the paper about a murderer who kills rich women? It all begins to take shape, and unfortunately Uncle Charlie can’t afford to have his favorite niece spill the beans.  What’s remarkable about young Charlie is that for a girl who fantasizes and indulges herself in things of a more romantic nature, she’s pretty darn brave in the self preservation department since no one else in the family believes her suspicions that he’s The Merry Widow killer. And she might just have to go rogue and wind up killing him in self-defense… Young Charlie: “Go away, I’m warning you. Go away or I’ll kill you myself. See… that’s the way I feel about you.”
NakedKiss5
Constance Towers & Virginia Gray
Constance Towers The Naked Kiss
54. Kelly (Constance Towers) in The Naked Kiss (1964) The opening of the film is one of the most audacious entrances in early exploitation cinema,as Kelly confronts her pimp who has shaved off her hair and stolen her money. Kelly brutally pummels the rat with her handbag. Stripped of her hair she looks like a mannequin signifying her as the ‘object’ She is introduced to us from the opening of the narrative as a fighter. Kelly manages to fit in to the quaint new town of Granville she’s made her home until the perverse true nature of Granville’s benefactor is exposed. Grant (Michael Dante) possesses a dark secret that Kelly stumbles onto and ultimately explodes in scandal. The story is a mine field of social criticisms and hypocrisy that allow Kelly to rise above her persecution by the local cop Griff (Anthony Eisley) who isn’t adverse to taking Kelly to bed himself or frequenting Madame Candy’s (Virginia Gray) high class “cat house’ yet he’s above reproach. Griff tells Kelly it’s a clean town and he doesn’t want her operating there. But Kelly wants out of the business. She’s great with disabled children at the hospital and just wants a fresh start. Until she exposes the truly deviant secret about Grant and winds up accused of his murder. Kelly initially walks the fine line of being the ‘whore’ of the story, the one who needs redemption only to have the narrative flip it around and more importantly it’s the town that must be redeemed because of it is jaundiced complacency from the long kept secrets of the wealthy Patriarchal family that own and run it. Kelly is a powerful protagonist, because she kicks down the door of hypocrisy and judgement. Kelly also shatters the limitations that are placed on women. There’s exists a displaced female rage that started to become articulated later on with ‘f’eminist parable’ films during the late 60s and 70s. In the end she no longer is labeled or objectified or persecuted. She is embraced as a savior. Kelly’s got a reserve of strength and a great sense of self. To me she ends up being a heroine who rather than redeems herself becomes the catalyst for cleansing the ‘white middle-class’ town of it’s hypocrisy… Kelly (talking to Capt. Griff Anthony Eisley)“I washed my face clean the morning I woke up in your bedroom!”
agnes-moorhead-hush-hush
55. Velma (Agnes Moorehead) in Hush Hush Sweet Charlotte (1964) Velma is Charlotte’s trusted companion. She shows a lot of gumption when Cousin Miriam (Olivia de Havilland) shows up trying to gaslight poor Charlotte who’s suffered enough at the grotesque and tawdry way she lost her fiancee, and how she lived under the oppressive thumb of her father (Victor Buono). Velma wasn’t nary shy a bit to face off with Cousin Miriam, that intimidating gold-digging she-devil in Park Avenue clothes. (From de Havilland’s own wardrobe) Velma always says it like it is, and tries to be a trusted friend to Charlotte even when the whole town shuns her as a crazy axe murderess. We all need friends who would either help you hide the body, or at least defend you against an accusing mob… either way. I’m pretty sure Velma could have taken Miriam if she didn’t have Joseph Cotton’s help on her side… And we can’t forget Mary Astor’s firebrand performance as Jewel Mayhew… Jewel Mayhew: “Well, right here on the public street, in the light of day, let me tell you, Miriam Deering, that murder starts in the heart, and its first weapon is a vicious tongue.”– Velma Cruther talking to Cousin Miriam: “O you’re finally showin’ the right side of your face. Well, I seen it all along. That’s some kinda drug you been givin’ her. Isn’t it? It’s what’s been making her act like she’s been. Well, Ah’m goin’ into town and Ah’m tellin them what you been up to.”

Continue reading “Enduring Empowerment : Women Who didn’t Give a Damn! …in Silent & Classic film!”