Through the early 1930s, Barbara Stanwyck established her reputation in a field overflowing with other young Broadway starlets: Bette Davis, Miriam Hopkins, Katharine Hepburn, Claudette Colbert, Joan Blondell. Barbara was lower-keyed and less mannered than Davis and Hepburn; less glamorous than Colbert. She was “real,” and she also proved to be the personification of no-nonsense professionalism, making her popular with directors and coworkers alike.
Eve GoldenHer first really great role, the one that cemented the “Jean Arthur character,” was as the wisecracking big-city reporter who eventually melts for country rube Gary Cooper in Frank Capra’s Mr. Deeds Goes to Town (1936). It was the first of three terrific films for Capra: Jean played the down-to-earth daughter of an annoyingly wacky family in Capra’s rendition of Kaufman and Hart’s You Can’t Take It With You (1938), and she was another hard-boiled city gal won over by a starry-eyed yokel in Mr. Smith Goes to Washington (1939). “Jean Arthur is my favorite actress,” said Capra, who had successfully worked with Stanwyck, Colbert and Hepburn. “. . . push that neurotic girl . . . in front of the camera . . . and that whining mop would magically blossom into a warm, lovely, poised and confident actress.” Capra obviously recognized that Jean was often frustrated in her career choice.
Eve GoldenTags: film films hollywood movies cinema classic-hollywood frank-capra jean-arthur
[Constance Bennett] never tired of acting, said Peter Plant. “She liked it, she enjoyed it, and she worked very hard at it. When she was making a film, she would really be busy preparing for the next day’s scenes. I would visit her for half an hour, and then she would go back to her script. She had what her father had, a photographic memory. Richard Bennett, I understand, could read a play through once, and he knew the whole play, and everyone else’s cues. I have the good fortune to have inherited that, and it’s made many people think me more intelligent than I am.
Eve GoldenTags: constance-bennett
I bumped into every kind of disappointment, and was frustrated at every turn. Roles promised me were given to other players, pictures that offered me a chance were shelved, no one was particularly interested in me, and I had not developed a strength of personality to make anyone believe I had special talents. I wanted so desperately to succeed that I drove myself relentlessly, taking no time off for pleasures, or for friendships.” - Jean Arthur
Eve GoldenTalking films revealed [Jean Arthur]'s quirky, remarkable voice: nasal, raspy, querulous— an odd, expressive voice which somehow fit her intense, funny and very smart screen persona.
Eve GoldenI guess I became an actress because I didn’t want to be myself,” [Jean Arthur] later conjectured.
Eve GoldenIn 1990 [Claudette Colbert] wished Vanity Fair readers “a fabulous new decade. I’m praying to make it to 2000. After all, I’ll only be 97.” She didn’t quite make it.
Eve GoldenWhen [Claudette Colbert] died at 92, on July 30, 1996, her front-page New York Times obit recalled her “wit, gaiety, cupid’sbow mouth and light touch . . . worldly and sophisticated yet down to earth.” Claudette herself was quoted, “I’ve always believed that acting is instinct to start with; you either have it or you don’t . . . I did comedy because all my life I always wanted to laugh myself. There was never anything that gave me as much satisfaction as to be in something amusing.
Eve GoldenJoan Blondell had it all: looks, talent, energy, humor. If she never became a top-flight superstar, the fault lies mostly with Warner Brothers. At MGM, Joan could have easily had Jean Harlow’s career; at Paramount, Claudette Colbert’s or Carole Lombard’s; at Fox, Loretta Young’s; at RKO, Ginger Rogers’. Some of the fault lies, too, with Blondell herself, who later admitted, “The instant they said ‘cut!’ I was whammo out of that studio and into the car . . . In order to be a top star and remain a top star and to get all the fantastic roles that you yearned for, you’ve got to fight for it and you’ve got to devote your twenty-four hours to just that; you’ve got to think of yourself as a star, operate as a star; do all the press that is necessary . . . What meant most to me was getting home, and that’s the truth.” But if Joan Blondell got slightly lost in the shuffle at Warners, she still managed to turn in some delightfully snappy performances and typify the warm-hearted, wisecracking Depression dame. And when she aged, she did so with grace and humor.
Eve GoldenIt’s a testament to [Joan Blondell]'s talent that she is so fondly remembered even though so few of her films were even adequate. Her Warners cohorts were given classics while Joan remained the reliable backup in unremarkable films badly needing her gifts.
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