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This has always been one of my current movies. I’ve impartial watched it for maybe the tenth time, and my jaw hurts from the constant grin, along with a trot or two, that viewing this film produces. The fable of the inhabitants of “The Footlights Club”, those struggling young actresses pursuing the glory and heartbreak of show-biz, is honest as unique and witty as when it was produced in 1937. Katherine Hepburn was somewhere in the midst of her “Box Office Poison” phase when she made this film. She is astounding as “Terry Randall”, the heiress attempting to live in anonymity to pursue her starry dream, against the wishes of her wealthy father. She is assisted in all this comaraderie by the now legendary cast of Ginger Rogers, Lucille Ball, Eve Arden, and Ann Miller. Other than Rogers, all the others were relatively unknown at this point, and their intimidation at the prospect of working with the Stout Kate has been often told. Ann Miller was but a babe here, and we secure to behold her tap!, something she later became very celebrated for. Also, our beloved Lucys wisecracking and dead-pan humor foreshadow her future greatness as the worlds popular t.v. clown. This superbly written film, taken from the play by Edna Ferber and George Kaufmann, is rotund of witty banter, repartee, occasional sweet sentiment, and tragedy, as the resplendent gaggle of girls try and constantly out-talk each other. It is rich with amazing character roles, the stand out being that of Constance Collier, as the older resident drama coach and frail actress. She is absolutely hysterical in her delivery, as she attempts to deny anyone who will listen about her acting glory days of past, always accompanied by the showing of her old review clippings, which always objective happen to be at hands near. There honest aren’t any amazing character actresses like this anymore, or, if there are, the roles for them are few and far between. In staunch life, Miss Collier, celebrated for her Modern York soirees, was Katherine Hepburns drama coach and dear friend, and, on her death in the mid-1950′s, Miss Hepburn inherited Miss Colliers secretary, Phyllis Wilbourn, who remained with her for over forty years. Miss Collier was also drama coach for the tremendous Garbo, as well as, for a brief time, her beloved Marilyn Monroe (Read “A Pretty Child” by Truman Capote.) Some may catch sure scenes and acting styles in this film dated, but, if so, don’t let that distract you from its timeless wit in its depiction of those who will risk all to effect their dream of their name in lights. This film also has one of my current endings and fade-outs, which always leaves a smile on my face. A classic.
“The Philadelphia Sage” brought Katharine Hepburn’s film career assist from the oblivion of being considered “Box Office Poison” by the nation’s theater owners, but she was making a string of respectable pictures lawful before that classic 1940 film beginning with 1937′s “Stage Door.” Her next two films were “Bringing Up Baby” and “Holiday,” both with Cary Grant, and all four films have Hepburn playing a rich girl. In “Stage Door” she is Terry Randall, a debutante and wannabee actress who comes to Current York City to become a Broadway star. She moves into the Footlights Club, where she joins a company of bad, starving young actresses who are all trying to design it in reveal businesses.
Terry ends up rooming with Jean Maitland (Ginger Rogers), an acid-tongued but softhearted dancer. The two trade barbs over everything from Terry’s extensive wardrobe to Jean’s affair with Anthony Powell (Adolphe Menjou), a Broadway producer who is working his diagram through an endless procession of young women. His next gigantic production is “Enchanted April,” and in order to obtain funding he is cornered into giving the inexperienced and patently inept Terry the starring role. The share should have gone to Kaye Hamilton (Andrea Leeds), a talented actress at the club who is broke and on the verge of starvation. When Terry gets the fragment Kaye is crushed.
Based on the play by Edna Ferber and George S. Kaufman, the script by Morrie Ryskind and Anthony Veiler retained the basic place line regarding Terry, Jean, and Kay, while provided some extraordinary crackling dialogue amongst the girls (some of which was supposedly based on overhearing the actresses chatting during rehearsals) . One of the prime attractions of the film today are the faces that would become familiar in the future, such as Lucille Ball, Eve Arden, and Ann Miller.
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The indicate allotment of the film is the play-within-the-play sequences, which was remodeled after a scene in the third act of “The Lake,” the disagreeable Broadway play were Dorothy Parker got off the noted shot “Katharine Hepburn ran the gamut of emotions from A to B.” This is where the eminent line “The calla lilies are in bloom again” is uttered by Hepburn. In rehearsal she butchers the line and the scene in the most horrendous fashion. But then, in the broad tradition of opening nights in such films, Terry turns in a transcendent performance. The comparison of the two scenes is titanic evidence of the range of Hepburn’s acting talents at this point in her career.
Admittedly it seems weird that Terry could be so inept, but the transformation is rewarding, as is the payoff of the film. However, Hepburn’s performance was apparently overshadowed by the realization that Ginger Rogers was also a handsome superb comedienne as well as a gargantuan dancer. Aloof, it is the ensemble nature of the film, with all those wisecracking young girls trying to originate it in the sizable poor city that is the prime attraction. “Stage Door” received Oscar nominations for Best Represent, Best Writing (Screenplay), Best Director for Gregory La Cava, and Best Supporting Actress for Leeds.
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