Domineering Harriet Craig holds more regard for her home and its possessions than she does for any person in her life. Among those she treats like household objects are her kind husband ... See full summary »
Millicent Wetherby is a middle-aged woman whose life is devoid of love and affection. Millicent's solitary existence changes when she encounters Burt Hansen a charismatic younger man. As ... See full summary »
Daisy Kenyon (Joan Crawford) is a commercial artist living in New York City and having a 'back street' affair with a married lawyer, Dan O'Mara (Dana Andrews), whom she hopes to marry as ... See full summary »
Jenny Stewart is a tough Broadway musical star who doesn't take criticism from anyone. Yet there is one individual, Tye Graham, a blind pianist who may be able to break through her tough exterior.Written by
In an old newspaper review, Ty rhapsodizes about Jenny's performance of the song "Tenderly" which he saw her perform on the night before he was shipped off to WWII (and subsequently blinded). In reality, that tune was not written until 1946, a year after war was over. See more »
That's a couplet from a production number in which Miss Joan Crawford declares, in Technicolor blackface, "I can't help being a two-faced woman." She overestimates herself: In this peerlessly ripe '50s melodrama she has one face, glaring, glaring. She's a harder-than-nails Broadway singer-dancer (dubbed, and clearly no Terpsichorean natural) who shouts down anyone opposed to her in the tiniest way, and then smokes countless cigarettes, glowers, and downs alcohol to betray her neuroses. She's inexplicably adored by her blind rehearsal accompanist (Michael Wilding, who got some terrible parts at MGM), who at least doesn't have to witness her terrifying eyebrows or orange hair, and who's in turn pursued by a nice blonde musician who's obviously a much better match for him. What's surprising and endlessly entertaining about this not-quite-musical is how willing, and even eager, La Crawford is to play up to her public's worst estimation of her. She'll play unsympathetic up to the armpits, as long as they sense that underneath is the heart of a real woman who merely needs to be dominated by a devoted male. None of the characters makes much sense--Marjorie Rambeau, Oscar-nominated as her mother, is either cold and grasping or warm and sympathetic depending on the moment in the plot--but the dialog has some sarcastic snap to it, and it's fun to watch Crawford go through her purification-through-humiliation paces. There's a brilliant Carol Burnett parody of this called "Torchy Song," but the original is even more giggle-inducing.
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