Barbara Stanwyck π °π³π ³π΄π ³ π πΈπ ³π΄π Ύπ
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- Publication date
- 1907
- Topics
- Barbara Stanwyck
In an industry of prima donnas, actress Barbara Stanwyck was universally recognized as a consummate professional; a supremely versatile performer, her strong screen presence established her as a favorite of directors, including Cecil B. De Mille, Fritz Lang, and Frank Capra. Born Ruby Stevens July 16, 1907, in Brooklyn, NY, she was left orphaned at the age of four and raised by her showgirl sister. Upon quitting school a decade later, she began dancing in local speakeasies and at the age of 15 became a Ziegfeld chorus girl. In 1926, Stanwyck made her Broadway debut in The Noose, becoming a major stage star in her next production, Burlesque. MGM requested a screen test, but she rejected the offer. She did, however, agree to a supporting role in 1927's Broadway Nights, and after completing her stage run in 1929 appeared in the drama The Locked Door. With her husband, comedian Frank Fay, Stanwyck traveled to Hollywood. After unsuccessfully testing at Warner Bros., she appeared in Columbia's low-budget Mexicali Rose, followed in 1930 by Capra's Ladies of Leisure, the picture which shot her to stardom. A long-term Columbia contract was the result, and the studio soon loaned Stanwyck to Warners for 1931's Illicit. It was a hit, as was the follow-up Ten Cents a Dance. Reviewers were quite taken with her, and with a series of successful pictures under her belt, she sued Columbia for a bigger salary; a deal was struck to share her with Warners, and she split her time between the two studios for pictures including Miracle Woman, Night Nurse, and Forbidden, a major hit which established her among the most popular actresses in Hollywood. Over the course of films like 1932's Shopworn, Ladies They Talk About, and Baby Face, Stanwyck developed an image as a working girl, tough-minded and often amoral, rarely meeting a happy ending; melodramas including 1934's Gambling Lady and the following year's The Woman in Red further established the persona, and in Red Salute she even appeared as a student flirting with communism. Signing with RKO, Stanwyck starred as Annie Oakley; however, her contract with the studio was non-exclusive, and she also entered into a series of multi-picture deals with the likes of Fox (1936's A Message to Garcia) and MGM (His Brother's Wife, co-starring Robert Taylor, whom she later married).
For 1937's Stella Dallas, Stanwyck scored the first of four Academy Award nominations. Refusing to be typecast, she then starred in a screwball comedy, Breakfast for Two, followed respectively by the downcast 1938 drama Always Goodbye and the caper comedy The Mad Miss Manton. After the 1939 De Mille Western Union Pacific, she co-starred with William Holden in Golden Boy, and with Henry Fonda she starred in Preston Sturges' outstanding The Lady Eve. For the 1941 Howard Hawks comedy Ball of Fire, Stanwyck earned her second Oscar nomination. Another superior film, Capra's Meet John Doe, completed a very successful year. Drama was the order of the day for the next few years, as she starred in pictures like The Gay Sisters and The Great Man's Lady. In 1944, she delivered perhaps her most stunning performance in Billy Wilder's classic noir Double Indemnity. Stanwyck's stunning turn as a femme fatale secured her a third Oscar bid and helped make her, according to the IRS, the highest-paid woman in America. It also won her roles in several of the decade's other great film noirs, including 1946's The Strange Love of Martha Ivers and 1949's The File on Thelma Jordon.
In between, Stanwyck also starred in the 1948 thriller Sorry, Wrong Number, her final Academy Award-nominated performance. The 1950s, however, were far less kind, and strong roles came her way with increasing rarity. With Anthony Mann she made The Furies and with Lang she appeared opposite Marilyn Monroe in 1952's Clash by Night, but much of her material found her typecast -- in 1953's All I Desire, she portrayed a heartbroken mother not far removed from the far superior Stella Dallas, while in 1954's Blowing Wild she was yet another tough-as-nails, independent woman. Outside of the all-star Executive Suite, Stanwyck did not appear in another major hit; she let her hair go gray, further reducing her chances of winning plum parts, and found herself cast in a series of low-budget Westerns. Only Samuel Fuller's 1957 picture Forty Guns, a film much revered by the Cahiers du Cinema staff, was of any particular notice. It was also her last film for five years. In 1960, she turned to television to host The Barbara Stanwyck Show, winning an Emmy for her work.
Stanwyck returned to cinemas in 1962, portraying a lesbian madam in the controversial Walk on the Wild Side. Two years later, she co-starred with Elvis Presley in Roustabout. That same year, she appeared in the thriller The Night Walker, and with that, her feature career was over. After rejecting a role in Hush...Hush, Sweet Charlotte, she returned to television to star in the long-running Western series The Big Valley, earning another Emmy for her performance as the matriarch of a frontier family. Upon the show's conclusion, Stanwyck made a TV movie, The House That Would Not Die. She then appeared in two more, 1971's A Taste of Evil and 1973's The Letters, before vanishing from the public eye for the remainder of the decade. In 1981, she was awarded an honorary Oscar; two years later, she was also the recipient of a Lincoln Center Life Achievement Award. Also in 1983, Stanwyck returned to television to co-star in the popular miniseries The Thorn Birds. Two years later, she headlined The Colbys, a spin-off of the hugely successful nighttime soap opera Dynasty. It was her last project before retiring. Stanwyck died January 20, 1990.
- Addeddate
- 2023-04-22 20:53:27
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- night-nurse.-1931
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- Internet Archive HTML5 Uploader 1.7.0
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- Year
- 1907
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Reviews
Subject: Den NC USA
2) I am very glad that I could give assistance for you to prove Clarence started with a Barbara Stanwyck movie.
JTDIVER
Subject: GOODNESS GRACIOUS, GREAT BALL OF FIRE
Thousands of thank you's, for all your gifts of time and work to share such a vast treasure chest of movie cultural history. My sincere gratitude for us all who love the celluloid experience (and digital ain't bad either...) INTERNET ARCHIVE too!
OK, so my wife and I were snugged up watching Clarence the Angel work his wonderful Christmas love... the understanding of share and care. Would that the real world were...
AND AFTER, I said to her, he was in a Barbara Stanwyck film, honey... And she didn't know what it was. I couldn't remember the title.
But I was "given" your gifts for Christmas this year by chance and love... Ball of Fire (1941).
Here it is, and Henry Travers is in it! I vaguely remembered it from the 60's...when I saw it in a Stanwyck study in film school, NYU. Wow. That's a long time ago, but then, so was 1941.
Thank you for all you do. You are like Clarence too. An angel of sharing and caring. Film division.
On one Stanwyck website, Ball of Fire is listed as #4 of all of Stanwyck's films. Wow. I didn't know that either.
Two more things. for the savers/downloaders of the crowd, of whom I am one, I offer the thought that avi plays well everywhere, so remember to check the various file types in the download area, when Mp4 might be several Gbs...
Finally, as a Southerner by birth, and a North Carolinian by domiclie, I modest must say that I miss Ava Gardner. Nuff said, now I sound like Oliver at lunch, "Please sir, I want some more...."
Let's leave it at "As you like it."
Thank you thouands of times at 24 frames a second... for us all.
Subject: Nobody is Better than Stanwyck IMO
Subject: A Great Actress!
She was an excellent actress. I enjoy her from her early comedies all the way to The Big Valley. You sharing about her professionalism does make her stand out in other ways. Christmas in Connecticut is one of the best Christmas movies too.
Now that I understand more about your work here, I'll recommend (only if it interests you) an actor and an actress. (I notice you kind of balance actors and actresses). For an actor, and a really forgotten one at that, how about Robert Donat? He has depth and range and was selective in parts and then sick in later years. He was one of the best leads in a Hitchcock film too. I only count 19 films in his repertoire. The only thing I don't know is if you like him. :)
For an actress, how about Margaret Sullavan? She could go a little deep in soap opera, but she was always interesting. A big buddy of Stewart and Fonda too. She's also one of the tragic figures that you sometimes share. She only has 16 films.
To plant some seeds of thought for filling in somewhere down the road, I suggest Charles Laughton. He could be a ham, but I can't help but loving him in a movie. For an actress, I suggest a second pass through Maureen O'hara films. I mean she's the only one who could hold her own with John Wayne. There are just a lot of films with her I've never seen before. As long as you like her too, she is worthy of the full treatment like you've done with some of the great ones.
(One last one that is probably so selfish on my part that you should ignore it. I would love to see Audie Murphy filled in some day. I'm switching to these digital files and you know about my westerns with my Dad. I'm afraid he's just not too popular anymore. Even among your pages, he does not have the views of the others. Randolph Scott was more of a hit and I feel you did that one for me. Have you ever seen Last of the Cowboy Heroes: The Westerns of Randolph Scott, Joel McCrea, and Audie Murphy? Murphy is a full step below those two stalwarts for me, but I still love his films. On another note, an awesome subject someday could be Technicolor Westerns of the 1950s. Those are my favorite westerns of all. What are your favorite?).
Forgive the rambling. Remember these ideas are only good if they are good and enjoyable to YOU!
Subject: East Side, West Side (1949)
Thank you,
Subject: Audio Review
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