|Claudette Colbert, "Skylark," 1941.|
|Catherine Deneuve, "Belle de Jour," 1967.|
|Faye Dunaway "Bonnie and Clyde" 1967.|
|Jane Fonda "Klute" 1971.|
Some of her fellow prostitutes wind up murdered, and Fonda's bravado and strength seems to wither away as the danger gets closer and closer to her. I think we are supposed to get the idea that Bree maybe isn't the personification of liberated feminism she pretends to be. It's a fitting film for the ambivelent feelings people had towards Women's Liberation in the early 1970s.
|Zsa Zsa Gabor, "Queen of Outer Space," 1958.|
I guess pretty girls can get the guys, but ugly girls are bitter and crazy!
|Greer Garson "Random Harvest" 1942.|
|Maureen O'Hara, "Do You Love Me," 1946.|
|Barbara Stanwyck, "There's Always Tomorrow," 1956.|
My goodness, what a great, but depressing, film. Fred MacMurray is a toy manufacturer, whose wife and three children take for granted. Stanwyck is an old employee he once flirted with. She looks him up when visiting town, and he thinks he might find with her what's lacking at home. Stanwyck is interested in his work, and seems genuinely interested in his well being. She pays him attention. But she's a career gal, and has no interest in stealing him from his family, especially after she's confronted by MacMurray's teenaged son and daughter. Ultimately she moves home, leaving Fred to his meddling, ungrateful children and a wife who still doesn't seem to care for him.
I think Sirk pulls all the right melodramatic strings in this film. MacMurray is truly put upon, although I wonder if he could be happy with his home life if he made more of an effort. And I understand why Stanwyck bails. MacMurray comes with too much baggage!