His greater moral than formal interest in the genre, and his preferenceįor relying more on lines of dialogue than shots, is perhaps due to the woman’sįilm being a talky genre (crime films and westerns being devoted to silence), Of remarriage with a philosophy of moral perfectionism inherited from EmersonĪnd Thoreau. He mixes what he calls the melodrama of the unknown woman or the comedy Very well to this exemplary, moral dimension we readily attribute to woman’sįilms. Genres with their sense of being autonomous worlds, their capacity to referīack to themselves alone, to their own skies. Mirror held up to its audience, stripped of the artificiality that confers The woman’s picture would therefore be a Hollywood Supposedly bringing into theaters and its far too close relationship shared Its existence seems to be justified only by the female audiences it was We find itĭifficult, however, to consider the woman’s picture an entirely separate genre. It belonged, just like crime films, musical comedies and westerns. Label ‘woman’s picture’ disappeared with classicism and its genres – to which Women’s films continued to be made well after Hollywood’s Golden Age, (2) the Titles of her films ( eg., La Voleuse for A Stolen Life). This short, expertly restrainedīernhardt, 1946) contains a summary of Bette Davis’ destiny in film, at once robbedĪnd robber, old maid and ambitious woman – it suffices to refer to the French Her direction but, rather than catch it, Kate moves away coldly, letting theīouquet of white flowers land at her feet. The bouquet toss, Kate happens to be in the first row. Seduces Bill, Kate steps aside, and they marry. Kate is gentle and considerate, Patricia is seductive and devious. Sister and begins courting her, until Kate arrives and reveals the fraud.
DuringĪ misunderstanding that she strives to maintain, Bill mistakes Patricia for her One day, her twin sister, Patricia, arrives unexpectedly. There, she meets Bill Emerson, the lighthouse keeper’s assistant. Young painter, Kate Bosworth, is spending the summer in Martha’s Vineyard. Mankiewicz, 1950) (1)ĭavis commented: ‘The public, the critics, even myįriends thought they could recognise me in these – Bette Davis as Margo Channing in All About Eve (Joseph L. You’re something with a French provincial office or aīook full of clippings – but you’re not a woman. Look up just before dinner or turn around in bed – and there he is. And, in the last analysis, nothing is any good unless you can Sooner or later we’ve all got to work at it, no matter what other careers we’ve That’s oneĬareer all females have in common – whether we like it or not – being a woman.
Youįorget you’ll need them again when you go back to being a woman. The things you drop on your way up the ladder, so you can move faster.
0 kommentar(er)
