Sass Mouth Dames Film Club Series 14

Series 14 of Sass Mouth Dames Film Club screens four outstanding Bluebeard pictures, a theme which developed from a 17th century French folktale about a nobleman who killed multiple wives. During the post-war era, while men in film noir explored paranoid fantasies about two-timing dames, woman’s pictures gave an audience a chance to imagine their deepest fear about husbands who had murder on the brain. Women kept the home fires burning, but when men returned, did they wonder: Who was the trained killer in their bed?

Megan McGurk introduces the pictures, Thursday in March.

Brooks Hotel Cinema, Drury Street, Dublin.

Popcorn is free!

Tickets are available 13 February through Eventbrite.

Undercurrent (1946)

5 March

Nearly every star of woman’s pictures during the 1930s made a Bluebeard story—even Katharine Hepburn. Initially content to run her father’s house, Hepburn’s character becomes overwhelmed with desire for a suave inventor sporting a chiselled widow’s peak and sad eyes from the war, played by Robert Taylor. What she mistakes for a romantic disposition turns out to be something much more sinister. Bob Mitchum turns up as Taylor’s ‘bad boy’ brother, making traditional ideas about ideal masculinity even more complicated.

Secret Beyond the Door (1947)

12 March

Just like many of us, Joan Bennett’s character prefers to sleep until eleven, and needs three cups of coffee before she can feel conscious in the morning. On holiday in Mexico, she becomes aroused watching two men throw knives, fighting over a woman. Ripe for a fling with a handsome stranger (Michael Redgrave), she gives way to passion, which leads to a trip down the aisle. Once she’s installed in his family home as the new missus, Bennett faces a brutal truth that she married a total stranger who has a macabre hobby.

Too Late for Tears (1949)

19 March

Although Lizabeth Scott’s husband does not try to kill her, he does attempt to keep her from spending a bag of money they find one night, which is a cut too deep, especially for a woman with dreams of mink. Soon enough, she’s in grave danger when Dan Duryea attempts to recover the loot and delivers one of his best sleazy characters—a gangster who takes pleasure in threatening women. Lizabeth Scott is not easily deterred from her plan to buy things. Impressed, Duryea realises that he hasn’t stumbled upon an average housewife.

Sudden Fear (1952)

26 March

Joan Crawford enjoys an independent life based on inherited wealth and a successful career as a playwright at the beginning of the film. During rehearsals for her new theatre production, she sacks an actor (Jack Palance), because from every seat in the house, at any angle, he was not what she considered to be a swoon merchant leading man. On the train home to California, she meets up with the disgruntled actor and succumbs to his charms. After a hasty exchange of vows, Joan discovers her new groom wants her dead, so that he can cash in and run off with a mistress, played by sexpot Gloria Grahame.

(Original Caption) Look Who’s Selling Tickets! New York: Delightfully surprised, these early customers buy their tickets from film actress Joan Crawford, who out put in a personal appearance at the New York movie theater where her latest film, Sudden Fear, held its world premiere. Not only did the glamorous Miss Crawford sell first tickets, but she passed out photos of herself and shook hands with thousands of fans. After all that, she almost passed out herself.

If you want to cancel your ticket, I will send a refund up until noon on the day of the screening.

Use the cancel/refund option on Eventbrite.

Thanks so much for supporting the film club!

Sass Mouth Dames is a non-profit venture.

Sass Mouth Dames Film Club Series 13

Pick any year out of a hat between 1929 and 1959, and you could draw an impressive list of films that put women at the centre of the narrative universe. The five pictures from 1949 selected for series 13 feature juicy plots, outstanding performances, and exquisite production values.

Megan McGurk introduces each film in the Brooks Hotel Cinema, Thursdays in January.

Tickets available from Eventbrite.

The Heiress (1949)

Screens 2 January

As fortune hunters go, you would be hard pressed to find a bigger swoon merchant than Montgomery Clift. Olivia de Havilland won the Best Actress Oscar for her role as Catherine Sloper, a woman who is psychologically battered by her father, played by Ralph Richardson. Dr Sloper believes his daughter plain and lacking grace, so he assumes that a dashing rogue with coxcomb hair only cares for her inheritance. Scene stealing minx Miriam Hopkins turns up to build the drama.

Beyond the Forest (1949)

Screens 9 January

Bette’s character Rosa Molina wants her heart’s desire in hot sex with David Brian, rather than settle for a safe marriage to Joseph Cotten. During a scene meant to clarify ‘the problem with no name’, Bette delivers one of her most quotable lines: ‘What a dump.’ But the line has no exclamation mark. Bette’s discontent and fury are so palpable that some prefer to read it as camp. Make no mistake, Bette plays for keeps through withering glances and acid-laced retorts while she gathers kindling to launch a scorched-earth campaign for independence.

My Foolish Heart (1949)

Screens 16 January

Adapted from J.D. Salinger’s ‘Uncle Wiggly in Connecticut’, from his collection Nine Stories. Julius and Philip Epstein improve upon the original story with dimension for Susan Hayward’s tragic dame. The Epstein brothers create empathy for a woman whose life went off the rails. How does a gal in the wrong dress meet the right guy at the wrong time? Susan Hayward received an Oscar nomination for Best Actress in a role which reminded audiences that women suffered and made sacrifices during the war—and they weren’t given medals or ticker tape parades.

Flamingo Road (1949)

Screens 23 January

Joan Crawford re-teams with Mildred Pierce (1945) director Michael Curtiz and co-star Zachary Scott to play a carnival cooch dancer who decides to put down roots in a quiet town. As the local political big wig, Sydney Greenstreet decides she isn’t fit to wait tables, and frames Joan for solicitation. Thirty days in the cooler give her plenty of time to figure out the next move. Joan Crawford looks every bit the business when she applies true grit to occupy a home in the best address—Flamingo Road.

A Letter to Three Wives (1949)

Screens 30 January

Joseph L. Mankiewicz wrote and directed the picture that everyone went to see. He earned two Oscars for his efforts. The following year, Mankiewicz made Oscar history when he won the same awards for All About Eve. In his huge success in 1949, three husbands sing the unqualified praises of a suburban siren, Addie Ross. The ‘queen in a silver frame’ sends a letter addressed to three wives: Ann Sothern, Linda Darnell, and Jeanne Crain. Addie’s letter includes a bit of a shocker by way of farewell, when she confesses that she’s run off with one of their husbands. Thelma Ritter and Connie Gilchrist play two hardboiled sass mouth dames who steal every scene they’re given.

Please note the new refund policy: you can request a refund on your ticket up to noon on the day the picture screens. But after that, I don’t have enough time to re-sell the ticket, so it’s up to you to find a taker.

Thanks very much! See you with the dames.

Sass Mouth Dames Film Club Series 12

Sass Mouth Dames Film Club Series 12: Fashion Behind the Scenes.

Megan McGurk introduces four outstanding woman’s pictures.

Tickets through Eventbrite

Neptune’s Daughter (1949)

Thursday, 7 November

Esther Williams looks as comfortable wearing a power suit and glasses behind a desk as she does performing water ballet in a turquoise pool. Esther plays a canny swimsuit designer who balances performance with style for a competitive market. Aside from the executive-level challenges, will she be able to keep her man-hungry sister (Betty Garrett) out of trouble?

A Life of Her Own (1950)

Wednesday, 13 November

On her way up as a cover girl, Lana Turner takes advice from a former top model played by Ann Dvorak. At the cusp of forty, Dvorak’s character now only receives the brush-off from men who are always in search of the next fresh face. Lana remains wary around a bossy agent and men who try to get her into bed. She intends to halt her career trajectory for Ray Milland, but is he worth it?

I Can Get it For You Wholesale (1951)

Thursday, 21 November

While Susan Hayward works as a mannequin modelling frocks for department store buyers, she builds a competitive portfolio of original dress designs. She poaches the best tailor and the best salesman for her team and opens a budget dress brand. Once their venture becomes successful, George Sanders enters the house like the snake in the garden, whispering promises of her name on haute couture. Does she jettison her partners for high fashion ambition?

It Started in Paradise (1952)

Thursday, 28 November

Eve Harrington looks like a veritable candy striper devoted to good works compared to the ruthless backstage machinations of a prestige fashion house in London. What happens when Jane Hylton is keen to develop her own style, except the old-fashioned name on the label expects her to produce more of the same? Drama in high fashion runs on cycles much in the way of florals for spring. The new Elizabethan Age fashion show is not to be missed.

Sass Mouth Dames Film Club–One Night Only

The More the Merrier (1943)

Screens Thursday, 27 June

Brooks Hotel Cinema, Dublin

19.00-21.00

Popcorn included.

Tickets available through Eventbrite

Join Megan McGurk for a once-off summer night for Sass Mouth Dames Film Club.

In this war-time screwball comedy, you could mistake the housing crisis in Washington D.C. for the current situation in Dublin. Jean Arthur advertises a flatshare which results in a queue down the block, an all too familiar sight today. Jean gets more than she bargains for when an elderly gent (Charles Coburn) insists on taking the vacancy. Things grow more complicated when he rents half of his room to tall drink of man-water, Joel McCrea. When a swoon merchant and his propeller take up residence, a sass mouth dame falls hard.

The regular film club series returns in September.

Sass Mouth Dames Film Club Series 8

Join Megan McGurk for a sterling collection of Pre-Code woman’s pictures. Let’s revisit an era when Hollywood took women on the screen and in the audience seriously.

Sass Mouth Dames Film Club Series 8 meets each Thursday night in January at 7.00, in the Brooks Hotel Cinema, Drury Street, Dublin.

Only a tenner in!

Tickets through Eventbrite.

Our Blushing Brides (1930)

3 January

In woman’s pictures, a reliable formula presents a cautionary tale of three women who seek to make their fortune. Set in a department store among women who work behind a counter, or model clothes as ‘mannequins,’ they pool resources in flat shares and skip lunches to afford clothes. Joan Crawford, Anita Page, and Dorothy Sebastian bide their time on stingy wages while they fend off a pack of society wolves. Joan Crawford tries to keep her friends from falling for the cheap lines pick up artists use. The picture includes fashion show sequences featuring swoonworthy designs by Adrian.

Safe in Hell (1931)

10 January

Next time you hear someone make a sarcastic comment about ‘Hollywood endings’, as a shortcut for saccharine fade outs, point them in the direction of Pre-Code Hollywood pictures like Safe in Hell. In one of the most notorious Pre-Codes, Dorothy Mackaill protects herself from a customer’s assault, and afterward, hides out in a Caribbean bolthole to avoid extradition. At first, she thinks boredom is her worst problem. When she accepts an invitation from the men who loiter in the hotel lounge, they compete for her as though she were a roast chicken at the end of forty day fast. William Wellman’s production reminds us that women are never safe when men are around.

 

Vanity Street (1932)

17 January

Helen Chandler, tired, hungry, and homeless, smashes a window so she can at least have three hots and a cot in prison. A police detective (Charles Bickford) takes pity on a woman down on her luck. He offers a meal and his sofa, and then gets her a job in a chorus line. The real star of this picture though is Mayo Methot, better known for being the third Mrs Bogart. Mayo Methot had a gift for playing characters who learn difficult truths about things like inconstant lovers and the fleeting nature of youth and fame. She lays bare the emotional contours of women who have been tossed aside. Not to be missed.

Ladies They Talk About (1933)

24 January

During a bank heist, Barbara Stanwyck gets pinched. She doesn’t squeal on her boyfriend’s criminal rackets. She hopes to gain the influence of a popular radio preacher she grew up with, and have the sentence suspended. The plan doesn’t work, so she joins the women’s prison as a ‘new fish’. Stanwyck proves a quick study for how to manage a dame looking for a fight. The scenes behind the walls resemble a sorority house more than the hoosegow. Despite a carceral effect, women on the inside mitigate their grim plight with decorative touches applied to their uniforms and jail cells. You can’t keep a good dame down, even when she’s behind bars.

Heat Lightning (1934)

31 January

Where do you go after you’ve had enough of men and life in a chorus line? If you’re Aline MacMahon, you get as far away as possible–the Mojave desert. She opens a filling station and café with her younger sister, played by Ann Dvorak. Wearing overalls, with her mermaid tresses tucked under a bandana, MacMahon limits her worries to heat, rattlesnakes, and keeping her sister out of trouble. Then one day an old flame (Preston Foster) shows up, on the run from the law. Suddenly the great big desert is too small. Cornered, with a siege mentality, a resourceful dame does what she must. To lighten the drama, Glenda Farrell and Ruth Donnelly trade barbs. Director Mervyn LeRoy doesn’t waste a moment in this 63-minute gem.