Sass Mouth Dames Film Club Series 3

 

Thursdays in March.

Hosted by Megan McGurk

Join me for another round of classic woman’s pictures.

Tickets available through Eventbrite

 

1 March

The Good Fairy (1935)

William Wyler spins a modern fairy tale from an age-old nightmare about a young woman among wolves. Margaret Sullavan exchanges her drab orphanage smock for a hussar hat and cape when she accepts a post as a cinema usherette. On her first day, she meets a waiter who extends an invitation to an opulent ball. Instead of Prince Charming, she meets a rape-minded butcher. To forestall his attack, she invents a husband, a random name she picks out of the phone book. In a winsome script by Preston Sturges, Sullavan takes initiative and acts like a good fairy for her pretend husband, played by Herbert Marshall. When the world seems especially bleak, The Good Fairy helps restore your belief in common decency.

 

8 March

These Three (1936)

Production code censors demanded no mention be made of Lillian Hellman’s play The Children’s Hour in the screen adaptation, nor that the script include any reference to repressed lesbian desire between schoolteachers, as in the stage production. Although the film develops a heterosexual triangle between Merle Oberon, Miriam Hopkins and Joel McCrea, Hopkins gives such a nuanced performance, that viewers could interpret her desire for either Oberon or McCrea. Bonita Granville steals the picture as a hellion who fabricates gossip about her teachers. Granville received an Oscar nomination for the role when she was only fourteen.

 

15 March

Marked Woman (1937)

Bette Davis stars in this film based on a true account of sex workers who joined together to appear on the witness stand against Lucky Luciano, a notorious gangster known for his violence against women. Davis leads a group of clip joint hostesses who balance demands from the mob and the district attorney played by Humphrey Bogart. Marked Woman looks and feels like a Pre-Code, in a story about women who speak truth to power and resist exploitation when they’re doing level best to survive the Depression. Bette Davis fought for realism and refused to accept the studio’s makeup treatment for a scene that involved a brutal attack. She had her personal physician dress her character’s injuries for the camera.

 

22 March

The Mad Miss Manton (1938)

Barbara Stanwyck’s character discovers a dead body during a late-night dog walk, then faces accusations from a cop and a reporter, who charge her with filing a falsified report for larks. Since the men in charge are inept, as they often are in any solid woman’s picture, Stanwyck’s Miss Manton enlists a crew of socialites to clear her name and solve the case. Stanwyck and company accessorise a battle against male authority with lipstick, sumptuous fur and bouncy hair. Their combined wit and power of deduction run circles around the men in charge. A classic screwball comedy, The Mad Miss Manton stands out for the multiple times society dames beat the living daylights out of Henry Fonda (who totally has it coming).

 

29 March

The Women (1939)

Anita Loos and Jane Murfin adapted Clare Boothe Luce’s Broadway hit for the screen. An all-women cast of 135 assemble for a story about a shopgirl mantrap (Joan Crawford) who steals a husband from a Park Avenue socialite (Norma Shearer). Although the tag line promises ‘it’s all about the men’, the ladies may as well be arguing over a new designer gown, because they change husbands as frequently as they do their wardrobe. Rosalind Russell steals the show as the scandalmonger who stirs up trouble and gets plenty in return. George Cukor’s The Women rates the gold standard woman’s picture. It continues to hold influence over how women’s relationships are depicted on-screen, especially when there’s conflict. Adrian, who produced between 50 and 75 sketches daily throughout his tenure in MGM, designed more than 230 gowns, many of which appear in a short technicolour fashion show sequence. This one’s not to be missed.

 

 

 

Sass Mouth Dames Film Club: Series Two Pre-Codes

 

Join us for a film series from when Hollywood made films for women.

Hosted by Megan McGurk

We’re screening five Pre-Code woman’s pictures from 11 January-8 February

Get your tickets.

See you in the Denzille.

What Price Hollywood? (1932)

Screens 11 January

Constance Bennett plays a waitress in the Brown Derby who gets a renowned Hollywood director in her section and finagles a ticket to a big premiere and then a screen test. George Cukor’s picture gives women the playbook on how to become a star on the stairs. Considered the earliest version of A Star is Born dynamic about a woman whose career rises as a man’s falls, What Price Hollywood? examines the price of fame, while it also offers one of the best behind-the-scenes view of the motion picture industry.

Three on a Match (1932)

Screens 18 January

Director Mervyn LeRoy’s economy of storytelling leaves not a moment wasted. In 63 minutes, he traces the fortunes of three schoolgirls as they grow up. What happens to the bookish girl (Bette Davis) who went to business college? Or the bad girl (Joan Blondell) who skips class to smoke cigarettes with the boys? Or the rich girl in a boarding school (Ann Dvorak) who reads bodice rippers aloud after lights out? As adults, the trio struggle to make their own way. Ann Dvorak seems to have made an ideal match to a rich lawyer (Warren William) but everything leaves her cold. The picture also includes one of the frankest depictions of cocaine addiction in the Pre-Code era.

Bonus: Humphrey Bogart in an early role as a rough trade gangster.

Gold Diggers of 1933 

Screens 25 January

Another hit from Mervyn LeRoy and the best of the Busby Berkeley musicals, Gold Diggers combines glitz, glamour and a whole lot of wisecracks from sass mouth dames. Aline MacMahon, Joan Blondell, Ruby Keeler and Ginger Rogers star in a Broadway show about the Depression. When the high-steppers are off-stage, they wage class war on a pair of rich men who declare them ‘cheap and vulgar’. If you ever wanted to learn how to get men to foot the bill for dinner or a new hat, Joan Blondell and Aline MacMahon have you covered. Don’t miss the spectacular musical numbers ‘Pettin’ in the Park’ and ‘Remember My Forgotten Man’.

Ann Vickers (1933)

Screens 1 February

Once upon a time, Hollywood could imagine a scenario with a woman who has an abortion and still goes on to have a happy and rewarding life. Irene Dunne plays a social worker who falls for a heel. Luckily, she has a dear friend who happens to run an abortion clinic in Cuba. Afterwards, she takes a job as warden in a woman’s prison. When Irene Dunne attempts to improve dire conditions, the men in charge frame her and threaten a scandal unless she leaves. She writes a bestselling expose about her time in prison. At a party a judge (Walter Huston) professes his admiration for her work. Unfortunately, he’s soon in the middle of his own scandal. Will Irene Dunne stand by her man?

Design for Living (1933)

Screens 8 February

Miriam Hopkins stars in Ernst Lubitsch’s masterpiece about a woman who picks up two men on a train, arranges a ‘no sex’ agreement, which she then abandons at the first opportunity. As an advertising executive, more successful than the two starving artists, Miriam mentors the painter (Gary Cooper) and the playwright (Fredric March). When things become complicated, she takes the easy way out in a marriage to straight-laced Edward Everett Horton. Will Miriam settle for monogamy or will the three-way romance win out?

 

Sass Mouth Dames Film Club: Dublin 12 Oct-9 Nov

Join Dublin’s hottest new film club to catch titans of Pre-Code woman’s pictures. Join us for screenings of the best from the early 1930s: Joan Crawford, Joan Blondell, Carole Lombard, Jean Harlow and Barbara Stanwyck star in racy plots about women with ambition to burn.

They don’t make ’em like this anymore.

19.00-21.00, Thursdays, 12 Oct-9 Nov.

Minerals, coffee & tea, snacks included.

Get your tickets here.