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.

Sass Mouth Dames Film Club Series 6

Join me on Wednesdays this autumn for another round of classic woman’s pictures from the Pre-Code era.

Screened in the gorgeous Denzille Cinema in Merrion Square for 19.00, 26 September-24 October.

Soda & snacks included.

Tickets available from Eventbrite.

Night Nurse (1931)

26 September

‘I’m Nick—the chauffer’.

If Clark Gable’s line delivery doesn’t make you gasp the way it does Barbara Stanwyck, you’re probably in the wrong cinema. Stanwyck proves why she’s Queen of the Pre-Codes in this gritty picture about injustice, corruption and the most vicious cruelty. When no one else cares or intervenes, Stanwyck charges the bullies full steam. She can’t go wrong with Joan Blondell on her side. This was the first of five pictures Stanwyck made with director William Wellman. He said of her ‘she not only knew her own lines but everyone else’s. I love her.’

Possessed (1931)

3 October

Joan Crawford works in a paper box factory. She watches the train cars full of glamorous people on their way to New York one night after work, when a stranger in the caboose pours out her first taste of bubbles, and then tells her to run to the big city to be done wrong by. Crawford makes her way to New York and snags the first rich man she encounters—Clark Gable. In a love nest feathered by Gable, she does everything that becomes a lady. Without a wedding ring, society will always regard her as a chippy from the sticks. Joan made life-long fans among women for this tale about double standards and social climbing.

Thirteen Women (1932)

10 October

If only we had the fifteen minutes that were cut from the original picture. No doubt the edited sequences contained additional stylish revenge scenes. Myrna Loy plays a biracial girl who suffered untold misery from the privileged white girls in an exclusive boarding school. She was tormented by her classmates. All grown up, Myrna mesmerises a famed astrologer into sending horoscopes that she designs with the power of suggestion to bring about a series of gruesome tragedies. Irene Dunne plays one of the former pupils who denies the power of the star charts. This is the only horror picture I’ve included in the series so far. Not to be missed.

No Man of Her Own (1932)

17 October

What does a small-town librarian do for fun? Well, if you’re Carole Lombard, you hook up with a random dude (Clark Gable) one night after the library closes and parlay that into wedded bliss. Lombard soon learns what her husband really does for a living, which rocks her to the core. Can she make him go straight? This was the only picture that Lombard and Gable made together. Although their romance did not commence until the Mayfair Ball in 1936, they still generate enough heat to burn down the stacks.

Bombshell (1933)

24 October

Jean Harlow stars in a picture that borrows from Clara Bow’s life story. Beset by moochers who feed stories to the tabloids, Harlow’s character endures the studio’s demanding schedule, while she picks up the tab for a shower of freeloaders. Harlow strips the varnish off the glamour factory and shows viewers the grind behind the glitz. She’s at her snarling-best in this picture. Sass mouth dame all the way.