Sass Mouth Dames Film Club Series 5 presents four stellar woman’s pictures from 1930-1935 in the lovely Denzille cinema in Dublin, Thursdays, 31 May-21 June.
Tickets available through Eventbrite.
Megan McGurk hosts each classic film.
Soda and snacks are included.
Ladies of Leisure (1930)
Roommates Barbara Stanwyck and Marie Prevost pay the bills with sex work. One night after a narrow escape from a party boat, with smeared mascara and a torn dress, Stanwyck’s character meets a rich man who drives her back into the city. Ralph Graves plays an artist with his own roof top studio. He offers her a job posing for a portrait. Stanwyck assumes that it’s only a matter of time until he proves himself to be after only one thing, like every other man she has met. Despite her misgivings and his society name, she falls for the guy. Things look swell until his mother attempts to thwart the romance. Can Marie Prevost protect her dearest friend from disaster? This is the first of four pictures that Stanwyck made with director Frank Capra.
Dancing Lady (1933)
A huge hit for MGM, this picture has everything. Joan Crawford performs in a burlesque show that’s raided by police for offence against public decency. Franchot Tone (Joan’s future second husband) sees her in court, pays her fine, and takes her out for a bite to eat. Despite the condescending note he sends the next day (along with fifty dollars) to buy a dress without zippers and shoes without bows, in a snobbish appraisal of her current wardrobe, she falls for the rich man. Crawford’s Janie Barlow dreams of a part in a Broadway show. To speed up the process, she stalks Clark Gable, who plays a big-time producer. They enjoy more than a little bit of sexual tension. Crawford and Gable flirt in a scene set in a gym that’s one of the best onscreen seductions. Other highlights include Fred Astaire in his screen debut as Joan’s dancing partner. The Three Stooges join the cast.
The Girl from Missouri (1934)
Anita Loos (mother of all sass mouth dames) wrote the script about a chorine gal-pal team on the hunt for men with deep pockets. Only Jean Harlow could pull off a woman who waits for her wedding night without suggesting a virginity fetish. Harlow’s so over-sexed, clearly gasping for it, that you can’t blame her for waiting until he puts a ring on it. One night after dancing in a club, Harlow and Kelly finagle an invitation to perform for a private party attended by rich men. Harlow’s character puts the moves on a man with considerable assets, who makes a present of some jewelled cufflinks, right before he puts a gun in his mouth. The gals add suspected of murder to the list of their problems. Patsy Kelly steals the show, like always, by playing the wisecracking loyal friend. She also makes up for her friend’s chastity by giving every man she fancies a tumble.
The Devil Is a Woman (1935)
The last of seven pictures Marlene Dietrich made with Josef von Sternberg, this one has the best tone and aesthetic. Marlene is a glorious nut-buster throughout the picture as a woman who works in a tobacco factory and later becomes a sensation singing in nightclubs. Although not technically a Pre-Code, von Sternberg’s picture has all the hallmarks of the era when women could prioritise their own pleasure at the expense of men without suffering consequences. Dietrich fleeces a self-important army captain (Lionel Atwill), while she juggles other men including a bullfighter and a dashing young Cesar Romero. In each scene, Dietrich is dressed by Travis Banton in show-stopper ensembles, with every fabric in creation, embellished with countless veils, fans, gloves, jewellery and accessories. This picture will cure what ails you because it proves that sass mouth dames need take no prisoners.