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Mildred Pierce film notes

Mildred Pierce film notes - Mildred Pierce(1945 Performance...

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M ildred Pierce (1945) Performance: Joan Crawford Crew: Director: Michael Curtiz • Written by Ranald Mac Dougall (based on the novel by James M. Cain) • Produced by Jerry Wald • Director of Photography: Ernest Haller • Edited by David Weisbart • Art Direction: Anton Grot • Set Decoration: George James Hopkins • Sound: Oliver S. Garretson • Wardrobe: Milo Anderson • Musical Director: Leo F. Forbstein Warner Brothers Cast: Joan Crawford (Mildred Pierce) • Jack Carson (Waly Fay) • Zachary Scott (Monte Beragon) • Eve Arden (Ida Corwin) • Ann Blyth (Veda Pierce Forrester) • Bruce Bennett (Albert Pierce) • Lee Patrick (Maggie Biederhof) • Moroni Olsen (Inspector Peterson) Running time 111 minutes From a contemporary standpoint, it may be difficult to consider any other persona for Joan Crawford than that of the wire-hanger hating, control freak, bitchy mother that was portrayed in Frank Perry’s Mommie Dearest (1981), the film version of her adopted daughter Christine’s tell- all book. However, what many do not realize is that Joan Crawford began her film career as a Metro-Goldwyn-Mayer glamour girl, a young beauty who played vulnerable yet indomitable characters in dozens of films in the late twenties and early thirties. Joan Crawford was born Lucille Le Seur in San Antonio, Texas in 1905 to working-class parents. After wining a local Charleston dance contest, Le Seur was hired as a chorus girl in a Broadway Revue. MGM executive Harry Rapf saw the young dancer and offered her work as a bit player in early MGM silent films. Soon after, a fan magazine ran an MGM-sponsored contest to rename their newest contract player: Le Seur became Joan Crawford, and after portraying a sympathetic flapper in Our Dancing Daughters (1928), Joan Crawford became a star.
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As one of the few actresses to maintain her star status successfully through the transition to the sound era, Crawford’s on-screen persona was that of a determined yet susceptible girl, usually from the wrong side of the tracks, who had to wrestle with the tensions between true love and
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