jc-osms I enjoyed this vintage Hollywood tragi-comedy the more it went on. Not knowing the story in advance, I thought I was in for ninety minutes of fast-talking, wise-cracking comedy especially with Ginger Rogers and Katherine Hepburn in the lead parts and introductory scenes of young, good-looking women living cheek-by-jowl in a dingy, overcrowded boarding house for actresses, all with the same dream of either snagging a millionaire nice-guy for a husband or getting discovered for a big part by the manager of a talent agency. It's only as the movie progresses that you realise that some of the girls are close to starving or suffering psychologically the latter culminating in a shocking incident which becomes the fulcrum of the film and inspires its main message as to just how hard it is to get on in acting, especially if you're a woman.Rogers and Hepburn get exactly the parts you'd expect them to, the former as the street-smart, cynical girl prepared to go along for the ride even if it means welcoming the dubious charms of the playboy manager who'll wine and dine her and get her a starring part in a new play, the latter as the undercover, terribly posh rich girl, slumming it to achieve her twin-dreams of independence from her super-rich daddy and stardom on the stage. They're both just as good as you'd expect them to be, but I enjoyed just as much the performances of their supporting cast, some of whom, like a very young Ann Miller and Lucille Ball who went onto real-life stardom and others who obviously didn't. The rapid-fire repartee between them all in the early scenes, apparently much of it improvised, is as amusing as it's authentic-sounding. There's barely a male in sight and those that are, are mainly men-on-the-make or dumb klutzes. However it's the introduction of the tragic heroine, Andrea Leeds as the desperate, beaten-down Kaye which gives the film its bathos and changes its tone completely. Despite her fellow-boarders best efforts we see her edge closer to her shocking demise in a memorable scene which anticipates "Sunset Boulevard" by over 10 years.On the debit side, Adolphe Menjou seems miscast as the lecherous casting-couch manager and scenes where Hepburn's character is told she is only good for washing dishes and the only black actor we see is a young shoeshine boy betray some of the social norms of the day. Nevertheless, this was an excellent behind-the-scenes portrayal of just what it takes for women to get on in a man's world, especially in the glass-ceiling world of theatre.

lasttimeisaw Title: Stage Door Year: 1937 Country: USA Language: English Genre: Comedy, Drama Director: Gregory La Cava Writers: Morrie Ryskind Anthony Veiller Edna Ferber George S. Kaufman Music: Roy Webb Cinematography: Robert De Grasse Cast: Katharine Hepburn Ginger Rogers Adolphe Menjou Andrea Leeds Gail Patrick Constance Collier Lucille Ball Eve Arden Ann Miller Samuel S. Hinds Franklin Pangborn Phyllis Kennedy Pierre Watkin Jack Carson Rating: 7/10From time to time, it is categorically exhilarating to visit some legendary thespians back- catalog, and Katharine Hepburn is always my go-to pick. STAGE DOOR, is a Black & White (female) ensemble piece centers on the everyday revelry of a band of aspiring but unemployed theatrical actresses who stay in the Footlights Club and strive for their breakthrough in the depression era of New York. Hepburn plays Terry Randall, a young girl born with a golden spoon, is the newcomer in the club, she tries to venture into Broadway without any help from her affluent background. And the rest of the girls are no so luck, Jean (Rogers) an outspoken and rapid-speaking blonde, constantly switches bitter verbal tit for tat with Linda (Patrick), who is currently dating the producer Anthony Powell (Menjou). Also thee is Kay (Leeds), a gentle and darling doll who had a great success one year earlier, and anxiously preps for Powell's upcoming cast of ENCHANTED APRIL since she is impecunious due to out of job for almost a year. The rest of the girls are played by some future big names such as Lucille Ball, Ann Miller and Eve Arden. Director Gregory La Cava was much sought-after after the huge success of MY MAN GODFREY (1936, 7/10), here, under a refined script adapted from its original play, he continues to hone up his deft mastery in a satirical screwball comedy, laden with inspiring wisecracks and snappy chit-chats, Rogers certainly gives Hepburn a good run of her money with her barrage of bons mots as well as her tap dance, even though predictably she will become the object of Powell's desire, for just one day, she doesn't debase herself being an annoying pest. However, when a tragedy ensues, Hepburn confidently earns back her limelight with a plaintive monologue dedicated to her dear friend, the irony is redolent of the money-seeking reality, unknown to her, Terry's triumph is a mis-carried plan of her omnipotent father (S. Hinds), in order to quench her ambition as an actress. So as a matter of fact, her road to independence is a bust, and for what it is worth, its collateral damage costs a young life. but eventually, girls are still the girls, fame doesn't tarnish their friendship, some has to give up her dreams to a convenient marriage, and new blood is routinely arrived for the line of work. With regard to the supporting bundle, Menjou is perfectly in his wheelhouse and his trademark mustache alone can convincingly exhibit his charming veneer and contemptible nature. Constance Collier is the typical diva who is past her prime, nagging about his old- fashioned methodology and trying to give a protective layer for her impaired dignity. But it is Leeds, who nabs an Oscar nomination as the pathos-arousing Kay, and as for Gregory, he is awarded a consecutive BEST DIRECTOR nomination (alas, it is also his last one) and although the movie is also a BEST PICTURE contender (among 10 nominees at then), it feels a shade rushed and unsatisfied compared to the sheer delight from MY MAN GODFREY, in spite of the same 7/10 rating, I will certainly give the latter an edge.

cricket crockett . . . and I LOVE LUCY, too. Whether they're flopping off the roof or eloping with Seattle lumbermen, the actresses boarding at The Footlights Club in STAGE DOOR always keep you guessing. Ginger Rogers gets a chance to dance with another girl several times, while Katharine Hepburn learns that "common sense" is NOT enough to make a Wheat King's daughter comfortable in Sarah Bernhardt's chair. Alfred Hitchcock, a reputed film buff, apparently never saw STAGE DOOR, or he would have realized that it was pointless to throw fake-looking dummies from bell towers when his actual actress could have won an Oscar by merely walking up the steps, as Andrea Leeds does here in STAGE DOOR. This show biz drama is well cast, nicely paced, and truly entertaining. Also, it shows what happens when someone forgets to cheer on an actress by saying "Break a leg!"

nomoons11 The hook in this film is the amount of female star power it has. From Ginger Rogers to Katherine Hepburn to Lucille Ball to Gail Patrick to Eve Arden. All the great stars of the 30's and 40's give really good performances all around.A bunch of wannabe theatre actresses and night club dancer/performers live in an all girl hotel that caters to girls who wanna be...actresses and performers. We go through their trials and tribulations of not getting that big part and also the comings and goings of their personal lives. Who likes who and who hates who. In the midst of all this be prepared for a boat load of fast talking wise cracks. The digs and put downs are never ending amongst these little high octane women.As much as I like all the performances in this I will say the Hepburn's was probably the most stale. She isn't near the quality of her 40's stuff with Spencer Tracy. For the most part she just seems to reprise her role from "Morning Glory"(1933). To get the most out of this film, watch Ginger Rogers. She really kicks it into high gear. Great performance she gives out.Watch this one on a Saturday afternoon and be prepared to smile. You'll see the cream of the crop of female actors showing off their best talents. These buncha girls are gonna give you a whole lotta laughs. The ending is somber but by that time you'll be prepared for what happens.