Pre-Code Diva Smackdown

by Cláudio Alves

Though postwar film noir is de rigueur for Noirvember, the Criterion Channel prepared a nifty bit of counterprogramming with a program dedicated to Pre-Code Divas. Going back before 1934, when the second coming of the Hays Code went into effect, one finds that time when sound was new and moral standards were, if not low, more libertine than they'd become. It was a time for sex comedies and sad stories about fallen women, moralist shockers and amoral delights, starring a cadre of starlets who became synonymous with the era. Some would go on to thrive within the Code, while others fell to obscurity when their vehicles dried up under new norms.

Since we all had so much fun with the last readers' poll, let's do another one. This time, you'll be voting on your favorite Pre-Code Diva. After the jump, discover our contenders and their Criterion-selected titles…

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Almost There: Barbara Stanwyck in "The Lady Eve"

by Cláudio Alves

Since its inception, the Academy has shown a certain reluctance to awarding great acting within the comedy genre. It often feels that the sillier the role, the less likely it is to win plaudits for the performer who fleshes it out on screen. That's not to say that comedy is wholly absent from the acting races – it's just rarer, more prone to reductive judgment and dismissal. Considering all this, the recent SAG results feel even more miraculous. They point us toward a scenario where a wild genre riff might win over half of the acting prizes. So with that mind, a comedic episode of "Almost There".

Let's reflect upon an achievement that might be justly named the pinnacle of screen comedy – Barbara Stanwyck's stunning turn in 1941's The Lady Eve…

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Mitchell Leisen: The forgotten legacy of a queer filmmaker

by Cláudio Alves

Sometimes, a writing project can take a life of its own, overwhelming you. That's what happened to me when trying to write about Old Hollywood director Mitchell Leisen. Initially, I pitched this piece to Nathaniel as a way of spotlighting an oft-forgotten talent whose best films feature in one of the Criterion Channel's latest collections. Later, as our 1946 journey began, the piece gained new value as a profile of the man who directed that year's Best Actress champion, Olivia de Havilland in To Each His Own. However, what most surprised me was how Leisen's story correlates with queer history and everything we celebrate and mourn during Pride month. 

As I went down a rabbit hole of research, the marvelous writings of Mark Rappaport, David Melville, Farran Nehme, and others revealed the complex case. That of an acclaimed queer artist whose legacy was systematically tarnished, if not downright erased, in a gesture of barely concealed homophobia…

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March 29th is the biggest Oscar night, sort of...

Today in Oscar History. Five Oscar ceremonies were held on this date, the most of any night on the calendar (albeit tied with March 25th) so if today is your birthday, congratulations. You're practically a naked gold man!

Gloria Swanson, seated next to Judy Holliday, waits to hear the results of Best Actress

1951 The 23rd annual Academy Awards are held to honor the films of 1950. Fred Astaire hosts the ceremony which is a triumphant night for All About Eve (14 nominations, 6 wins). Though it seems insane given its hallowed place in film history Sunset Boulevard only won two Oscars that night in the categories of Art Direction and Story & Screenplay...

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Movies-to-Stage. On Musical Adaptations

Today we've turned the blog over to Tom Mizer, one half of the songwriting team Mizer & Moore...

Musicals have alwasy been adapted from non-musical material

by Tom Mizer

Can I admit something and you promise not to judge me? My writing partner and I are working on adapting some movies into stage musicals. If eye-rolling made a sound, I bet I would hear a thousand violent swooshes. “Not another movie made into a musical! Why can’t there be original musicals?”...

Here’s the deal: musicals have always been built largely on the foundations of other forms, whether adapted from novels (South Pacific, Show Boat) or straight plays (Oklahoma, My Fair Lady) or, yes, movies. Musicals are incredibly difficult to make work; there are so many moving parts that having the framework of a good story already in place can be an enormous advantage...

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