FYI: I put all the movie overflow on my public FB movie
page.
Before
there was Cher or Madonna, Joan Crawford was the original Queen of Reinvention.
By 1953, Crawford had survived “silents” turning into “talkies,” getting
labeled box office poison in ‘37, leaving MGM in ’43 after nearly two decades,
and now, ending her contract with WB in ‘52. And that was just her professional
life! Crawford’s first film as a freelancer was Sudden Fear, which became a sleeper hit, and nabbed her third Oscar
nomination.
Joan poses for a glamour shot. |
Next
up was Torch Song, the closest Joan
Crawford ever got to make like Margo Channing in All About Eve. Joan played Jenny Stewart, the Broadway musical
legend who walks all over anybody within range of her ankle strap heels.
Whether
you believe Joan was born in 1903 or her official birth date in ‘08, at 45 or
50—or anywhere in between—she was still in great shape. A forerunner to the
buff stars of today, Crawford was trim, taut, and her legs looked like they
could crack coconuts.
MGM’s
promotion heralded yet another “new Joan Crawford!” However, like many great
film stars, Joan Crawford was a study of fascinating contradictions. Though
famous for reinventing herself, Crawford had fallen into the star trap, stuck
in past styles and personas, all in an effort to remain “ageless.” Shoulder
pads, ankle strap shoes, magic marker eyebrows, and grand acting in overwrought
vehicles got Crawford gradually labeled passé. Joan occasionally toned down her
style or tried something new, but Crawford’s comfort zone toward overstatement
would eventually overrule. Like many studio system stars, few had genuine good
taste, and Crawford came off best when she heeded her stylists’ or designers’
advice.
Joan agreed to candid shots by Sanford Roth on the set. |
MGM’s
publicity machine and the press got all mushy about Joan’s return “home.” Joan,
at least publicly, did the same. However, MGM in 1953 was very different from
the magnificent Metro studio Crawford had left a decade before. Studio head “Papa”
Louis B. Mayer was gone. Few of Crawford’s contemporaries were still there, and
many of the next generation stars, who came after Joan, were now slowly on their way out.
Joan’s
return engagement, Torch Song, was in
reality, a B+ picture. Musical dramas were all the rage in the first half of
the ‘50s. With a Song in My Heart and
three that were made at MGM: Interrupted
Melody, Love Me or Leave Me, and I’ll Cry Tomorrow. They all had bigger
budgets, better stories, and the best box office returns, whereas Torch Song was filmed in a mere 24 days.
Bette Davis had recently played a theatrical star in All About Eve, for Crawford’s old MGM producer Joseph Mankiewicz,
in just over three weeks, too. The difference? Bette was part of an ensemble in
Eve, whereas Joan was the whole show
in Torch Song.
When
Joan Crawford was young and eager to learn, her best work was often in ensemble
pieces with actors and directors she admired—Grand Hotel, Dancing Lady,
The Shining Hour, The Women, and A Woman’s Face. After her Mildred
Pierce comeback at Warner’s, Crawford went from Humoresque, Daisy Kenyon,
and Possessed to movies that veered
into vanity vehicles.
From Joan Crawford to 'Eternity': 'Autumn Leaves' in '56. |
Sadly,
Joan turned down a chance to star in From
Here to Eternity during this time, in the part Deborah Kerr ultimately played.
Rumor has it Joan rejected Eternity
over wardrobe issues. Though Joan was at least a dozen years older than Kerr,
she was fairly close to Burt Lancaster’s age. Crawford might have made a
touching Karin Holmes, tough on the outside, vulnerable deep down—right up her
acting alley. Though Fred Zinneman started at MGM, he was a modern filmmaker,
and not the man to cajole Crawford into dropping her act, and get her to
genuinely act. Still, Joan did get a chance to roll around the surf with a leading
man a few years later, a young Cliff Robertson, in Autumn Leaves. What a pity that Joan’s tunnel vision caused her to
reject a juicy role from the year’s biggest best-seller.
Joan gets gorgeous for 'Torch Song.' My advice for Crawford would have been ditch that carrot-colored wig, at right. |
Though
Joan put on her best game face for Torch
Song, I don’t think that Crawford had cosmetic surgery on her face and
bosom for this minor film, as rumored. I think Joan just pulled back the skin
tapes, slapped that orange wig over them, put a pair of her fabled falsies in a
bullet bra, and soldiered on. What resulted was typical of Joan Crawford’s
latter day work: fans and friendly press marveled over her ageless glamour,
great figure, and larger than life persona; non-fans and more discerning
showbiz writers wondered how much longer Crawford’s cinematic self-belief could
carry her.
A portrait of Joan...and Michael Wilding. |
Torch Song’s
story is as slim as the star’s sleek figure: Broadway legend Jenny Stewart is
in the throes of mounting a new show; her way of working is to throw tantrums
and insist everything be done her way. The diva wears everyone down as she
changes choreography, dialogue, costumes, and co-workers… enter blind pianist
Tye Graham, who refuses to kowtow to Crawford’s go-for-the-jugular Jenny.
Critics
of Christina Crawford’s Mommie Dearest
claim that Joan’s adopted daughter recycled aspects of Crawford’s latter day
bitch roles for her tell-all tome. I think the exact opposite is true.
Hollywood studios were notorious for blurring their stars’ personal lives and
onscreen roles. Especially MGM divas like Joan, Judy, Lana, and Liz, who often
played roles—usually in late career—that echoed their own lives.
Christina Crawford gives her mother a foot massage in this 'candid' shot, after one of Joan's dance numbers in 'Torch Song.' |
Joan
Crawford’s on-screen "star" is so tough and autocratic, and obviously
based on the latter day JC herself. I find it fascinating Crawford agreed to
come back to her home studio, after a decade away, for this unflattering portrait
of Joan. For such a formula Joan Crawford picture, there's so much subtext
going on that the surface story is superfluous.
Joan Crawford with loyal fans. In 'Torch Song,' they are played by teens! |
Torch Song
is a prime example of the superstar as self-parody. Joan used her personal life
to publicize her career, and specifically, to bolster this film: Crawford’s
tough climb to the top, perfectionist ways, tantrum throwing temper, boyfriends
as accessories, freeloading family, fawning fan love, and overall lonely way of
life. There’s a telling scene toward the end of Torch Song: The pissed off pianist predicts that if Jenny doesn’t
change her witchy ways, she’ll end up alone, a boozy self-parody of her former superstar
self.
Chuck
Walters, a reliable MGM studio hand, was chosen to guide Crawford through her
turn as a Broadway singing and dancing diva. In Crawford’s memoir Portrait of Joan, she commented on the
challenge of “all the singing and dancing” in Torch Song, after all those years. Joan started out as a Charleston
queen, sang and danced a little in a few of her 1930s films, and was humored by
Mayer in an attempt at a singing career—but the fact is Crawford hadn’t done
either since the late ‘30s. While Crawford was graceful and had great energy in
her youth, Joan wasn’t a professional dancer. And though the songs warbled by
Joan during her Metro years were serviceable, after hearing her rejected vocals
for Torch Song, I suspect she got a
lot of help from the recording studio gurus. On one YouTube clip, with Crawford’s raw vocals dubbed back in, Joan
begins pleasantly, but is unable to sustain singing more than a line or two. By
the end of the series of takes, Crawford’s confidence is as wobbly as her
vocals.
Crawford in Technicolor for the first time... not quite. |
India
Adams was brought in. The singer had already dubbed the track Two Faced Woman for Cyd Charisse in The Band Wagon, never used, and it was
recycled in Torch Song. So, Adams
dubbed the remainder of Crawford’s musical cuts. Unfortunately, though throaty Adams’
voice was as dramatic as Crawford’s studied “MGM English,” their voices don’t even
sound remotely alike. The disembodied vocals boom out of Joan’s mouth to comic
effect, much like silent star Lina Lamont in Singin’ in the Rain.
Marjorie Rambeau manages to steal the three scenes she's in 'Torch Song!' |
Torch Song
gave Joan a great supporting cast: Michael Wilding as Tye Graham, the blind
pianist and Joan’s sparring partner; Harry Morgan as the seen-it-all producer; Marjorie
Rambeau as Joan’s working-class mother; Gig Young as her boozy boy toy; and
Maidie Norman as Crawford’s gal Friday (who later played Joan’s housekeeper
Elvira in Baby Jane). Aside from
Wilding’s philosophizing pianist, the rest of the characters just disappear,
after a scene or two with Joan. Wilding, though his faraway gaze and lofty sentiments
reminded me of mystical Tyrone Power in The
Razor’s Edge, he’s soothing in contrast to Crawford’s relentless carping. However,
Marjorie Rambeau is the real scene stealer here. With only three scenes,
Rambeau somehow snagged a best supporting actress Oscar nomination. Majorie has
some great moments as Joan’s lower class mama, as when she laments the lack of
hops in beer and salt on pretzels! Nancy Gates, as Joan’s “kid sister,” is right
up there with Mimi Rogers as Barbra Streisand’s baby sis in The Mirror Has Had Two Face Lifts. Gates
was 27 at the time, as the younger sibling in need of cash from her big sister,
for piano lessons—with Joan at least 45 here.
Joan is a 'Torch-Faced Woman' in this infamous number. |
Surprisingly,
there’s only one full musical number in Torch
Song, and it’s become infamous. “Two-Faced Woman” showcases Joan as she
swans around a sea of singers and dancers, not doing much real dancing, and
lip-synching to Adams’ near-operatic vocals. Decked out in a mink stole and aqua
blue spangles and fluff, Joan tops the tacky look off with a black face and wig.
In That’s Entertainment 3, Debbie
Reynolds’ narration discreetly describes Crawford’s makeup as “tropical.” In
Joan’s memoirs, Crawford called the makeup “high yellow.” Movie fans have called
it high camp.
Lena Horne in her 'Light Egyptian' makeup as a MGM star. |
Some film folk claim it’s the same makeup created for fellow
Metro star Lena Horne. Horne never appeared in such a dark hue on film, whereas
Joan looked like she fell asleep while eating a bag of Hershey bars. If the
number was deleted, as some say it should be, there would be NO song and dance
numbers in this musical, save for Joan’s sashaying in the film’s opening, and
one song sung by Joan while leaning against a wall. Just as insulting as the
blackface are the many digs Joan’s Jenny takes toward the pianist’s blindness,
as if it’s a character defect. The low point comes when Jenny glares at his dog
and snarks that Tye needs a nice seeing-eye girl.
When
Tye Stewart heatedly argues over Jenny’s single-minded drive for stardom, he refers
to her youthful self as a Gypsy Madonna. Later, that phrase comes up in a heart
to heart with Mom, and she digs up Joan/Jenny’s first scrapbook of clips. Lo
and behold, before Tye went off to war and lost his eyesight in battle, he saw
Jenny when she was first making it big in showbiz, and wrote a love letter of a
review. Yes, that’s World War Two
we’re talking about! Time is subjective in a Joan Crawford movie.
Well, not until Bette Davis treated Joan like a soccer ball in 'Whatever Happened to Baby Jane?' |
Crawford’s
Jenny Stewart is an unrelenting shrew to just about everyone in her orbit. Yet
in the final scene, when the pianist finally naps, Crawford condescendingly
asks if this is finally a crack in his façade. The implication is that her
prior behavior was just an act, to break through his aloofness. This makes zero
sense, since it’s been established that Jenny Stewart is a bitch on wheels from
the film’s first frame. Hey, this is Joan’s revisionist world, and we’re just
watching. This and all the other twisted inconsistencies add up to make Torch Song the biggest camp fest this
side of a Boy Scouts Jamboree.
It's lonely at the top...especially when you wear canary yellow adult "One-sies" while lounging in the bedroom! |
Crawford
certainly enjoyed playing this type of role, which she repeated in Queen Bee and The Best of Everything. Nearly 15 years later, when Valley of the Dolls, another show biz
soap opera, was casting, Joan reportedly expressed interest in playing another battleaxe,
Helen Lawson. I’m sure Joan would have been great and not the least bit
deterred that the young dolls were all 20-something, because Joan would have
insisted on establishing that Helen was only 47, like Straitjacket!
Carol Burnett and Harvey Korman in her spoof, 'Torchy Song.' |
Carol
Burnett parodied this Crawford vehicle, hers dubbed Torchy Song. Joan previously had called Carol and praised her other
take-off on Crawford, re-titled Mildred
Fierce. This time, Joan was hurt by what she considered a mean-spirited
spin on Torch Song. Today’s satire of
pop culture is pretty merciless compared to the ‘70s, but even in its time, The Carol Burnett Show and its send ups were
good natured. Burnett, a one-time usherette, was a huge movie fan, and often
invited old time Hollywood stars on her show, like Lana Turner, Rita Hayworth,
and even Gloria Swanson, who Carol often spoofed in the silent star’s Sunset Boulevard role. I’m surprised that
Crawford never guest-starred on Carol’s show, as she appeared on many variety
shows, including The Tim Conway Show.
As for Joan’s hurt feelings, I think it was a case of Crawford’s moods being
like a weather vane, much like that notorious two-faced woman!
Torch Song
is a train wreck of a film, but it is great fun for Joan Crawford fans, to
watch the determined diva give her considerable all. Mainstream movie fans may
want to stick with Mildred Pierce!
"Superstar!" |
Love it😉
ReplyDeleteNext do Female on the Beach
Another whopper!
...Or as I like to call it "Shemale on the Beach!"
DeleteThank you,
Rick
This is an all time favorite and a literal scream first time I watched. Thanks for all the great background information on this epic. I often mention "tropical makeup" when discussing this film. I loved that Mother, and she spits out nails. This is great
ReplyDeleteHey Gingerguy! I had a blast writing this one, which appropriately led to Metro's other musical dud "The Opposite Sex!" There's even a tropical number in that one...what was in the water at Metro...rum?! Cheers, Rick
Delete"more camp than a Boy Scout Jamboree!" OMG that made me spit out my coffee! I adore Torch Song. I have a feeling that Jenny Stewart was a lot like the real Crawford. Demanding yet vulnerable. Joan seemed to have difficulty laughing at herself and her image. Unlike Bette Davis who knew that her mannerisms were imitated by every drag queen worth their heels. Bette seemed to get a kick out of it. Joan on the other hand took herself very seriously. It speaks volumes about one another's self-esteem.
ReplyDeleteHa ha ha.. fascinating, hilarious and good-natured. I loved reading this. Oh how I would love to read a similar review from you of what I believe to be the most campy movie ever - Johnny Guitar.
ReplyDeleteHey Chip, thanks! I saw your FB comment, too. You can subscribe to this blog free, and also join my open FB movie page, where I put all the overflow that doesn't fit in my essays. That's here: https://www.facebook.com/groups/178488909366865
DeleteCheers, Rick
Joan called the make-up “high yellow?” Thre old saying about high yellow was
Delete“Light, bright and damn near white.” Make-up by Hershey is right on the money. Joan also tried to seduce director Walters according to his biography. She met him in her dressing room, dropped her robe and said “This is what you have to work with.” She was stark naked.
Forgot to add, Great site. I just found it. Pictures very well chosen. Thanks!
DeleteThank you! Yes, I've read that story about Joan and her director, who was gay. So, he wasn't going to go for that, like Vincent Sherman. And yes, I try to use pics that reinforce the text. Cheers, Rick
Delete