Bette And Joan: The Divine Feud (25h Anniversary Edition) by Shaun Considine

By Shaun Considine

ISBN note: ISBN for identify couldn't sourced. ASIN B0057G4FU8

Bette Davis and Joan Crawford: of the deadliest arch-rivals of all time. Born within the comparable yr (though Davis swore 'Crawford is 5 years older than me if she's a day'), the 2 fought bitterly all through their lengthy and excellent Hollywood careers.

Joan grew to become a celeb first, which regularly irked her rival, who steered her good fortune had come through the casting sofa. 'It definite as hell beats the demanding chilly floor' was once Crawford's scathing reaction. in line with Davis, Crawford was once not just a nymphomaniac but in addition 'vain, jealous and approximately as sturdy and reliable as a basket of snakes'. Crawford, in flip, accused Davis of stealing her glory and making plans to break her.

The competitors fought over as many males as they did components - while Bette fell in love together with her co-star in risky, Franchot Tone, Joan stepped in and married him. the ladies labored jointly just once, within the vintage mystery no matter what occurred TO child JANE?, within which their violent hatred of one another as rival sisters used to be no act.

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Extra resources for Bette And Joan: The Divine Feud (25h Anniversary Edition)

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THE MONSTER RALLIES According to a merry New York Times writer in October 1938, as far as Universal had been concerned, the original Dracula and Frankenstein ‘were reverently coiled up in their tin cans like a pair of anchovies and interred in dead storage to sleep the sleep of the just’ (1938: 160). Then, sometime in the boxoffice doldrums of late summer, desperate exhibitors in Los Angeles and Seattle decided to disinter the two films and play them as a double bill. The key was the advertising: instead of playing down the terror, the promoters actively dared the audience to show up.

Whale had pronounced himself not interested in The Return of Frankenstein, as the sequel was initially called, claiming to have ‘squeezed the idea dry’ (Hitchcock, 2007: 172) with the first film. Karloff was game, but now feeling protective of the Monster – he was sceptical about having the Monster speak in the sequel, and when Universal came up with a lighter, cork-filled pair of boots to stomp around in, Karloff stuck with the heavy originals, to keep that Monster feel. Universal, naturally, stirred the publicity fires, including the announcement that Karloff would wear a veil over his head while moving between dressing room and soundstage.

I WAS A TEENAGE PHENOMENON Given the many horror movie characters that flourished in this era, Frankenstein was obviously not alone in creating cult status; indeed, the entire ‘golden era’ of movie horror became something of a cult by the mid-1950s, and continues so today. But Frankenstein’s Monster was the big one, somehow – the Clark Gable of movie monsters, the King of the unholy crew, the monster with the largest footprint, in every sense. W. Murnau’s unauthorised – and sublime – Bram Stoker rip-off from 1922, Nosferatu), but Dracula suffered from a scattered sequel history.

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