Dearest Mommy Can’t
Dance-Or Sing-Joan Crawford And Clark Gable’s “Dancing Girl” (1933)-A Film
Review
DVD Review
By Sarah Lemoyne
Dancing Girl, starring Francot
Tone, Joan Crawford, Clark Gable, 1933
[New Introduction-Sometimes
things happen for a reason, for the fates, maybe a portent, at least that is
what Seth Garth, my grandfatherly mentor here of late has told me (that “grandfatherly”
put in to cut off what is becoming an ugly insinuation that there is some kind of
undercurrent romance going on between us which is far from the truth as I have mentioned
before but which bears repeating since this workplace has a history of older
writers taking their stringers under their wings, despite age, marital status,
religion or race for nefarious purposes again according to Seth). This review
was supposed to appear several months ago when I first viewed it and turned in
my draft review.
Somehow, between Greg
Green’s undivided attention on doing the encore edition of a rock and roll series
entitled The Roots Is The Toots which
the previous site manager (or administrator, I think he was called but don’t quote
me on that since that was before I started here), Allan Jackson put together over
several years and trying to get a handle of a couple of new series this one
fell through the cracks. That is important because now that the dust has
settled on that rock and roll series Greg asked me to get it in shape for publication.
The happens to have dove-tailed with a “dispute” I am entwined in with occasional
reviewer Sam Lowell who old, senile and wizened as he is still thinks he can
write reviews, if he ever did in the past which is open to question, serious question.
I have been informed,
and I did the research to prove it, that Sam after he got his precious by-line
had stringers, mostly Leslie Dumont before she moved on to bigger and better things
and Minnie Moore who I don’t know what happened to her and Seth didn’t know either,
write his reviews and pass them in and/or he used studio publicity department
press releases and just chopped off the top and sent them in from whatever
watering hole or backdoor hotel he was hanging out in.
In a recent review of
Jessica Chastain and Idris Elba’s Molly’s
Game, a good film by the way which Sam essentially panned for no other reason
than hubris on this fast-paced and intricate film (and probably had his longtime
companion Laura Perkins who watched it with him and liked it write the review
and sent it in), he challenged my research. Not the truth of it but a couple of
lame excuses about how every stringer here had in those days, all female according
to Seth who admitted that his stringers were usually female as well, the hots
for him and/or everybody was doing the studio press release stuff on dog day films,
his expression but actually about right. I have not had time to get back to
Leslie, or to check the stringer employee records or see how many times Sam “mailed
it in” with studio press releases (he says a couple but who knows until we get
the stats). What is interesting is that the introduction I wrote below several months
ago when Sam was beginning his sabotage campaign to get the coveted Hammer
Productions series from the 1950s and 1960 reads like it was written by me this
week. That says it all and so I will keep it- More later I am sure-Sarah
Lemoyne]
******
[In my very first film
review after being hired here by site manager Greg Green I mentioned that this
was my first real job in journalism and that I was going to use the
introductory space to talk about myself and not go off on some tangent like
some of the older writers do rather than deal with the subject at hand. Which I
did. I also noted that not being wise to the various “traditions” in the
profession like starting out as a stringer I had a lot to learn. Well I am here
to bitch just like the older writers this time and to let one and all know that
I am a quick learner once the rug has been pulled out from under me by one
nasty old has-been Sam Lowell.
The source of my wrath
is centered on Sam, who is supposed to be retired and write an occasional review
to let younger and fresher voices come to the fore, who let it be known to Greg
Green that he was interested in doing the Hammer Production series originally
assigned to me. The series that had six psychological thriller in it from the
early 1960s mainly of which I had already done two which have been published
here Cash On Demand and The Snorkel. It seems that as a remnant
of the “good old boys” network that existed here under previous site manager
Allan Jackson that older writers meaning mainly those good old boys got “first
dibs” at any decent material. Sam, Judas-goat Sam by the way according to what
I heard about the faction fight that led to Jackson’s demise (although he is
here still puffing away at some nostalgia rock and roll thing that nobody under
about sixty cares one whit about) invoked that privilege and now not only will
he complete the series but will give an alternate review to the two that I did
have published. That sucks.
Worse if what Leslie
Dumont said is true about her time here when she was a stringer before she got
that big push of a by-line at Women Today
many years ago I will probably be writing the damn reviews while Sam gets on
his bong pipe or whatever dope keeps him from toppling over in his dotage or
runs away on some tryst with his flame Laura Perkins leaving me here to save
his sorry ass. In that first introduction I was, admittedly, naïve enough to
take Sam as a kindly old sot but like I said I am a fast learner, very fast. In
the meantime I have this dog of a film to review about creeps I never heard of
except maybe Clark Gable who my grandmother swooned over whenever his name was
mentioned about a million years ago. Sarah Lemoyne]
****
My good friend Seth
Garth, who has given me some good advice, told me that the 1930s and 1940s, my
grandmother’s time, was the golden age of musicals, musicals based on Broadway
shows or done with the music of well-known Broadway lyric and melody writers
like Jerome Kern, Cole Porter, the Gershwin Brothers and Barton Lane. Those
names provided by Seth since I only knew George Gershwin’s name from Porgy and Bess. He had me watch Babes On Broadway with him which he was
reviewing at the time and which has since been published as an example of real
talent lighting up the Great White Way with Mickey Rooney and especially Judy
Garland in the top roles. I could take my cue from that film and the two others
which made up the trilogy and throw in a couple of other Rooney-Garland
collaborations and would have the gold standard for the genre. (Bart Webber
said throw in the motherlode of Fred-Astaire and Ginger Rogers song and dance
flicks and you would not be steered wrong.)
Then there is this dog
of film Dancing Lady which must have
been produced by lead actress Joan Crawford’s lover or she had something on him
that his wife should not know about because however earnest Joan might have
been she could neither sing nor dance. Especially not dance with all her
flailing arms and out of synch motions which left me wondering what the heck
was going on. Of course the plotline (and star power Clark) would have
indicated that maybe this would be a better film than it turned out to be.
I have already moaned
and groaned about the poor song and dance (hell even Fred Astaire brought in
probably from desperation couldn’t make dear Mommy pop) so all we have left is
the story behind the story. Joan, from nowhere, meaning probably Hoboken,
dreamed the big dream of being a dancing fool on the Great White Way, on Broadway
but like a million other well-intentioned young women didn’t make a dent
although that did not stop her, or them, from needing food and shelter. Hence,
she started out down in the dumps, down in dime a dance, roller rink, burlesque
where she was “discovered by a young, wealthy Mayfair swell, played by Francot
Tone who didn’t want her to perform but to marry him.
They go on and on about
the matter but to his frustration and her sometimes annoyance she is committed
to her art. One way or another she used him to make a few contacts on the
street, on the Great White Way, and thus enter Patch, played by Clark Gable,
who is the primo musical director on Broadway. Needless to say they don’t get
along for a while until he sees her as his savior with her dancing and singing
skills. Let me tell you though old Patch is no judge of either such skills and
the real deal is that at the end after finally dumping Mayfair swell boyfriend
and making a smash hit on Broadway they become lovers-fade out.
I wish I could swear in
a review like Seth Garth or even Sam Lowell do when they have a stinker or
something that they cannot understand or make heads nor tails out of but I am a
lowly stringer working my way up the food chain as Bart Webber said he used to
say when he was moving up. But probably the only way I can swear is when Sam
Lowell, pretty please, asks me to do one of his Hammer Production film reviews
for him. You know I will then.
