Sometimes the release on DVD of a particular film in which, ostensibly, I have very little interest makes me watch it regardless when it happens to get shown on TV – and this is just one such example. Actually, it forms part of a Box Set which does contain at least two enticing titles: Frank Borzage’s STRANGE CARGO (1940) and George Cukor’s A WOMAN’S FACE (1941).
Although hardly one of my personal favorites, Joan Crawford was one of Hollywood’s foremost leading ladies: starting out in the late Silent era, she epitomized the “woman’s pictures” in the 1930s and 1940, eventually winning an Oscar for Michael Curtiz’s superb noir-ish melodrama, MILDRED PIERCE (1945). By the time Crawford did TORCH SONG, she had been a freelancer for ten years and this marked a return to the studio which had discovered her, Metro-Goldwyn-Mayer.
Stories of entertainment divas alienating their loved ones through their constant tantrums were already clichéd by this time, I suppose, but this is nevertheless a watchable and, given that there are a few musical numbers, surprisingly painless diversion which has, somewhat unaccountably, earned a reputation of late as a camp classic. This may be down mostly to the fact that Crawford (whose singing voice is dubbed) does one of her routines, “Two-Faced Woman”, in blackface; incidentally, this song was originally meant for Vincente Minnelli’s THE BAND WAGON (1953) as a duet of sorts between Cyd Charisse and Oscar Levant! This is not to say that watching Crawford (in her late forties and her first full-length feature in Technicolor) showing off her legs at every available opportunity does not give rise to some amusement.
Crawford’s leading man here is Britain’s Michael Wilding as a blind pianist(!) and her no-nonsense mother is played by Marjorie Rambeau (who was, surprisingly enough, even nominated for an Oscar); the supporting cast is further filled out by rather thankless turns from Gig Young (as Crawford’s playboy companion) and Harry Morgan (as the theatrical impresario). Director/choreographer Charles Walters rounded out a good year for him with this movie – which had also included the Oscar-nominated LILI and Esther Williams’ most popular vehicle, DANGEROUS WHEN WET.
Although hardly one of my personal favorites, Joan Crawford was one of Hollywood’s foremost leading ladies: starting out in the late Silent era, she epitomized the “woman’s pictures” in the 1930s and 1940, eventually winning an Oscar for Michael Curtiz’s superb noir-ish melodrama, MILDRED PIERCE (1945). By the time Crawford did TORCH SONG, she had been a freelancer for ten years and this marked a return to the studio which had discovered her, Metro-Goldwyn-Mayer.
Stories of entertainment divas alienating their loved ones through their constant tantrums were already clichéd by this time, I suppose, but this is nevertheless a watchable and, given that there are a few musical numbers, surprisingly painless diversion which has, somewhat unaccountably, earned a reputation of late as a camp classic. This may be down mostly to the fact that Crawford (whose singing voice is dubbed) does one of her routines, “Two-Faced Woman”, in blackface; incidentally, this song was originally meant for Vincente Minnelli’s THE BAND WAGON (1953) as a duet of sorts between Cyd Charisse and Oscar Levant! This is not to say that watching Crawford (in her late forties and her first full-length feature in Technicolor) showing off her legs at every available opportunity does not give rise to some amusement.
Crawford’s leading man here is Britain’s Michael Wilding as a blind pianist(!) and her no-nonsense mother is played by Marjorie Rambeau (who was, surprisingly enough, even nominated for an Oscar); the supporting cast is further filled out by rather thankless turns from Gig Young (as Crawford’s playboy companion) and Harry Morgan (as the theatrical impresario). Director/choreographer Charles Walters rounded out a good year for him with this movie – which had also included the Oscar-nominated LILI and Esther Williams’ most popular vehicle, DANGEROUS WHEN WET.