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_01.jpg) | Barbara Stanwyck, for a period during the 1940’s the highest paid actress in Hollywood and woman in the US, was a self-made woman, if ever there was one. Queen of the film noir, Stanwyck was known for playing tough broads, often the girlfriend of a mobster as in Night Nurse and in Ball of Fire - or a killer herself - as in Double Indemnity. Having lost her family at a young age, Stanwyck, born Ruby Stevens, grew up in Brooklyn and got her start on stage at age 13. Often described as ashamed of her lack of education, Stanwyck wasn’t all that ignorant. It was she who fought to have Jack Warner produce The Fountainhead, only to lose the part to Patricia Neal at director King Vidor's insistence. Stanwyck, a staunch anti-communist activist, remained friends with Ayn Rand, but ended her long-term relationship with the studio over that betrayal, never to work for Warner Brothers again. While her role in Double Indemnity with Fred MacMurray and Edward G. Robinson is often considered one of her best performances, my favorite so far has been her lead as Sugarpuss O’Shea in Howard Hawks’ 1941 Ball of Fire, written by Billy Wilder. In it she plays a familiar role, the gangster’s moll, and gets to show off her figure and her sultry voice as a nightclub performer. In this comedy with a plot, we see her as cunning, coy, fun and flustered, and always fully woman. When you watch it, keep in mind that Stanwyck didn’t pull her punches, and that she actually broke actress Kathleen Howard’s jaw in a stunt you’ll see on film. On the lam to avoid a “subpeeny” from the D.A.’s office, she meets Gary Cooper’s Professor Potts, a befuddled doctor of English etymology, looking to complete his slang dictionary. This screwball comedy has Stanwyck first dupe and then fall for Cooper, each teaching the other about a part of life they had been missing. Barbara steals the movie when she sings along to drummer Gene Krupa, performing his virtuoso Drum Boogie, first with him on drums and her to the band, then him on matches and her sotto voce. Stanwyck was an actress often too big for the roles she played. Her struggle against the constraints of a reality sometimes too small for our dreams was most passionately portrayed in her 1983 swan song, the Thorn Birds. Here she is pictured in Stella Dallas. A 12 film centennial celebration of Stanwyck is playing through May 6, 2007 at the Brooklyn Academy of Music 718-636-4100 | |||
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