Film follows Eagles' (Novak) rapid rise from carnival tease to Broadway celebrity to alcoholic decline.
Novak's cavorting on the tiger skin rug in her hoochie-coochie outfit was used to promote the film at the time. Of course that merely accentuated her reputation as a blonde sex symbol, Columbia's rival to Fox's cheesecake queen Marilyn Monroe. Nothing wrong with that except the movie is a clear attempt at establishing Novak as a serious actress. Thus, the promotion is at real odds with the overall intent, which, I suspect, is the story of Novak's rather interesting career. It would take a few years for her to find her real movie niche, namely broad comedy farce, rather than the heavy drama of this film.
One thing for sure—she has to run the full gamut of emotions in this obscure biopic. And she pulls it off pretty well, certainly getting an "A" for effort. The trouble is the film is over- long with a number of anti-climaxes and a screenplay requiring her presence in most every scene. So, when things slow down and get repetitive, as I think they do, Jeanne's (Novak) breakdown becomes tiresome as well. And that's too bad because a more economical script and more nuanced direction (Sidney) would have showcased the actress' efforts more effectively. As results stand, Novak is a so-so presence in a not-very-good film, which has since faded into understandable obscurity.
(In passing—When Elsie (Virginia Grey) emerges suddenly from the shadows backstage, her gaunt features highlighted, it's a shuddery moment of authenticity for an under-rated performer amid the otherwise heavy emoting.)
Novak's cavorting on the tiger skin rug in her hoochie-coochie outfit was used to promote the film at the time. Of course that merely accentuated her reputation as a blonde sex symbol, Columbia's rival to Fox's cheesecake queen Marilyn Monroe. Nothing wrong with that except the movie is a clear attempt at establishing Novak as a serious actress. Thus, the promotion is at real odds with the overall intent, which, I suspect, is the story of Novak's rather interesting career. It would take a few years for her to find her real movie niche, namely broad comedy farce, rather than the heavy drama of this film.
One thing for sure—she has to run the full gamut of emotions in this obscure biopic. And she pulls it off pretty well, certainly getting an "A" for effort. The trouble is the film is over- long with a number of anti-climaxes and a screenplay requiring her presence in most every scene. So, when things slow down and get repetitive, as I think they do, Jeanne's (Novak) breakdown becomes tiresome as well. And that's too bad because a more economical script and more nuanced direction (Sidney) would have showcased the actress' efforts more effectively. As results stand, Novak is a so-so presence in a not-very-good film, which has since faded into understandable obscurity.
(In passing—When Elsie (Virginia Grey) emerges suddenly from the shadows backstage, her gaunt features highlighted, it's a shuddery moment of authenticity for an under-rated performer amid the otherwise heavy emoting.)