Eve Golden Quotes

• “Blonde movie stars in the 1950s seem to have been pretty much divided between breathy bombshells (Marilyn Monroe, Jayne Mansfield) and slim, elegant swans (Grace Kelly, Eva Marie Saint). Producers didn’t really know what to do with Judy Holliday, a brilliant, versatile actress who simply didn’t fit into any easy category. Though she left behind a handful of delightful films, one can’t help feeling a sense of waste that her gifts were not better handled by Hollywood (or, for that matter, by Broadway). Perhaps, like Lucille Ball, Judy Holliday would have blossomed with a really good sitcom; but, unlike Lucy, she never got one.”

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• “Through the early 1930s, Barbara Stanwyck established her reputation in a field overflowing with other young Broadway starlets: Bette Davis, Miriam Hopkins, Katharine Hepburn, Claudette Colbert, Joan Blondell. Barbara was lower-keyed and less mannered than Davis and Hepburn; less glamorous than Colbert. She was “real,” and she also proved to be the personification of no-nonsense professionalism, making her popular with directors and coworkers alike.”

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• “But interviews with [Margaret Dumont] reveal her to have been a perceptive and talented comic actress. “Many a comedian’s lines have been lost on the screen because the laughter overlapped,” she said in the 1940s. “Script writers build up to a laugh, but they don’t allow any pause for it. That’s where I come in. I ad lib—it doesn’t matter what I say—just to kill a few seconds so you can enjoy the gag. I have to sense when the big laughs will come and fill in, or the audience will drown out the next gag with its own laughter.” A much harder job, it must be stressed, onscreen than onstage. Margaret Dumont objected to the term “stooge,” with her usual dignity. “I’m a straight lady,” she insisted, “the best straight woman in Hollywood. There’s an art to playing straight. You must build up your man, but never top him, never steal the laughs from him.” She showed great insight into the Marx Brothers’ brand of humor: “The comedy method which [they] employ is carefully worked out and concrete. They never laugh during a story conference. Like most other expert comedians, they involve themselves so seriously in the study of how jokes can be converted to their own style that they don’t ever titter while approaching their material.”

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• “Groucho Marx continued to alternately call Margaret Dumont “a great lady” and to denigrate her in interviews. But he seemed, at the end, to realize how important she’d been to his career. When accepting his 1974 Lifetime Achievement Oscar, the ailing Groucho told the audience, “I only wish Harpo and Chico could have been here—and Margaret Dumont.”

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• “Her first really great role, the one that cemented the “Jean Arthur character,” was as the wisecracking big-city reporter who eventually melts for country rube Gary Cooper in Frank Capra’s Mr. Deeds Goes to Town (1936). It was the first of three terrific films for Capra: Jean played the down-to-earth daughter of an annoyingly wacky family in Capra’s rendition of Kaufman and Hart’s You Can’t Take It With You (1938), and she was another hard-boiled city gal won over by a starry-eyed yokel in Mr. Smith Goes to Washington (1939). “Jean Arthur is my favorite actress,” said Capra, who had successfully worked with Stanwyck, Colbert and Hepburn. “. . . push that neurotic girl . . . in front of the camera . . . and that whining mop would magically blossom into a warm, lovely, poised and confident actress.” Capra obviously recognized that Jean was often frustrated in her career choice.”

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• “I bumped into every kind of disappointment, and was frustrated at every turn. Roles promised me were given to other players, pictures that offered me a chance were shelved, no one was particularly interested in me, and I had not developed a strength of personality to make anyone believe I had special talents. I wanted so desperately to succeed that I drove myself relentlessly, taking no time off for pleasures, or for friendships.” - Jean Arthur”

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• “Joan Blondell had it all: looks, talent, energy, humor. If she never became a top-flight superstar, the fault lies mostly with Warner Brothers. At MGM, Joan could have easily had Jean Harlow’s career; at Paramount, Claudette Colbert’s or Carole Lombard’s; at Fox, Loretta Young’s; at RKO, Ginger Rogers’. Some of the fault lies, too, with Blondell herself, who later admitted, “The instant they said ‘cut!’ I was whammo out of that studio and into the car . . . In order to be a top star and remain a top star and to get all the fantastic roles that you yearned for, you’ve got to fight for it and you’ve got to devote your twenty-four hours to just that; you’ve got to think of yourself as a star, operate as a star; do all the press that is necessary . . . What meant most to me was getting home, and that’s the truth.” But if Joan Blondell got slightly lost in the shuffle at Warners, she still managed to turn in some delightfully snappy performances and typify the warm-hearted, wisecracking Depression dame. And when she aged, she did so with grace and humor.”

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• “We worked so hard,” [Joan Blondell] said, “and hardly ever had a day off . . . Saturday was a working day and we usually worked right into Sunday morning.” Joan’s good nature may have worked against her in the long run. While fellow Warner Brothers workers Bette Davis, James Cagney, Olivia de Havilland and Humphrey Bogart fought like lions for better roles and more creative input, Joan took things in stride, at least through the early 1930s. “I just sailed through things, took the scripts I was given, did what I was told. I couldn’t afford to go on suspension—my family needed what I could make.”

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• “It’s a testament to [Joan Blondell]'s talent that she is so fondly remembered even though so few of her films were even adequate. Her Warners cohorts were given classics while Joan remained the reliable backup in unremarkable films badly needing her gifts.”

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• “I guess I became an actress because I didn’t want to be myself,” [Jean Arthur] later conjectured.”

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• “[Joan Blondell] biographer, Matthew Kennedy, quotes her as admitting, “If I had taken myself more seriously . . . if I had fought for better roles as, say, Bette Davis did . . . I think I might have been a damned good dramatic actress. But it was just my way; I don’t think I ever had the security of feeling confident in myself, really, ever. I used to think, ‘I’m just lucky to be here!”

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• “It was Joan Blondell’s good fortune—and good sense—to develop a screen character that aged well. When middle age and increasing weight took their toll, she was able to segue into playing wry, wisecracking old dames. Many of her contemporaries fell by the wayside, but Joan stayed busy. She didn’t maintain the high-profile popularity she’d had in the early 1930s, but she kept working, to critical acclaim.”

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• “Calling Billie Burke a “character actress” is like calling the Grand Canyon “quite a slice.” Though she’s best known for dithering supporting roles in such films as The Wizard of Oz, Topper and Dinner at Eight, Billie was a stage star, silent movie star, and a brilliant dramatic actress as well. Her comic talent was only the tip of the iceberg.”

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• “One of the greatest was the blonde, urbane Ina Claire, who seemed a Dorothy Parker story or New Yorker cartoon come to life.”

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• “Not many performers are equally at home in drama and comedy; Claudette Colbert was one of those few. It’s hard to decide whether she was more brilliant in screwball comedies like It Happened One Night, The Palm Beach Story and Midnight, or tragedies like Imitation of Life and So Proudly We Hail! The most modern of actresses, she was also one of the most talented.”

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• “Claudette Colbert was not Hollywood’s greatest beauty, but her trim little figure, round, kitten-like face, and obviously intelligent good humor made her a bit of a sex symbol, much to her own surprise. By 1934 she’d adopted the hairstyle she kept for life: a short, auburn bob with a fringe of bangs. Although a partygoer and social animal, Claudette was also known as a tough-as-nails professional, overseeing her lighting and camera angles. Her right profile was known as “the dark side of the moon,” and scenes had to be staged so as not to show it. She was also self-conscious about her short neck—directing her in a 1956 TV show, Noël Coward reportedly snapped, “If only Claudette Colbert had a neck, I’d wring it!” “When it comes to details, I’m a horror,” she admitted cheerfully, though downplaying the profile story. “Why not have your good side showing?”

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• “In 1990 [Claudette Colbert] wished Vanity Fair readers “a fabulous new decade. I’m praying to make it to 2000. After all, I’ll only be 97.” She didn’t quite make it.”

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• “When [Claudette Colbert] died at 92, on July 30, 1996, her front-page New York Times obit recalled her “wit, gaiety, cupid’sbow mouth and light touch . . . worldly and sophisticated yet down to earth.” Claudette herself was quoted, “I’ve always believed that acting is instinct to start with; you either have it or you don’t . . . I did comedy because all my life I always wanted to laugh myself. There was never anything that gave me as much satisfaction as to be in something amusing.”

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• “During her lifetime, Marilyn Monroe was underrated as a dramatic actress, and this rightly rankled her—but she was also overrated as a comedienne.”

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• “There were giants striding the screen in the 1930s and ’40s: four actresses so talented, hardworking and versatile that they became laws unto themselves. Joan Crawford and Bette Davis have also become high-camp figures of fun, as they both had such wildly theatrical offscreen lives, and their performances could sometimes veer into self-parody. But Barbara Stanwyck and Claudette Colbert stand the test of time in each and every film: our memories of them are not overshadowed by scandals or vituperative daughters. One rarely sees a Stanwyck or Colbert drag queen. But these ladies were fully the equal—sometimes the superior—of Davis and Crawford.”

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• “Barbara Stanwyck, in particular, was peerless in everything from high and low comedy to drama to musicals to film noir. She never took a false step.”

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• “[Constance Bennett] never tired of acting, said Peter Plant. “She liked it, she enjoyed it, and she worked very hard at it. When she was making a film, she would really be busy preparing for the next day’s scenes. I would visit her for half an hour, and then she would go back to her script. She had what her father had, a photographic memory. Richard Bennett, I understand, could read a play through once, and he knew the whole play, and everyone else’s cues. I have the good fortune to have inherited that, and it’s made many people think me more intelligent than I am.”

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• “Talking films revealed [Jean Arthur]'s quirky, remarkable voice: nasal, raspy, querulous— an odd, expressive voice which somehow fit her intense, funny and very smart screen persona.”

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