STAGESTRUCK
US, 1958, 95 minutes, Colour.
Henry Fonda, Susan Strasberg, Christopher Plummer, Herbert Marshall, Joan Greenwood.
Directed by Sidney Lumet.
A remake of the 1933 film Morning Glory for which Katharine Hepburn won her first Oscar in the role of Eva Lovelace. Newcomer Susan Strasburg, daughter of Lee Strasburg, manager of the Actors' Studio (which receives some ribbing in the screen play of this film), takes the Hepburn role. In the ordinary scenes she is quite good but in the acting, for example of Romeo and Juliet, she is not particularly convincing.
The film, made on location in Now York City, which is emphasized at the beginning of the film, was the second film made by director Sidney Lumet. He had already made Twelve Angry Men after moving from television and was to be a successful director throughout the sixties and seventies, especially with his adaptations of plays, for example Long Day's Journey Into Night, A View from the Bridge, The Seagull. He was also to make the effective Serpico and Dog Day Afternoon in the seventies as well as Network, Equus and The Wiz.
The film also introduces Christopher Plummer. However, he did not make many films until the sixties and seventies. The film is an interesting presentation of the theatrical world of Broadway and the strength of ambitions and people using one another for success. Henry Fonda is his usual sturdy self in the central role. Interesting theatrical drama.
1. The title and the connotations of the word? Its application to the theatre, to each of the main characters, indicating tensions, themes?
2. How evident was it that the film was based on a play? Was the film in any way ‘stagey’? The film was also updated from the thirties. Did the film have the contemporary atmosphere of the fifties?
3. The use of New York City for authenticity, the focus on Times Squarep Broadway, the actual theatres with the advertisements, the atmosphere of the streets, the atmosphere of the theatres and rehearsals, outdoor sequences like the discussion between Easton and Joe in the snow?
4. How was Eva Lovelace the focus of the film? The quality of Susan Strasburg’s performance and her ability to hold the film together? Her personality, her persona? Her name and the discussion with Hedges? Her ability to act, Susan Stranburg’s ability to act, for example the Romeo and Juliet sequence? Her explanation of her background. her dreams of the theatre, her fears? Her wanting to tell the truth about herself? Audience response to her push and her charm? Her arrival in Easton's office, her patter to Hedges, her exploiting opportunities, her pushiness? The response of the men in the office, the response of Rita? The importance of her rehearsal and audition and her overacting and failing? Her presentation of herself at the Village Voice? Her appearance at the first night, going to the party with Joe, setting her cap at Easton, the champagne, the recital, audience response, staying the night? Her hopes, her love, their being dashed by Easton and her response? Joe and his training her? Her final getting in to the theatre, her fears, triumph? What was the meaning of her being stagestruck, why?
5. What happened to her throughout the film? From her push, to her behaviour at the rehearsal, to using people and situations, being used by them? Love for Easton, affection for Joe and gratitude, fear? The possibilities of success and the dream way of achieving them? Joe's contribution, Easton’s? The finale and the triumph? Her final assessing of the situation with Joe and with Easton? Her future? Seeing her before the lights, acting, the applause? Her leaving the theatre, going to Sardi’s and the applause of the future? The success of a stagestruck girl?
6. The director's use of close-ups for character portrayal, drama? His staging of the excerpts from plays?
7. The insight into the world of the theatre, the American theatre, the role of the producer and his deals, the playwright and the director, actors and actresses and hits, auditions? Star quality, applause, tantrums?
8. Henry Fonda’s portrait of Easton? A benign and successful producer, the human touch, his fascination with Eva, ignoring her, fascinated by her performance of Romeo and Juliet, his falling in love with her, ignoring her and trying to buy her off with money, the encounter with Joe in the snow, his realization of what was happening as regards the rehearsals, his searching for her at the Village Voice, his willingness to submit himself to her in affection and love?
9. The contrast with Christopher Plummer's portrait of Joe? An a playwright, naive and enthusiastic, creative? His fascination with Eva, his helping her, the first night, the audition, the party? How much did he love her, how much did he use her for understanding the role in his play? How did Eva use him? His search for her at the Village Voice? Rehearsing her, the first night, her achievement and her rejection of him?
10. The contrast with Rita and her star quality and star tantrums? Her theatricality, the affectionate scenes with Easton and her kissing and arguing him down for contracts? Her behaviour as regards the play, as regards Joe? Her tantrums at the rehearsals?
11. Hedges showing the genial side of the theatre? The gentleman actor, the affection for Eva, success with her and helping her at the end?
12. The portrait of the theatre personnel, the officers, the business aspects, the jargon and the deals? The Village Voice personnel? The stage hands, costume and make-up?
13. The scenes based on theatrical writing with their strength of dialogue, personal clashes? The strength of the dialogue and its tensions?
14. Set sequences like Eva’s audition, the party and its chatter and her taking it over, the backstage sequences, the Village Voice performances, the discussion in the snow?
15. The impact of Eva’s acting - on the group, on the audience itself?
16. Themes of the theatre, ambitions, hopes, hurt, achievement and triumph?
