Sisters Ruth and Eileen Sherwood move from Ohio to New York in the hopes of building their careers. Ruth wants to get a job as a writer, while Eileen hopes to succeed on the stage. The two ... See full summary »
Eugene O'Neill's updated version of the Orestaia. In New England, after the American Civil War, a war-weary Agamem--er, Ezra Mannon comes home to his unhappy wife (Christine) and loving ... See full summary »
Jerry Seevers returns from World War I service broken in health and his doctor tells him he has only six months to live. His fiancée jilts him and he sets out to drink himself to death. In ... See full summary »
A photographer for Life magazine comes to London to do a story on a local theater troupe which never missed a performance during World War II. Flashbacks also reveal the backstage love ... See full summary »
John Hathaway is a professor of psychology at Digby College. His students are bored as he is with the students. He leaves college to go to New York to have his manuscript on jealousy ... See full summary »
Romance and heartbreak walk hand-in-hand when Philip Chagal accidentally meets Helen Lawrence in a restaurant where she is a waitress. Unhappily married to a woman who suffers from mental ... See full summary »
Sisters Ruth and Eileen Sherwood move from Ohio to New York in the hopes of building their careers. Ruth wants to get a job as a writer, while Eileen hopes to succeed on the stage. The two end up living in a dismal basement apartment in Greenwich Village, where a parade of odd characters are constantly breezing in and out. The women also meet up with magazine editor Bob Baker, who takes a personal interest in helping both with their career plans. Written by
Daniel Bubbeo <firstname.lastname@example.org>
The movie is based on the real-life experiences of Ruth McKinney, and her sister Eileen. In 1934, Ruth and Eileen McKinney moved to New York from Columbus, Ohio. They rented a $45-a-month basement apartment at 14 Gay Street in Greenwich Village, above the Christopher Street subway station. Ruth wrote about their eccentric neighbors and the trials of living in a basement apartment in her column titled, "My Sister Eileen," which was published in the "New Yorker" (called "The Manhattaner" in the movie). As seen in the film, "New Yorker" editor Harold Ross was at first reluctant to publish Ruth McKinney's columns, preferring to keep his magazine a "High Society" publication, but he eventually relented. Ruth's columns were gathered in a book, "My Sister Eileen," which was published in 1938. Eileen McKinney moved to Los Angeles, where she married novelist and screenwriter Nathaniel West (author of the perennial Hollywood novel, "The Day of the Locust"). Unfortunately, Eileen McKinney and Nathanael West were both killed in a car accident in Los Angeles on December 22, 1940, only four days before they were scheduled to attend the Broadway opening of the play, "My Sister Eileen." Ruth McKinney died in 1972 at age 60. See more »
When Bob puts Ruth in the taxicab outside of the police station, the shadow of the boom mic can be seen moving across the hood of the cab. See more »
Rosalind Russell was one of the finest comediennes in the American movies, and this in a period which saw the likes of Claudette Colbert, Carole Lombard, Jean Arthur, Ginger Rogers, Irene Dunne, Katharine Hepburn and others. Russell was a rarity: though all the others often played dizzy women, in her comedies, Russell always played smart, hard-edged career women (the exception was her first major comedy role, as the catty Sylvia in THE WOMEN).
At a time when HANNAH TAKES THE STAIRS is set to open, with its lackadaisical heroine pursuing a writing career as she tries to make sense of her romantic entanglements, it behooves us to remember MY SISTER EILEEN, which (when it was filmed in 1942) is the prototype, as the two Sherwood sisters (Ruth, played by Rosalind Russell, and her younger sister Eileen, played by Janet Blair) come to New York City to try their hands at writing (for Ruth) and acting (for Eileen). The slapstick annoyances, the charmingly maladroit Greenwich Village denizens (part ethnic, part "bohemian"), the stereotypical romantic encounters, all make for a charming entertainment. In the wake of the sexual frankness of HANNAH TAKES THE STAIRS, MY SISTER EILEEN might seem dated, but it's a lovely reminder of the wit and the humor of the generation growing up during World War II, when women were (again) finding new possibilities in the workplace, but still had the same problems finding proper dates.
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