Eva Lovelace, would-be actress trying to crash the New York stage, is a wildly optimistic chatterbox full of theatrical mannerisms. Her looks, more than her talent, attract the interest of a paternal actor, a philandering producer, and an earnest playwright. Is she destined for stardom or the "casting couch"? Will she fade after the brief blooming of a "morning glory"?Written by
Rod Crawford <email@example.com>
The four portraits that Eva sees in the theatre are of Maude Adams, Ethel Barrymore, Sarah Bernhardt and John Drew. Bernhardt is well-known in her own right even now. The portrait of John Drew is likely to be of John Drew Jr. (1853-1927) rather than John Drew Sr. (1827-1862) (an American actor of the early 1800s). John Drew Jr. was a renowned American actor of the late 1800s, the leading matinée idol of his time. Maude Adams (1872-1953) was one of the most popular American actresses of the 1890s and early 1900s, achieving great fame in J.M. Barrie's plays. Drew Jr. and Adams worked together for five years from 1892, achieving great success and making Adams a star. Ethel Barrymore (1879-1959), with brothers Lionel Barrymore and John Barrymore, was one of the Barrymore siblings who achieved greatness on the American stage and in films. The Barrymore siblings were the niece and nephews of John Drew Jr. See more »
Mic shadow on wall as Sheridan drags Eva out of dressing room after star quits play on opening night. See more »
[on the telephone with an inquiring person as Eva Lovelace walks past the ticket window on her way upstairs to an acting agency]
There's nothin' in front of the 14th row, madame.
[to others in an upstairs hallway as Eva and Robert Harley Hedges exit the elevator]
[Eva and Robert enter Lewis Easton Productions' acting agency]
Oh hello Robert, how are you?
Robert Harley Hedges:
A tough season isn't it?
Robert Harley Hedges:
Pretty tough, yes. But I'm afraid nowadays they're all tough seasons.
Yes, I guess you're ...
[...] See more »
"Morning Glory" (1933): Katherine Hepburn won her first Oscar in the role of a naive, romantic young woman who wants to become a New York stage star. The story is of that climb, and were it kept this direct, might not be a brain teaser, but at least it wouldn't end muddled. Her character begins as a wonderfully flaky, idealistic, bubble-headed but assertive hopeful, who stumbles her way into the hearts of calloused stage people. You can't help but like her. However whether it's in the script or the editing, the sense of TIMING becomes very odd. Her character is given plenty of attention and patience in the first half of the film, and then the story is increasingly horse-whipped into a faster & faster, more compressed, rushed explanation, until finally at the end (if you can call it that) the entire idea simply SCREECHES TO A SUDDEN HALT and you're left looking around the room, wondering if the electricity just went out.
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