Escaping to England from a French embezzlement charge, widower Henry Scarlett is accompanied by daughter Sylvia who, to avoid detection, "disguises" herself as a boy, "Sylvester." They are ... See full summary »
Norman is a curmudgeon with an estranged relationship with his daughter Chelsea. At Golden Pond, he and his wife nevertheless agree to care for Billy, the son of Chelsea's new boyfriend, and a most unexpected relationship blooms.
Over the course of one day in August 1912, the family of retired actor James Tyrone grapples with the morphine addiction of his wife Mary, the illness of their youngest son Edmund and the ... See full summary »
A young man in love with a girl from a rich family finds his unorthodox plan to go on holiday for the early years of his life met with skepticism by everyone except for his fiancée's eccentric sister and long-suffering brother.
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 <firstname.lastname@example.org>
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 »
Charlie Van Duesen:
You're the best young actress in America.
I know that.
See more »
Sometimes I get irritated at how narcissistic Hollywood is, even on the subject matter of its films: there's an obvious Hollywood bias in favor of stories about show business, especially show business people. It seems as if, even if the main story isn't about show business, there's inevitably a girlfriend who's a nightclub singer or someone's putting on a skit or having a talent show. However, there are some exceptions to this tiresome self-promotion. The Gaynor and Garland versions of "A Star is Born," "What Price Hollywood," "Stage Door" and "Sunset Boulevard" come to mind. Here's another film about becoming a star that I love. "Morning Glory" is about a stage-struck young girl who makes it to the top. Sound familiar? Yes, but there's a charming little variant here - she achieves her stardom with her naiveté intact. This proposition would seem hard to swallow if it weren't for the fact that the young ingenue happens to be a very young Katherine Hepburn. You don't need gauze over the lens with Hepburn before the camera. She seems to generate her own nimbus. It also helps that Adolphe Menjou is present as the worldly wise, cynical, yet in the end kind impresario.
But for me, the biggest treat is that Hepburn was directed in "Morning Glory" to her first Oscar by the great Lowell Sherman, whose untimely death deprived movie lovers of a great talent, both behind and in front of the camera. What is so eerie about Sherman is his almost autobiographical end-life in film. In "Morning Glory" he was directing a brand new star playing a brand new star. And in "What Price Hollywood," the prototype of "A Star is Born," Sherman actually played a director who discovers and develops a new star, a director who's at the end of his rope - as Sherman actually was! "What Price Hollywood" was Sherman's penultimate film - he died, worn out, two years later.
Sure, "Morning Glory" is dated to modern audiences, but even if you're unable to get over yourself and make allowances for passé cinematic styles, which are inevitable in films not far removed from the pantomime of silents, let yourself get a kick out of watching this story behind the story.
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