A vaudeville star has to leave her daughter with her dead husband's stuffy Boston parents while she makes a living. But when the daughter shows some talent, the mother become a stage mother ... Read allA vaudeville star has to leave her daughter with her dead husband's stuffy Boston parents while she makes a living. But when the daughter shows some talent, the mother become a stage mother and pushes her daughter into becoming a Broadway star. The mother is a monster with a hear... Read allA vaudeville star has to leave her daughter with her dead husband's stuffy Boston parents while she makes a living. But when the daughter shows some talent, the mother become a stage mother and pushes her daughter into becoming a Broadway star. The mother is a monster with a heart of gold, and after breaking up the daughter's love affair, finally sees the error of her... Read all
- Awards
- 1 win total
- Dexter's Butler
- (uncredited)
- Hors D'Oeuvres Waiter
- (uncredited)
- Mr. Mark Thorne
- (uncredited)
- Mustached Man With Badge
- (uncredited)
- Nurse
- (uncredited)
- Music Store Customer
- (uncredited)
- Mr. Sterling - Dance Instructor
- (uncredited)
- Audience Member
- (uncredited)
- …
Featured reviews
The crazy life of a theater performer in the 1930s, is the main drive of the plot. The kid grows up to be Maureen O'Sullivan. Yes, that Maureen O'Sullivan. The one, who would go on to play Jane, in six of the Johnny Weissmuller, Tarzan films. After staying with her grand parents for a number of years, Shirley is reunited with her mother, Kitty. She is 16 years old and this is the point O'Sullivan steps in for her character. In fact, I was impressed with the way the filmmakers made-up 22 year old O'Sullivan, to age from 16 to her 30s. So, stage Mother wants her daughter to be a dancer. An idea, Shirley isn't to keen about, but accepts the direction her life is about to go in, thus setting up a possible Mommy Dearest scenario. Fortunately, Shirley will age to a point, that the Mommy Dearest phase doesn't fester.
When Shirley goes for her first try-out, the collection of kids routines were pretty funny. I did notice some bad edits in Stage Mother (1933), even by 1933 standards, but the camera work was really nice. 55 minutes into the film, Shirley breaks up sadly, with her man she is seeing and minutes later, does a great show, with some amazing sets, created for the dance numbers. Some may question moments of the acting in the movie, but I liked C. Henry Gordon as Ricco. The film ends kind of quickly and abruptly, plus there's a uneasy feeling, that things didn't go the way you thought they would. The happy music, playing out to the film's end, doesn't hide the real anguish behind Shirley's eyes. Did Mommy Dearest actually win? Stage Mother (1933), is still a cinematic artifact, from an earlier time. I thought it was cool. It's not a great film, but still, fairly good.
6.3 (D+ MyGrade) = 6 IMDB.
"Stage Mother" attempts to convey some seedy theatrical realities, but they are hesitant and humorous instead of dramatic. Writer Bradford Ropes helped adapt his original novel, but obviously had to tone down much the sexual content; what's left is a little silly. Two attractive young men, painter Franchot Tone and cruiser Phillips Holmes, court pretty O'Sullivan. Brady slices through the leading role. A highlight is the production number for "Beautiful Girl", which effectively celebrates the female form.
****** Stage Mother (9/20/33) Charles Brabin ~ Alice Brady, Maureen O'Sullivan, Franchot Tone, Phillips Holmes
Brady is great as the ferocious mother whose life centers on controlling her daughter while she lives off her. O'Sullivan (looking very busty indeed) is very good until she's supposed to be this dancing and singing mega star. O'Sullivan can't do either, so it's long shots of some other performer while O'Sullivan smiles sweetly in the close-ups. Tone and Holmes are fine as the romancers. Ted Healy plays a ham comic and the second husband. Others include Russell Hardie as Fred, Larry Fine (minus More and Curly) as a store customer, Lillian Harmer as the Boston mother, and C. Henry Gordon as the hood. No IMDb info on who plays the old maid sister or the auditioning kid singer.
Songs include "Beautiful Girl," which also showed up that same year in GOING Hollywood and the infectious "Dancing on a Rainbow," which is a big production number. This MGM production has the look and feel of a Warners backstage musical, which in this case is a good thing.
We tend to hear about the sports parents, or the stage parents because their children become famous and let the world know about their upbringing. We don't hear about those sports parents or stage parents whose children never made it big. We also don't hear about the doctor parents, lawyer parents, or other career parents who drive their children just as hard.
Shirley didn't have a normal childhood, and what's worse is that when she became a young adult, she was just as attached to her mother as when she was a child. It's like once the parents get their hooks into their children they never let them go.
I thought "Stage Mother" was spot on. The movie focused on lost love due to mothering which was following with the sentiments of that era. If a (s)mother(er) was going to make her daughter miss out on anything back then it would be love, not another career or simply being happy. Shirley's happiness had to be directly attributable to the man she fell in love with and it would've been sacreligious to think her happiness came from some other source.
Free on Odnoklassniki.
Stage Mom is Alice Brady's picture as she cajoles and plays hardball with all comers to advance her daughter's career including pimping her to a prominent politician causing things to get hot enough to blow town and head for Europe. Brady's raspy voice suits her hard bargaining style well as she negotiates with some pretty tough customers along the way. O'Sullivan's Shirley is sharp innocent counterpoint to a point of insipid. She dances poorly and remains naive and childlike most of the picture while her suitors (Franchot Tone and Phillip Holmes) can only wish they had a backbone like Kitty.
The dance scenes are flat and uninspired as director Charles Brabin does his best to mask O'Sullivan's abysmal hoofing abilities with close-ups while at the same time offering some pretty racy pre code enforcement shots of the chorus replete in diaphanous costume.
There are a handful of well played scenes (particularly with C. Henry Gordon) in Stage Mother as Brady brawls her way to the top with tough talk and a touch of extortion void of sentiment but in the end it depends on sentimental tug to bring the curtain down and the limpid denouement forcing Kitty to go meekly simply reinforces the films mediocrity.
Did you know
- TriviaLarry Fine's only solo screen appearance without his partners in The Three Stooges.
- GoofsTap dancing is heard during the child contortionist's audition.
- Quotes
Kitty Lorraine: I'm going to Boston to Fred's people. They sent me a telegram.
Blonde: What, live in Boston? I'd hate to take a kid as young as that one to that town. It's liable to make her peculiar for life!
- ConnectionsReferenced in Fugitive Lovers (1934)
- SoundtracksAny Little Girl, That's a Nice Little Girl, Is the Right Little Girl for Me
Music by Fred Fisher
Lyrics by Thomas J. Gray
Sung by Alice Brady at the music store
Details
- Release date
- Country of origin
- Language
- Also known as
- Sådan är hon!
- Filming locations
- Production company
- See more company credits at IMDbPro
- Runtime1 hour 25 minutes
- Color
- Aspect ratio
- 1.37 : 1
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