A simple, small town man inherits a massive fortune, making him the target for scammers and publicity-seekers. Overwhelmed by the turn his life has taken, and awoken to another use for his new-found fortune, he makes a momentous decision.
Widely considered to be the first Technicolor film that was a bona fide critical and box office success. Until A Star is Born and Nothing Sacred (1937), color films had been garish, over saturated and, as many critics complained, headache-inducing. Producer David O. Selznick insisted on muted, realistic color, and it was the success of these two films that paved the way for his Technicolor masterpiece, Gone with the Wind (1939). See more »
The Justice of the Peace pronounces the county name of Los Angeles as "Anjeliss," as is common nowadays. In the 1930s, English-speaking locals preferred to say it as "Angle-iss", a bit closer to the Spanish sound. To say "Anjeliss" (or "Anjeleez" as was also common) was to be marked as an outsider, until the immigration waves of the 1950s and '60s caused "Anjeliss" to win out over the other forms. See more »
If you've got one drop of my blood in your veins, you won't let Mattie or any of her kind break your heart, you'll go right out there and break it yourself.
See more »
California, Here I Come
Music by Joseph Meyer
(variations in the score as Esther arrives in Hollywood) See more »
colour stardom of Esther Blodgett
Janet Gaynor plays Esther Blodgett beautifully, a girl who leaves for Hollywood with dreams of film magazines and the blessing of her granny. Once there she finds it tough-going until meeting Norman Maine (Fredric March) at a party. We've already seen Norman drunk at a theatre but here he charms Esther and actually gets her into the movies before marrying her and watching his own career crumble. March is excellent in this, and the look of the film is surprisingly modern with its lovely technicolor and gadgets (I particularly like the shower in the motor home Esther and Norman take on honeymoon). Esther's move to become star Vicki Lester, Oscar-winning actress, is unbelievable but as her real-life tragedy unfolds, compelling. And who can stay dry-eyed at the end? Remade with music and Judy Garland in 1954 (very well) but this first version is a jewel amongst other 30s classics.
37 of 41 people found this review helpful.
Was this review helpful to you?
| Report this