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" She was homely, overweight, and over the hill, but there was a time when Marie Dressler outdrew such cinema sex symbols as Garbo, Dietrich, and Harlow. To movie audiences suffering the hardships of the Great Depression, she was Everywoman, and in the early 1930s her charming mixture of pathos and comedy packed movie theaters everywhere. In the early days of the century, Dressler was constantly in the headlines. She took up the cause of the "ponies" in the chorus lines, earning them better pay and benefits. She played in productions organized to raise money for the women's suffrage movement. And during World War I she claimed she sold more liberty bonds than any other individual in the United States. Dressler was an astute observer of public mood and taste. When she was lucky enough to find work in the newly minted Hollywood talkies, she grabbed the brass ring with fierce enthusiasm, even making three films in the year before her death, when she was so sick she had to rest between scenes on a sofa just out of camera range. The two-hundred-pound actress's remarkable stage presence captivated audiences even though her roles were not Hollywood beauties. She played tough, practical characters such as the old wharf rat in Anna Christie (1930), the waterfront innkeeper in Min and Bill (1931) -- for which she won the Academy Award for best actress -- the aging housekeeper in Emma (1932), and the title role in Tugboat Annie (1933). She spoke honestly to her audiences, and troubled people in the comforting darkness of the Depression-era movie theaters embraced her as one of themselves.
The fourth book in the Virginia at War series casts a special light on vital home front matters in Virginia during 1864. Following a year in which only one major battle was fought on Virginia soil, 1864 brought military campaigning to the Old Dominion. For the first time during the Civil War, the majority of Virginia’s forces fought inside the state’s borders. Yet soldiers were a distinct minority among the Virginians affected by the war. In Virginia at War, 1864, scholars explore various aspects of the civilian experience in Virginia including transportation and communication, wartime literature, politics and the press, higher education, patriotic celebrations, and early efforts at reconstruction in Union-occupied Virginia. The volume focuses on the effects of war on the civilian infrastructure as well as efforts to maintain the Confederacy. As in previous volumes, the book concludes with an edited and annotated excerpt of the Judith Brockenbrough McGuire diary.
Early in the century, Marie Dressler was hailed as one of America's finest comics, with a 20-year string of Broadway and vaudeville successes including The Lady Slavey, Miss Prinnt, Higgledy Piggledy, The Man in the Moon, and Tillie's Nightmare. She starred with Charlie Chaplin in the first ever feature-length comedy Tillie's Punctured Romance and later in Min and Bill for which she won an Academy Award. A brilliant comedienne in body, timing, inflection and reactions, her talents far exceeded the expectations of slapstick, and her movies earned sums far greater than those of Garbo, or Harlow, or even Gable. This work examines Dressler's life from vaudeville to talkies. Based on extensive research and interviews with Dressler's surviving friends, co-stars and colleagues, including Maureen O'Sullivan, Jackie Cooper and Anita Page, it details her public and personal successes and failures. A listing of her stage appearances, vocal recordings and films is included.
Early in the century, Marie Dressler was hailed as one of America's finest comics, with a 20-year string of Broadway and vaudeville successes including The Lady Slavey, Miss Prinnt, Higgledy Piggledy, The Man in the Moon, and Tillie's Nightmare. She starred with Charlie Chaplin in the first ever feature-length comedy Tillie's Punctured Romance and later in Min and Bill for which she won an Academy Award. A brilliant comedienne in body, timing, inflection and reactions, her talents far exceeded the expectations of slapstick, and her movies earned sums far greater than those of Garbo, or Harlow, or even Gable. This work examines Dressler's life from vaudeville to talkies. Based on extensive research and interviews with Dressler's surviving friends, co-stars and colleagues, including Maureen O'Sullivan, Jackie Cooper and Anita Page, it details her public and personal successes and failures. A listing of her stage appearances, vocal recordings and films is included.
In this study of Marie Dressler, MGM's most profitable movie star in the early 1930s, Victoria Sturtevant analyzes Dressler's use of her body to challenge Hollywood's standards for leading ladies. At five feet seven inches tall and two hundred pounds, Dressler was never considered the popular "delicate beauty," often playing ugly ducklings, old maids, doting mothers, and imperious dowagers. However, Dressler's body, her fearless physicality, and her athletic slapstick routines commanded the screen. Although an unlikely movie star, Dressler represented for Depression-era audiences a sign of abundance and generosity in a time of scarcity. This premier analysis of her body of work explores how Dressler refocused the generic frame of her films beyond the shallow problems of the rich and beautiful, instead dignifying the marginalized, the elderly, women, and the poor. Sturtevant inteprets the meanings of Dressler's body through different genres, venues, and historical periods by looking at her vaudeville career, her transgressive representation of an "unruly" yet sexual body in Emma and Christopher Bean, ideas of the body politic in the films Politics and Prosperity, and Dressler as a mythic body in Min and Bill and Tugboat Annie.
PULITZER PRIZE WINNER • NATIONAL BOOK AWARD FINALIST • The author of Voices in the Night reveals the mesmerizing journey of an American dreamer as he walks a haunted line between fantasy and reality, madness and ambition, art and industry. “This wonderful, wonder-full book is a fable and phantasmagoria of the sources of our century.” —The New York Times Book Review Young Martin Dressler begins his career as an industrious helper in his father's cigar store. In the course of his restless young manhood, he makes a swift and eventful rise to the top, accompanied by two sisters--one a dreamlike shadow, the other a worldly business partner. As the eponymous Martin's vision becomes bolder and bolder, a sense of doom builds piece-by-hypnotic piece until this mesmerizing journey reaches its bitter-sweet conclusion.
With its sharp focus on stardom during the 1920s, Idols of Modernity reveals strong connections and dissonances in matters of storytelling and performance that can be traced both backward and forward, across Europe, Asia, and the United States, from the silent era into the emergence of sound. Bringing together the best new work on cinema and stardom in the 1920s, this illustrated collection showcases the range of complex social, institutional, and aesthetic issues at work in American cinema of this time. Attentive to stardom as an ensemble of texts, contexts, and social phenomena stretching beyond the cinema, major scholars provide careful analysis of the careers of both well-known and now forgotten stars of the silent and early sound era—Douglas Fairbanks, Buster Keaton, the Talmadge sisters, Rudolph Valentino, Gloria Swanson, Clara Bow, Colleen Moore, Greta Garbo, Anna May Wong, Emil Jannings, Al Jolson, Ernest Morrison, Noble Johnson, Evelyn Preer, Lincoln Perry, and Marie Dressler.
Examines the social and historical significance of women’s contributions to American silent film comedy. For many people the term "silent comedy" conjures up images of Charlie Chaplin's Little Tramp, Buster Keaton's Stoneface, or Harold Lloyd hanging precariously from the side of a skyscraper. Even people who have never seen a silent film can recognize these comedians at a glance. But what about the female comedians? Gale Henry, Louise Fazenda, Colleen Moore, Constance Talmadge—these and numerous others were wildly popular during the silent film era, appearing in countless motion pictures and earning top salaries, and yet their names have been almost entirely forgotten. As a consequence, recovering their history is all the more compelling given that they laid the foundation for generations of funny women, from Lucille Ball to Carol Burnett to Tina Fey. These women constitute an essential and neglected sector of film history, reflecting a turning point in women's social and political history. Their talent and brave spirit continues to be felt today, and Comic Venus: Women and Comedy in American Silent Film seeks to provide a better understanding of women's experiences in the early twentieth century and to better understand and appreciate the unruly and boundary-breaking women who have followed. The diversity and breadth of archival materials explored in Comic Venus illuminate the social and historical period of comediennes and silent film. In four sections, Kristen Anderson Wagner enumerates the relationship between women and comedy, beginning with the question of why historically women weren't seen as funny or couldn't possibly be funny in the public and male eye, a question that persists even today. Wagner delves into the idea of women's "delicate sensibilities," which presumably prevented them from being funny, and in chapter two traces ideas about feminine beauty and what a woman should express versus what these comedic women did express, as Wagner notes, "comediennes challenged the assumption that beauty was a fundamental component of ideal femininity." In chapter three, Wagner discusses how comediennes such as Clara Bow, Marie Dressler, and Colleen Moore used humor to gain recognition and power through performances of sexuality and desire. Women comedians presented "sexuality as fun and playful, suggesting that personal relationships could be fluid rather than stable." Chapter four examines silent comediennes' relationships to the modern world and argues that these women exemplified modernity and new womanhood. The final chapter of Comic Venus brings readers to understand comediennes and their impact on silent-era cinema, as well as their lasting influence on later generations of funny women. Comic Venus is the first book to explore the overlooked contributions made by comediennes in American silent film. Those with an interest in film and representations of femininity in comedy will be fascinated by the analytical connections and thoroughly researched histories of these women and their groundbreaking movements in comedy and stage.