Phoebe Foster Movies

The Gorgeous Hussy purports to be based on the life of Margaret "Peggy" O'Neill, the controversial wife of early 19th-century politician John Eaton, who served as cabinet minister during the Andrew Jackson presidency. Snubbed by the Washington elite because of her questionable background as a tavernkeeper's daughter, "Pothouse Peg" is championed by her longtime friend Jackson, who chooses to ignore the gossip-mongers and the scandal-provokers of the era. He even stands by Peggy's side when one of her admirers (Melvyn Douglas) is ignominiously killed by his enemies. Some historians believe that the "gorgeous hussy" and Jackson were themselves lovers, but this is never hinted at in the film, which is described in a foreword as "fiction founded upon historical fact." Joan Crawford wears an exhausting succession of gorgeous gowns as Peggy Eaton, but she can't do much to enliven her sketchily written role; one is aware that she brings disgrace to everyone she meets, but one is hard-pressed to understand why. Much better within the framework is Lionel Barrymore as Jackson, Beulah Bondi as "Old Hickory"'s pipe-smoking wife, Rachel, and Sidney Toler (two years away from Charlie Chan) as Daniel Webster. James Stewart is also in the film as one "Rowdy" Dow, a role he later chose to forget. ~ Hal Erickson, Rovi

This second filmization of Leo Tolstoy's novel is widely regarded as the best version. Greta Garbo plays the title character, the sheltered wife of Czarist official Rathbone. Intending to dissuade Rathbone's brother (Reginald Owen) from a life of debauchery, Garbo is sidetracked by her own fascination with dashing military officer Fredric March. This indiscreet liaison ruins Garbo's marriage and position in 19th century Russian society; she is even prohibited from seeing her own son (Freddie Bartholomew). In keeping with the censorial strictures of 1935 Hollywood, Anna Karenina is extremely careful in the staging of its final suicide sequence, allowing the audience to determine for itself whether or not Garbo's desperate act of throwing herself under wheels of a train is intentional. Outside of the expected superb performances of Garbo and March, the film's most fascinating characterization is offered by Basil Rathbone, whose cold cruelty in banishing his wife is shown to be the by-product of his own broken heart (though Rathbone never allows himself to descend into cheap sentiment). The first film version of Anna Karenina was the 1927 silent feature Love, also starring Garbo, which substituted an imbecilic happy ending for Tolstoy's bleak denouement (there would be an acceptable third version in 1948, starring Vivien Leigh. The 1935 Anna Karenina is arguably the finest accomplishment of the felicitous 1930s alliance between star Greta Garbo, director Clarence Brown and cinematographer William Daniels. ~ Hal Erickson, Rovi

Based on the Broadway hit by George S. Kaufman and Edna Ferber, Dinner at Eight is a near-flawless comedy/drama with an all-star cast at the peak of their talents. Social butterfly Mrs. Oliver Jordan (Billie Burke) arranges a dinner party that will benefit the busines of her husband (Lionel Barrymore). Among the invited are a crooked executive (Wallace Beery), who is in the process of ruining Jordan; his wife (Jean Harlow), who is carrying on an affair with a doctor (Edmund Lowe); a fading matinee idol (John Barrymore), who has squandered his fortune on liquor and is romantically involved with the Jordan daughter (Madge Evans); and a venerable stage actress (Marie Dressler), who since losing all her money has become a "professional guest." Nothing goes as planned, due to various suicides, double-crosses, compromises, fatal illness, and servant problems. But dinner is served precisely at eight. The script by Herman Mankiewicz, Frances Marion, and Donald Ogden Stewart is a virtual enclyopedia of witty lines and scenes, right down to the unforgettable closing gag. ~ Hal Erickson, Rovi

Renowned American-born London stage star Tallulah Bankhead made her feature sound film debut in this drama based on Donald Ogden Stewart's story New York Lady. Bankhead plays Nancy Courtney, a gold-digging socialite who sets her sights on Norman Cravath (Clive Brook), a wealthy tycoon. Their marriage exasperates Nancy's ex-boyfriend, DeWitt Taylor (Alexander Kirkland), and her rival, Germaine Prentiss (Phoebe Foster). Nancy soon grows tired of the tedium of marriage and returns to making her rounds in nightclubs (some scenes were shot on location in a Harlem club). Nancy finally gets her own job and becomes increasingly independent even after she has a child. But Cravath's fortune is wiped out in the stock market crash. Nancy feels bad for her husband and returns to him, and for the first time they discover true love together, unsullied by the pursuit of material wealth. This film was the first feature directed solely by George Cukor, who would go on to be the champion of "women's pictures" such as The Philadelphia Story. ~ Michael Betzold, Rovi