Mary Astor Movies
Pressured into an acting career by her ambitious parents, Mary Astor was a silent film star before she was 17 -- a tribute more to her dazzling good looks than anything else. Debuting in The Beggar Maid (1921), Astor appeared opposite John Barrymore in 1923's Beau Brummell with whom she had a romantic relationship and later starred with in Don Juan (1926), Anxious not to be a victim of the talking-picture revolution, the actress perfected her vocal technique in several stage productions for Edward Everett Horton's Los Angeles-based Majestic Theatre, and the result was a most successful talkie career. Things nearly fell to pieces in 1936 when, in the midst of a divorce suit, Astor's ex-husband tried to gain custody of the couple's daughter by making public a diary she had kept. In this volume, Astor detailed her affair with playwright George S. Kaufman; portions of the diary made it to the newspapers, causing despair for Astor and no end of embarrassment for Kaufman. But Astor's then-current employer, producer Sam Goldwyn, stood by his star and permitted her to complete her role in his production of Dodsworth (1936). Goldwyn was touched by Astor's fight for the custody of her child, and was willing to overlook her past mistakes. Some of Astor's best films were made after the scandal subsided, including The Maltese Falcon (1941), in which she played the gloriously untrustworthy Brigid O'Shaughnessy opposite Humphrey Bogart's Sam Spade, and The Great Lie (1941), in which she played a supremely truculent concert pianist (and won an Academy Award in the bargain). Seemingly getting better as she got older, Astor spent the final phase of her career playing spiteful or snobbish mothers, with one atypical role as murderer Robert Wagner's slow-on-the-uptake mom in A Kiss Before Dying (1956). A lifelong aspiring writer, Astor wrote two entertaining and insightful books on her career, My Story and A Life on Film. Retiring after the film Hush Hush Sweet Charlotte (1966), Astor fell victim to health complications and financial tangles, compelling her to spend her last years in a small but comfortable bungalow on the grounds of the Motion Picture Country House and Hospital. ~ Hal Erickson, Rovi
An unusually long pre-credits sequence establishes the roots of faded Southern belle Charlotte's (Bette Davis) insanity; she'd been witness to the dismemberment murder of her fiance (Bruce Dern) and the suicide of the murderer, her own father (Victor Buono). Years later, Charlotte remains a recluse in her decaying southern mansion, zealously guarding the secret of her father's guilt; she is cared for by her slatternly housekeeper (Agnes Moorehead). When her house is targeted for demolition, Charlotte fears that this will uncover her lover's body parts and thus confirm that her father was a murderer. She desperately summons her seemingly sweet-tempered cousin Miriam (Olivia De Havilland) to help her fight off the house's destruction. Miriam brings along the family doctor (Joseph Cotten) to calm Charlotte's frayed nerves. When Charlotte begins to be plagued by horrific visions of the homicide/suicide of so long ago, it appears that she has gone completely insane. But soon we learn who is behind these delusions...and why. Hush Hush Sweet Charlotte was intended by director Robert Aldrich as a follow-up to the successful Joan Crawford/Bette Davis horror piece Whatever Happened to Baby Jane (1962). Ms. Crawford was originally slated to play Miriam, but became seriously ill shortly before filming started. Davis, who disliked Crawford intensely, suggested that the role of Miriam be filled by her best friend, De Havilland. On the first day of shooting, Davis and DeHavilland pulled a "Ding Dong the Witch is Dead" routine by toasting one another with Coca-Cola--a catty observation of the fact that Joan Crawford's husband was an executive with the Pepsi Cola company! ~ Hal Erickson, Rovi
- Starring:
- Bette Davis, Olivia de Havilland, (more)
- 1964
Youngblood Hawke (James Franciscus) is a Kentucky truck driver who comes to New York City to make it as a writer. He meets editor Jeanne Green (Suzanne Pleshette), who sees talent in Hawke's work. Jeanne falls for the handsome Kentuckian and helps him put together a book deal. His first book is only moderately successful, but his confidence is lifted when veteran actress Irene Perry (Mary Astor) wants to make his story into a Broadway play. Hawke soon discovers he is desired by many women, and the heartbroken Jeanne takes a job at another publishing company. His second book makes Hawke the toast of the town and the New York social elite. When Hawke has an affair with the married socialite Frieda Winter (Genevieve Page), her husband Paul (Kent Smith) discovers his wife's infidelity and sets out to ruin Hawke's career. His third book bombs, Frieda's son kills himself over his mother's affair, and Hawke's financial fortune takes a severe nosedive. He returns to Kentucky to work on his next book, but he contracts pneumonia before realizing that Jeanne is the woman he really loves. Good supporting performances from Werner Klemperer, Don Porter, Eva Gabor, and Edward Andrews along with the principle characters make this sentimental melodrama a success. ~ Dan Pavlides, Rovi
- Starring:
- James Franciscus, Suzanne Pleshette, (more)
If anything, this star-studded sequel is even sillier than the original, adding to its problems by completely recasting all the roles, combining several of them into existing characters. Carol Lynley is the heroine this time, and she leaves Peyton Place for New York to write a book about the hypocrisy of her hometown. The book causes lots of trouble back home, getting Mike (Robert Sterling) fired as principal, angering Lynley's mother (Eleanor Parker), and stirring such horrible memories in Selena (Tuesday Weld) that she brains her new boyfriend with a fireplace poker, thinking he is her dead rapist stepfather. The film really belongs to Mary Astor, in a hilarious turn as a smotheringly possessive mother. She tries to come between her son and his new bride (Luciana Paluzzi) in some unintentionally hilarious scenes, causing Paluzzi to fling herself down a ski slope in an attempt at a self-induced miscarriage. Overwrought and overblown, the film is still a treat for fans of campy "suburban sin" melodramas. Look for Bob Crane as an unctuous talk show sidekick. ~ Robert Firsching, Rovi
- Starring:
- Carol Lynley, Jeff Chandler, (more)
- 1959
Though billed fifth, Mary Astor is the one to watch in the Ross Hunter-produced soapera Stranger in My Arms. Astor portrays a neurotically possessive mother who'll stop at nothing to win a posthumous medal of honor for her son. But air force major Jeff Chandler knows that the dead boy was a coward who actually despised his mother. June Allyson, the boy's widow, suspects the truth, but would rather not hear it. Called to testify on behalf of the boy, Chandler is bribed by Ms. Astor to lie on the stand. The painful truth is eventually revealed, but there's some compensation for Ms. Allyson, who falls in love with Chandler. Stranger in My Arms was adapted from Robert Wilder's novel And Ride a Tiger. ~ Hal Erickson, Rovi
- Starring:
- June Allyson, Jeff Chandler, (more)
- 1959
Washed-up actor Oliver Mathews (Franchot Tone) would rather dally with a pretty wardrobe girl than spend time with his adoring spinsterish secretary, Miss Hall (Carmen Mathews). But there's a more pressing problem in Oliver's life: namely, a middle-aged woman named Grace Dolan (Mary Astor), who has been blackmailing him for years. Confronting Grace, Oliver tells her that he can no longer afford to pay her, but she refuses to let him off the hook. In time-honored Alfred Hitchcock Presents fashion, the story culminates in a murder, a cover-up, and a deliciously ironic coda. ~ Hal Erickson, Rovi
- 1958
This Happy Feeling is based on the F. Hugh Herbert play For Love or Money. Debbie Reynolds plays impulsive Janet Blake, who develops a crush on retired stage star Preston Mitchell (Curt Jurgens). Rejuvenated by Janet's ardor, Mitchell decides to return to the stage, where he must contend with predatory leading lady Nita Holloway (Alexis Smith) and pretentious method actor Tony Manza (Troy Donahue). Meanwhile, Janet begins evincing a preference for Mitchell's neighbor Bill Tremaine (John Saxon), who is closer to her own age. Some extra laughs are provided by the booze-laced pancakes served up by pixieish housekeeper Mrs. Early (Estelle Winwood). ~ Hal Erickson, Rovi
- Starring:
- Debbie Reynolds, Curd Jürgens, (more)
- 1958
A dramatization of the Philip Barry play about a rich society divorcee who is looking for a real romance and meets a fast-talking reporter who falls in love with her. ~ Rovi
- 1958
Mrs. Herman (Doro Merande) is the landlady of actress Mrs. Fenimore (Mary Astor). Both ladies are in dire need of quick money -- and thus, when Mrs. Herman hatches a scheme to murder her wealthy uncle Bill (Russell Collins), Mrs. Fenimore agrees to help her for a share of the inheritance. As things turn out, however, one of the two ladies is a bit quicker on the uptake than the other...and she's the one who ends up with all the cash. ~ Hal Erickson, Rovi
- 1957
Actor Cornel Wilde branched out into directing with The Devil's Hairpin--reserving the starring role for himself. Wilde plays a motor racing champion who ruins his career through his reprehensible behavior on and off the track. Thrown off the racing circuit in disgrace after crippling his brother in an accident, Wilde tries to make a comeback, and to compensate for his past recklessness. Jean Wallace, who was Mrs. Cornel Wilde at the time, plays the girl who supervises Wilde's redemption. The Devil's Hairpin set the standard for Cornel Wilde's later directorial efforts: Pedestrian dialogue sequences, first-rate action highlights. ~ Hal Erickson, Rovi
- Starring:
- Cornel Wilde, Jean Wallace, (more)
- 1956
Based on a novel by Howard Swiggert, The Power and the Prize sets up a premise that had far more relevance in 1956 than it does today. Robert Taylor stars as a American business executive working in England. Taylor wants to marry European refugee Elizabeth Mueller, but is warned by his boss (Burl Ives) that such things just aren't done. Taylor digs in his heels, and at the end is supported in his marital decision by his less hidebound fellow executives. Power and the Prize was one of the last of the "corporate drama" cycle sparked in 1954 by 20th Century-Fox's Woman's World. ~ Hal Erickson, Rovi
- Starring:
- Robert Taylor, Elisabeth Müller, (more)
Budd Corliss (Robert Wagner) is an ambitious, poor boy from the wrong-side-of-the-tracks who murders his girlfriend Dorothy (Joanne Woodward) -- making the death look like a suicide -- when her pregnancy eliminates his chances of being accepted by her wealthy family. Her sister Ellen (Virginia Leith), refusing to believe that Dorothy has committed suicide, begins to investigate on her own. She meets Budd, and ignorant of his prior relationship with Dorothy begins a relationship with him. When Ellen discovers that Budd knew Dorothy, the stage is set for a final, dramatic showdown as Ellen fights to revenge her sister and save her own life. The script, adapted from the novel of the same name written by Ira Levin is excellent and tension-filled. Joanne Woodward is fine in a touching performance as the vulnerable and trusting Dorothy. A wooden performance by Robert Wagner in the pivotal central role mars the film and destroys some of its credibility, as Wagner, though handsome, lacks the charm and charisma necessary to make the character of Budd believable. Also, despite an excellent performance by Mary Astor as Budd's class-conscious, greedy mother, the film fails to achieve any sympathy for Budd or understanding of the motivations that drove him to do what he did. ~ Linda Rasmussen, Rovi
- Starring:
- Robert Wagner, Jeffrey Hunter, (more)
- 1955
Irregularly scheduled on NBC from 1954-1957, Producers' Showcase was a series of lavish, full-color, 90-minute specials, bringing the best of Broadway to the 21-inch screen. One of the more memorable presentations in this anthology was director Vincent Donahue's live staging of Clare Boothe Luce's brilliantly vitriolic 1936 stage comedy, The Women, which had previously been filmed by MGM in 1939. Boasting a stellar all-female cast, The Women centers around the tactics used by the supposedly demure Mary Haines (here played by Ruth Hussey) to win back her husband from predatory shopgirl Crystal Allen (Shelley Winters). Meanwhile, Mary's so-called friends gossip, bicker, and "diss" with bitchy abandon, both in New York and on a Reno "divorce ranch." Mary Boland, who played the much-married Countess DeLage in the 1939 movie, repeats her role in the TV version, while Paulette Goddard, who portrayed mercenary chorus dancer Miriam in the film, is here ironically cast as the malicious Sylvia Fowler, whose husband is stolen away by Miriam (played on this occasion by Valerie Bettis). The Women was adapted for television by Sumner Locke Elliot. ~ Hal Erickson, Rovi
- Starring:
- Shelley Winters, Paulette Goddard, (more)
- 1949
An unusually disturbing noir from a director better known for more mainstream fare like High Noon and From Here to Eternity, Act of Violence focuses on a WWII veteran haunted by his past. A film that was close to the director's heart, he said that it represented "the first time that I felt confident that I knew what I was doing and why I was doing it." Van Heflin stars as Frank Enley, a contractor living a peaceful life in a small California town, when Joe Parkson, a man who served in the army with him, arrives in the area, intent on killing him. He follows Frank to a lake where he's fishing but is unable to kill him. When a lakeside bartender tells Frank that a man with a limp is looking for him, Frank is frightened, realizing why he has come. He tells his wife, Edith (Janet Leigh), that Joe is a man who spent time with in a Nazi POW camp, who is now mentally ill, and that he intends to avoid him. When Frank goes to Los Angeles for a business convention, Joe arrives at his house and tells his wife that her husband is responsible for his injury and for the deaths of a number of men. Fearing for her husband's life, Edith heads for L.A. with Joe not far behind. ~ Michael Costello, Rovi
- Starring:
- Van Heflin, Robert Ryan, (more)
Of the many film versions of Louisa May Alcott's Little Women, this 1949 MGM adaptation is by far the prettiest. Set in New England during the Civil War, the film relates the various adventures of the March sisters: Jo (June Allyson), Beth (Margaret O'Brien), Amy (Elizabeth Taylor) and Meg (Janet Leigh). Jo emerges as the main character, as she leaves hearth and home to try her luck as a novelist in New York. Moments of high comedy (the sisters' amateur theatricals) are counterpointed with grim tragedy (the death of the youngest March girl), with romantic interludes provided by the faithless Laurie (Peter Lawford) and the loyal Professor Bhaer (Rossano Brazzi). Unlike Selznick's 1933 Little Women or Gillian Armstrong's 1994 adaptation, this 1949 version tends to be more an extension of the old Hollywood contract-player typecasting system than a heartfelt evocation of the Alcott original. Even so, Little Women is consistently pleasing to the eye, especially when seen in its original Technicolor hues. ~ Hal Erickson, Rovi
- Starring:
- June Allyson, Peter Lawford, (more)
- 1949
In this light drama, Clark Gable once again played his stock-in-trade role of a rogue with a heart of gold. Charlie King (Gable) runs a casino, but, in a business that thrives among the unscrupulous, Charlie takes pride in running an honest game and treating his customers with fairness and respect. However, Charlie's wife Lon (Alexis Smith) doesn't care if he runs a fair game -- she regards gambling as a dirty and corrupt business, and no matter how honest Charlie may be, he's still involved in a wicked activity. Charlie's son Paul (Darryl Hickman) is also against him; when Paul gets in trouble and Charlie bails him out of jail, he refuses to leave with him, instead going home with mother. Charlie invites Paul to see what his casino is like, and Lon agrees that Paul should know just what his father does. ~ Mark Deming, Rovi
- Starring:
- Clark Gable, Alexis Smith, (more)
- 1947
A visibly uneasy Spencer Tracy plays the title role in this lavish MGM screen version of Sinclair Lewis' 1945 magazine serial. A small-town bachelor judge, Cass Timberlane, takes a personal interest in beautiful stenographer Jinny Marshland (Lana Turner), who appears one day as a witness in his court. They marry after a whirlwind courtship, but Jinny soon finds herself stifled among Cass' country club cronies and their haughty wives. A stillborn baby makes things even worse and the young wife attempts to find solace in amateur theatrics. Thus she is easy prey for suave lawyer Bradd Criley (Zachary Scott), who nevertheless does the decent thing and moves to New York. Jinny convinces her husband to follow, but after halfheartedly attempting to find a practice in the Big City, he discovers that there's no place like home. A terrible car accident that almost costs Jinny her life bring husband and wife together, however, and both discover that they belong in Grand Republic, MN, in general and with each other in particular. MGM apparently had a difficult time finding Spencer Tracy's co-star and at one point attempted to borrow Jennifer Jones from producer David O. Selznick. Vivien Leigh and Virginia Grey were also considered before the role of Jinny finally was awarded to Lana Turner. ~ Hans J. Wollstein, Rovi
- Starring:
- Spencer Tracy, Lana Turner, (more)
- 1947
Esther Williams moves from the swimming pool to the bull ring in this musical drama. Antonio Morales (Fortunio Bonanova) was once a champion bullfighter; now in retirement, Antonio and his wife (Mary Astor) have high hopes that their son Mario (Ricardo Montalban) will follow in his father's footsteps as a matador. However, Mario's great passion is music, and he longs to pursue a career as a composer. But there is a budding toreador in the family: Mario's sister Maria (Esther Williams), who has learned the basics of bullfighting from her sibling. Not wanting to be thought a coward, but with no desire to enter the ring, Mario allows Maria to disguise herself as him and take his place in the bullring, allowing her to compete in a traditionally male sport while Mario devotes his time to his music. Fiesta gave Ricardo Montalban his first English-speaking role, with Cyd Charisse appearing as Conchita, his love interest and dancing partner. Classical music buffs might notice that Mario's composition "Fantasia Mexican" is actually Aaron Copland's "El Salon Mexico." ~ Mark Deming, Rovi
- Starring:
- Esther Williams, Akim Tamiroff, (more)
- 1947
Fifteen-year-old Elizabeth Taylor receives her first screen kiss in the innocuous MGM confection Cynthia. Taylor plays the title character, a sickly, sheltered young lady who is never permitted the companionship of other teenagers. Frustrated though Cynthia may be, she has nothing on her parents, Larry and Louise Bishop (George Murphy and Mary Astor), who feel they could have gotten a lot further in life had they remained childless Only by discovering that she has a gorgeous (albeit dubbed) singing voice is Cynthia able to break out of her shell and join the high school choir, under the benevolent leadership of cuddly Professor Rosencrantz (S. Z. Sakall). Along the way, the girl's parents overcome their resentment and learn to appreciate their daughter for the prize that she is. As a bonus, Cynthia also falls in love with Ricky Latham (James Lydon), who bestows that historic first kiss on her blushing cheek (Elizabeth Taylor and James Lydon would later be reteamed in Warner Bros.' Life with Father). Based on a play by Vina Delmar, Cynthia is a "programmer" by MGM standards, but an "A"-picture by any other studio's standards. ~ Hal Erickson, Rovi
- Starring:
- Morris Ankrum, Elizabeth Taylor, (more)
- 1947
Desert Fury is a rarety for the 1940s, a Technicolor "film noir." Set in a Nevada gambling town, the story concerns the various misadventures, romantic and otherwise, of Paula Haller (Lizabeth Scott), the rebellious daughter of gambling-house proprietress Fritzie Haller (Mary Astor, who steals the picture). Though no better than she ought to be, Fritzie is determined that Paula will not grow up as a "shady lady", but she'd fighting an uphill battle. John Hodiak plays crooked gambler Eddie Bendix (John Hodiak), who tries to exploit Paula's fascination with him for his own gain. Thank heaven that upright lawman Tom Hanson (Burt Lancaster) is on hand to rescue the heroine from the machinations of Bendix and his partner-in-perfidy Johnny Ryan (Wendell Corey). Desert Fury was adapted from the far racier and more explicit novel by Ramona Stewart. ~ Hal Erickson, Rovi
- Starring:
- Burt Lancaster, Lizabeth Scott, (more)
- 1946
Dorothy McGuire and Robert Young reprise their roles from the film Claudia, which followed the titular young couple as they dealt with the trials of parenthood. Claudia, a bit wiser than she was in the first film but still charmingly naive and a bit nervous, is struggling with the responsibilities of motherhood when a fortune teller predicts that something horrible will happen to her husband. Since David is soon to travel to the West Coast on business, Claudia tries to persuade him not to go, even though it could mean losing his job. Claudia is next convinced that the baby has contracted a fatal illness, though it turns out to be nothing more than the measles. And jealousy creeps into the relationship when Elizabeth (Mary Astor) starts consulting David on a building project, while Claudia is attracting the uninvited attentions of Phil (John Sutton), who happens to be married. Like its predecessor, Claudia and David was based on a series of short stories by Rose Franken, which also inspired a successful stage play and radio series. ~ Mark Deming, Rovi
- Starring:
- Dorothy McGuire, Robert Young, (more)
Sally Benson's short stories about the turn-of-the-century Smith family of St. Louis were tackled by a battalion of MGM screenwriters, who hoped to find a throughline to connect the anecdotal tales. After several false starts (one of which proposed that the eldest Smith daughter be kidnapped and held for ransom), the result was the charming valentine-card musical Meet Me in St. Louis. The plot hinges on the possibility that Alonzo Smith (Leon Ames), the family's banker father, might uproot the Smiths to New York, scuttling his daughter Esther (Judy Garland)'s romance with boy-next-door John Truett (Tom Drake) and causing similar emotional trauma for the rest of the household. In a cast that includes Mary Astor as Ames' wife, Lucille Bremer as another Ames daughter, and Marjorie Main as the housekeeper, the most fascinating character is played by 6-year-old Margaret O'Brien. As kid sister Tootie, O'Brien seems morbidly obsessed with death and murder, burying her dolls, "killing" a neighbor at Halloween (she throws flour in the flustered man's face on a dare), and maniacally bludgeoning her snowmen when Papa announces his plans to move to New York. Margaret O'Brien won a special Oscar for her remarkable performance, prompting Lionel Barrymore to grumble "Two hundred years ago, she would have been burned at the stake!" The songs are a heady combination of period tunes and newly minted numbers by Ralph Blane and Hugh Martin, the best of which are The Boy Next Door, The Trolley Song, and Have Yourself a Merry Little Christmas. As a bonus, Meet Me in St. Louis is lensed in rich Technicolor, shown to best advantage in the climactic scenes at the St. Louis World's Fair of 1904. ~ Hal Erickson, Rovi
- Starring:
- Judy Garland, Margaret O'Brien, (more)
- 1944
MGM's notion of a "B" picture would be an "A" production at any other studio, and Blonde Fever is no exception. Philip Dorn heads the cast as restauranteur Peter Donay, happily married to the pleasant but plain Delilah (Mary Astor). Approaching "that certain age", Donay's head is turned by curvaceous waitress Sally Murfin (Gloria Grahame, in her first important film role). At first only mildly amused by the flirtatious Donay, Sally begins turning on the charms herself when she finds out that he's won a $40000 lottery. It takes six reels, but Donay finally realizes how much he loves and needs his faithful wife, and how little Sally truly cares about him. Blonde Fever is based on a play by Ferenc Molnar, though it must have taken a lot of cutting to cram the original into 65 minutes' running time. PS: Hume Cronyn and Jessica Tandy, personal friends of director Richard Whorf, show up in unbilled cameos. ~ Hal Erickson, Rovi
- Starring:
- Philip Dorn, Mary Astor, (more)
- 1943
Storywise, Thousands Cheer is thin stuff indeed. Insouciant PFC Eddy Marsh (Gene Kelly) wants to put on a Big Show for his fellow serviceman. Along the way, Eddy falls in love with Kathryn Jones (Kathryn Grayson), the daughter of Colonel William Jones (John Boles). End of story. The principal selling angle of Thousands Cheer is the presence in the cast of virtually every musical talent on the MGM payroll: Mickey Rooney, Judy Garland, Red Skelton, Eleanor Powell, Jose Iturbi, the Kay Kyser Orchestra, Bob Crosby and his Bobcats, the Benny Carter band, Ann Sothern, Lucille Ball, June Allyson, Gloria DeHaven?..the list goes on and on and on. Since Thousands Cheer was designed as a patriotic wartime morale-booster, it is indeed ironic that the film was written by Paul Jarrico and Richard Collins, both of whom would be blacklisted during the Red-baiting 1950s. ~ Hal Erickson, Rovi
- Starring:
- Kathryn Grayson, Mickey Rooney, (more)
- 1943
Young Ideas is a deliberately "small" MGM feature designed as a trial balloon for up-and-coming director Jules Dassin. Hardly in the league of Dassin's later Naked City, Rififi or Never on Sunday, the film nonetheless satisfies within its own modest limits. Susan Peters and Elliot Reid play Susan and Jeff Evans, the grown-up children of widowed author-lecturer Jo Evans (Mary Astor). When mom falls in love with staid professor Michael Kingsley (Herbert Marshall), Susan and Jeff do their best to break up the romance. Susan is briefly distracted from her dubious mission when she herself falls for handsome drama prof Tom Farrell (Richard Carlson). Ava Gardner appears in an uncredited bit role; like director Dassin, she would do rather better for herself in later years. ~ Hal Erickson, Rovi
- Starring:
- Susan Peters, Herbert Marshall, (more)
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