Tallulah Bankhead Movies

This made-for-cable documentary traces the filming of the imperishable classic Gone with the Wind, from its inception to its triumphant Atlanta premiere in December of 1939. Filmmaker David Hinton interviews as many survivors of the experience as he's able to round up, but the main attraction of this film is its precious "test" clips. We watch a montage of screen tests of the many actresses considered for the role of Scarlett O'Hara, ranging from such front-runners as Paulette Goddard to such not-a-chancers as Lana Turner. The Goddard footage is particularly enjoyable as we watch her eagerly reciting the lines of all the characters as she auditions for Scarlett. The documentary also turns up several tantalizing bits of trivia, notably the fact that the film was shown to a preview audience with an entirely different musical score (portions of which are played on the soundtrack). There is, of course, very little suspense involved in Making of a Legend, but even those who've heard all the Gone With the Wind factoids from other sources will watch in fascination as the saga unfolds. This documentary was produced by David Selznick's sons, and written by iconoclastic movie historian David Thomson. ~ Hal Erickson, Rovi

This Hammer film production is a surprisingly frightening horror thriller and a hoot-fest for lovers of over-the-top acting. Young Pat Carroll (Stefanie Powers) goes to the home of her dead fiancé to meet his beloved mother, Mrs. Trefoile (Tallulah Bankhead). There, she discovers that Mrs. Trefoile is not the loving mother she had anticipated, but rather a grieving psychopath who blames Pat for the death of her son. Tallulah Bankhead, in her last film, has never been know for her subtle acting, but in this she lets go of all restraint and gives a performance equal to that of Bette Davis in What Ever Happened to Baby Jane? Her maniacal intensity is comic, camp, and surprisingly effective. Stefanie Powers, who underplays her role, is a great contrast as the puzzled and then terrified Pat. This movie is a must-see for all lovers of camp horror movies or fans of the memorable Tallulah Bankhead. Die! Die! My Darling! was also released as Fanatic. ~ Linda Rasmussen, Rovi

The sixth telecast of ABC's United States Steel Hour was a live 60-minute adaptation of Henrik Ibsen's domestic drama Hedda Gabler. Tallulah Bankhead delivered a bravura performance as the title character, a general's daughter with a restless spirit and a head full of idealistic notions. Trapped in a dull marriage with pedant George Tesman (Alan Hewitt), Hedda carries a torch for brilliant, dissolute writer Eilert Lovborg (John Baragrey) -- who is himself romantically entangled with a troubled widow, Thea Elvsted (Eugenia Rawls). Wily Judge Brack (Luther Adler) observes the unfolding drama for the sidelines, awaiting his opportunity to claim Hedda for himself. At present, no kinescopes of Hedda Gabler are available for public viewing, though the program would be well worth seeing again if only for the presence of the incomparable Tallulah Bankhead. ~ Hal Erickson, Rovi

Ernst Lubitsch was the original director for A Royal Scandal, but illness forced him to bow out; his replacement was Otto Preminger, who did his utmost to retain the "Lubitsch touch." Based on a play by Lajos Biro and Melchior Lengyel, the film dwells upon a fictional incident in the life of Russia's Catherine the Great, here played with blue-blooded bawdiness by Tallulah Bankhead. Catherine falls in love with a handsome young army officer (William Eythe), who turns out to be an insurrectionist planning her downfall. At the last moment, Catherine relents, allowing the officer to escape with his true love, lady-in-waiting Anne Baxter. A bit too cute for its own good, Royal Scandal has some choice moments: Most notable are Tallulah Bankhead's pained reaction upon being hailed as "The Mother of All Russias," and supporting actor Grady Sutton's southern-accented reference to the "U-ral Mountains". ~ Hal Erickson, Rovi

This star-studded musical drama was largely financed by Theatre Guild, with all proceeds going to various wartime fundraising concerns. Most of the story takes place at the Stage Door Canteen, a Manhattan-based home away from home for soldiers, sailors and marines (the real-life Canteen on 44th street was too busy to lend itself to filming, thus the interiors were recreated in Hollywood). Within the walls of this non-profit establishment, servicemen are entertained by top musical, comedy and dramatic acts, and waited on by such Broadway luminaries as Lunt and Fontanne, Katharine Hepburn, Jane Cowl, Katherine Cornell, Tallulah Bankhead, Helen Hayes, Cornelia Otis Skinner, Sam Jaffe and Paul Muni. Though the plotline-one of the Canteen servers, a girl named Eileen (Cheryl Walker) falls in love with one of the visiting soldiers (William Terry), despite the establishment's strict "no dating" rules-is merely an excuse to link together a series of specialty acts, it is superbly and touchingly directed by Frank Borzage. Not all of the film has weathered the years too well: particularly hard to take is Gracie Fields' cheery ditty about "killing Japs!" For the most part, however, the film works, and the guest performers-including comedians Ray Bolger, Harpo Marx, George Jessel and Ed Wynn, and singers Ethel Waters and Kenny Baker-are in fine fettle. If nothing else, Stage Door Canteen offers the only appearance on film of the great Katherine Cornell, who offers a vignette of the balcony scene from Romeo and Juliet. Incidentally, the actor playing "Texas", Michael Harrison, later gained fame as cowboy star Sunset Carson. Originally released at 132 minutes, Stage Door Canteen is now generally available in the 93-minute TV version. The six big bands that appear and perform in the film are those of Kay Kyser, Count Basie, Xavier Cugat, Guy Lombardo, Benny Goodman and Freddie Martin. ~ Hal Erickson, Rovi

Tallulah Bankhead plays a giddy 1920s heiress who spurns the affections of executive Robert Montgomery because he makes a "mere" $20,000 per year. Tallulah is impoverished by the Depression, as is Montgomery. She refuses again to marry him now that they are equals, preferring to maintain her lifestyle by becoming the mistress of a clloddish millionaire (Hugh Herbert). Her new benefactor behaves atrociously, prompting Tallulah to run to the arms of Montgomery, who is now a blue-collar worker. Again stripped of her wealth, Tallulah marries Montgomery, who is promptly incapacitated in a violent labor dispute. Desperate to keep up her husband's medical bills, Tallulah takes to the streets. She is about to hit upon her first "John" when she is stopped by the kindly beat cop, who sends her back to her husband--and presumably a new lease on life. ~ 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

In all three of her 1931-32 movie vehicles, Tallulah Bankhead played variations of that familiar soap opera standby, the Fallen Woman. My Sin casts Bankhead as a college-educated nightclub entertainer named Carlotta, working in a seedy dive in Panama. Tormented by her blackmailing husband, she shoots and kills the bounder then finds that no self-respecting attorney will take her case. Fortunately for her, alcoholic lawyer Dick Grady (Fredric March) has no respect for himself, and it is he who agrees to defend her in court. Acquitted of murder, Carlotta heads to New York to start life anew, only to have her unsavory past catch up with her again. Once more, however, she is rescued by Grady, who has sworn off booze and metamorphosed into a pillar of society. ~ Hal Erickson, Rovi

To keep her daddy from going to prison, heroine Lillian Rich agrees to marry villainous Ernest Wood. When an attorney offers to free Rich from her marital dilemma, Wood retaliates by killing the lawyer and pinning the blame on his wife. She flees to the Canadian North, with Mountie Pat O'Malley in hot pursuit. Upon catching up with Rich, O'Malley fails to recognize her -- but he does marry her! When the truth comes out, O'Malley is torn between love and duty, but a deux ex machina telegram clears Rich's name a mere few seconds before the final fade-out. ~ Hal Erickson, Rovi