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DoctorJuliaHoffman (50)
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Yeah, I guess they were wise to avoid campiness. We all know how Faye Dunaway's career declined thanks to her horrendous "Mommie Dearest". Jessica probably didn't want the critics and public bashing her as an over-the-top Joan. I've always liked Joan Crawford films and interviews.
About 15 years or so ago, I read the book "Bette and Joan: The Divine Feud" by Shaun Consadine. Although I caught an error the author made by calling Joan's first talkie "The Passing Show" (or something to that effect) instead of "The Hollywood Revue of 1929", I really enjoyed the book.
It's somewhat disappointing finding out Susan didn't endeavor to give Bette's distinctive voice much of a try. I can't picture anyone portraying Bette and NOT affecting her accent. I saw Bette in person in a stage show in the 1970s and she was delightful. A real pro! As usual, she gave a tour de force performance and was most gracious to her audience. I wrote to her and she was nice enough to write back to me. What a kind lady!
I can't really see Jessica as Joan. I don't know. Perhaps if I see "Feud" I'll feel better about it. I always think of Jessica as the girl who tried to steal Fay Wray's role. But she was very good in "Frances". I thought I was going to like Faye Dunaway as Joan back when "Mommie Dearest" was released, but I was disappointed in both her and the film. I know how you feel about the Oscar thing. It's trivial, but I can see how it's irksome.
I keep forgetting about "Feud", Jennie. I saw a photo of Susan (with sunglasses) as Bette and she looked pretty good. The photo of Jessica as Joan that I saw left much to be desired. It could have just been that particular photo though. Have you been watching? If so, is it truthful or fictionalized? If it's good, I'd like to see it one day. (BTW, I rewatched "The Legend of Lizzie Bordon" on YouTube. It's still good. I was surprised to see a young Fionnula Flanagan as the Bordon's maid. She popped up years later as Nicole Kidman's ghostly servant in "The Others".)
Yes, I know Orson was considered the "boy wonder" thanks to "Citizen Kane". His next RKO release "The Magnificent Ambersons" didn't do so well. Perhaps not his fault since RKO butchered it. Between 1941 and 1944 Orson's Hollywood career had been a roller coster ride. Joan hit it big with "Rebecca" in 1940 and received an Oscar for "Suspicion" (1941). I guess my unsporting heart just won't let me accept a man getting top-billing in a film called "Jane Eyre" (based upon a well-loved classic girls' novel).
I've seen the other Orson Welles films you've mentioned. One I've caught up with within the last year or two is "The Lady from Shanghai". I had seen its famous mirror shooting showdown sequence many times on TV compilations of classic movie scenes. However, after viewing the complete film, I must say it's a bizarre film to say the least. Not at all uninteresting. But at times you couldn't help wondering "What the heck was Welles thinking?" because the film goes in many odd directions that don't fit in.
Yes, Orson's radio performances leave me flat except for his Mercury Theater work. Many people love him as Charles Foster Kane in "Citizen Kane" (and, I suppose, rightly so). I've always preferred him as Mr. Rochester in "Jane Eyre" even though some people find him miscast in the role. I'd love to know how he was able to receive top-billing over Joan Fontaine in a movie called "Jane Eyre" especially since she had won an Oscar for her work in "Suspicion".
I think one of the problems with old-time radio plays, that have been reworked for movies and TV shows, is that we are used to seeing them on TV instead of just listening to them on YouTube, etc. I had seen the film version of Lucille Fletcher's other famous radio play 'Sorry, Wrong Number" many times on TV. I knew it had been a famous radio play with Agnes Moorehead. Lucille Fletcher, herself, had written the movie version and it is an overly convoluted, but highly memorable thriller (with Barbara Stanwyck's performance a real tour de force). However, when I finally heard the original radio version, I was disappointed by its brevity and unconvolutedness.
I agree, telegonus. The radio play with Orson Welles didn't do much for me. The story works better with a woman as the lead. Herk Harvey originally visualized his main character of "Carnival of Souls" as a man. Thank goodness he changed it to a woman. I just can't see a man being so intimidated by a spook.
Rod Serling did give credit to Lucille Fletcher and her radio play "The Hitch-Hiker" in the episode's closing credits. Rod changed the main character from a man to a woman. You can hear the old-time radio play with Orson Welles on YouTube if you Google "Suspense - The Hitch-Hiker 9/2/42 on YouTube", it should take you to the YouTube link. The radio play is 29 minutes long. I listened to it on YouTube awhile ago.
"Carnival of Souls" has been described as what could be an extra long episode of "The Twilight Zone". However, it survives on its own cult status by being a creepy, imaginative low-budget film. It's quite impressive for its miniscule budget. Herk Harvey said he got inspired to make it by driving past the Salt Air Pavilion. Perhaps, when he was younger, he had heard Lucille Fletcher's radio play "The Hitch-Hiker" with Orson Welles and it stayed in his mind.
If you like this episode, you might like the feature film "Carnival of Souls" (1962). It's on many YouTube channels.
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