{"id":2006,"date":"2013-05-02T21:59:57","date_gmt":"2013-05-03T01:59:57","guid":{"rendered":"http:\/\/www.tr10023.com\/?p=2006"},"modified":"2016-11-27T22:23:53","modified_gmt":"2016-11-28T03:23:53","slug":"howlers","status":"publish","type":"post","link":"http:\/\/www.tr10023.com\/?p=2006","title":{"rendered":"Howlers"},"content":{"rendered":"

Here are four very dissimilar scenes that have two things in common: they’re all examples of Hollywood’s idea of high-minded drama, and they all make me laugh out loud, no matter how often I see them.<\/p>\n

A Woman’s Face<\/span><\/h2>\n
\"Original<\/a>

Original Poster.<\/strong><\/p><\/div>\n

This first one is from “A Woman’s Face” (MGM, 1941). It’s hard to tell whether the screenwriter, Donald Ogden Stewart, was kidding around. He wrote a lot of the prestige pictures for Metro in the 30s and 40s, but many of the prestige pictures — “The Barretts of Wimpole Street,” “Marie Antoinette,” “The Philadelphia Story,” for example — are damned idiotic. If Stewart was kidding around with this little exchange, Joan Crawford<\/a> certainly wasn’t in on the gag, but I’ll bet Connie Veidt<\/a> was laughing on the inside. \u00a0This happens to be one of my favorite exchanges from any picture.<\/p>\n