Joan Crawford William Gargan Walter Huston Pre-Code Rain 1932 Vintage Photograph For Sale

Joan Crawford William Gargan Walter Huston Pre-Code Rain 1932 Vintage Photograph


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Joan Crawford William Gargan Walter Huston Pre-Code Rain 1932 Vintage Photograph:
$20

ITEM: This is a vintage and originalFeature Productions / United Artists pre-Code drama film, "Rain", an adaptation of a W. Somerset Maugham story. A heavily made-up Joan Crawford portrays prostitute Sadie Thompson and appears here in a scene with William Gargan and Walter Huston.
Joan Crawford always considered "Rain"to be her worst film, struggling to fill the shoes of Jeanne Eagels who created a scandal in her portrayal of Sadie Thompson on Broadway, as well as receiving backlash from her fans who had grown to love her honest shop girl roles and were disappointed in her decision to play a fallen woman.
Photograph measures 10" x 8" on a glossy, single weight paper stock with previous collector's ink stamp and notations on verso.
Guaranteed to be 100% vintage and original from Grapefruit Moon Gallery.
More about Joan Crawford:
Joan Crawford's extraordinary career encompassed over 45 years and some 80 films. After a tough, poor childhood, she was spotted in a chorus line by MGM and signed as an ingenue in 1925. Her portrayal of a good-hearted flapper in her 21st film, "Our Dancing Daughters" (1928), made her a star. Crawford maintained this status throughout the remainder of her career, but not without setbacks. She successfully made the transition to sound films, her Jazz Age image being replaced by young society matrons and sincere, upwardly mobile, sometimes gritty working girls (memorably in "Grand Hotel" 1932) and her mien adopting the carefully sculptured cheekbones, broad shoulders and full mouth audiences remember her for. Her MGM films of the 1930s, though lavish and stylish, were mostly routine and superficial. Despite mature and impressive performances in "The Women" (1939) and "A Woman's Face" (1941), both directed by George Cukor, Crawford continued to be given less-than-challenging roles by the studio.
In 1943 Crawford left MGM and her career took a decided upward turn after she signed with Warner Bros. the following year. In numerous Warner Bros. melodramas and "films noir," a new Crawford persona emerged: intelligent, often neurotic, powerful and sometimes ruthless, but also vulnerable and dependent. Memorable roles in "Mildred Pierce" (1945, for which she deservedly won an Oscar), "Humoresque" (1946) and "Possessed" (1947) restored and consolidated her popularity. In her nine "films noirs" for Warner Bros. and other studios, as well in most of her non-"noir" features (such as "Harriet Craig," 1950), Crawford gave expert and fully realized interpretations.
After this brief period of success, Crawford's career declined once again, and in 1952 her remarkable business acumen told her to leave Warners. She freelanced thereafter, notably for RKO in "Sudden Fear" (1952), a performance which earned Crawford her third Oscar nomination for Best Actress. She was also memorable as a female firebrand in Nicholas Ray's outrageously stylized Western, "Johnny Guitar" (1954). With the exception of "Whatever Happened to Baby Jane?" (1962), Crawford's performances of the 60s were mostly self-caricatures in second-rate horror films ("Berserk!" 1967, "Trog" 1970). Although these later features were poor vehicles for her talents, she was a resilient and consummate professional with an uncanny knowledge of the business of stardom who was fiercely loyal to her fans and who continued to impose the highest standards of performance upon herself. Crawford was married to actors Douglas Fairbanks, Jr. and Franchot Tone and was portrayed as a cruel, violent and calculating mother by Faye Dunaway in the 1981 film, "Mommie Dearest," based on a scathing biography by her adopted daughter Christina.
Biography From: TCM | Turner Classic Movies
More about William Gargan:
William Gargan was an American actor, better known for playing fictional detectives Ellery Queen, Martin Kane, and Barrie Craig. He was once nominated for the Academy Award for Best Supporting Actor.
Gargan was born and raised in Brooklyn, New York City. He attended St. James School in Brooklyn. While he was the younger brother of actor Edward Gargan (1902-1964), Gargan was not initially interested in an acting career. He worked as a salesman of bootleg whiskey during the Prohibition, and later as a professional detective. His life changed through a visit to his brother on a musical comedy stage/ Gargan was offered a stage job of his own, and he accepted.
Gargan started out as a theatrical actor, appearing in the play "Aloma of the South Seas". His film career started in the 1930s, and he was often typecast as as a stereotypical Irishman. He played policemen, priests, reporters, and adventurers. He was nominated for the Academy Award for Best Supporting Actor for his role as Joe in the romantic drama "They Knew What They Wanted" (1940). The film was an adaptation of a 1924 play by Sidney Howard (1891-1939), and Joe was depicted as a womanizing foreman who has an affair with a woman engaged to one of his workers. While Gargan's role was critically well-received, the award was instead won by rival actor Walter Brennan (1894-1974).
In the 1940s, Gargan portrayed popular detective Ellery Queen in three films: "A Close Call for Ellery Queen" (1942), "A Desperate Chance for Ellery Queen" (1942), and "Enemy Agents Meet Ellery Queen" (1942). "Enemy Agents" was the final entry in the Ellery Queen film series. Gargan spend the rest of the decade mostly playing supporting roles in film.
Gargan found another major role as a detective, playing protagonist Martin Kane in the radio series "Martin Kane, Private Eye".(1949-1952). He also appeared in the television adaptation of the series, which lasted from 1949 to 1954. While he was the originator of the role, Gargan was eventually replaced by actor Lloyd Nolan (1902-1985). Nolan was eventually replaced by actor Lee Tracy (1898-1968). The final actor to portray Martin Kane in the original series was Mark Stevens (1916-1994). Gargan returned to the role in the sequel series "The New Adventures of Martin Kane" (1957).
Gargan also played detective Barrie Craig in the popular radio series "Barrie Craig, Confidential Investigator" (1951-1955). Unlike the hard-boiled detectives of the genre (popularized by Sam Spade and Philip Marlowe), Craig was noted for his laid-back personality. The series was suggested for adaptation to a television series, but only an unsuccessful pilot episode was filmed.
Gargan's acting career ended abruptly in 1958, when he was diagnosed with throat cancer. His larynx was surgically removed in 1960. This saved his life, but Gargan lost his distinctive voice. He spend the rest of his life speaking through an artificial voice box. He became a spokesman for the American Cancer Society, warning people about the dangers of smoking. Meanwhile he established his own production company, William Gargan Productions.
In 1979, Gargan suffered a mid-flight heart attack, while flying from New York City to San Diego. He died due to the heart attack, at the age of 73. He was buried at Holy Cross Cemetery in San Diego, California.
- IMDb Mini Biography By: Dimos I
More about Walter Huston:
Walter Huston, who was born Toronto, Ontario, established himself as one of the great actors of the English-speaking stage and cinema. He established himself as a well-respected and much-sought-after character lead beginning with the early talkies and continuing through the 1930s & '40s.
Huston originally studied engineering before seeking a life in the theater, which is unusual in that Huston suffered from stage fright, a condition he never completely overcame. He married journalist Rhea Gore in 1905, who became the mother of his son John Huston, who would go on to become a celebrated screenwriter and director. To support his new family, Huston quit vaudeville and went to work as an engineer for a Missouri water works. Fortunately for the American stage and cinema, Huston's skills as an engineer were inferior to his acting skills, and after one nearly disastrous engagement (a reservoir he worked on proved flawed and nearly flooded a town), he returned to a professional acting career in 1909.
Huston made his Broadway debut as the eponymous lead in '"Mr. Pitt", Pulitzer Prize-winner Zona Gale's last Broadway production, on January 22, 1924. The show was a modest success, running through April, but it was his next appearance on Broadway that made him a stage star. Joining the Provincetown Players, Huston originated the role of Ephraim Cabot in Eugene O'Neill's "Desire under the Elms" off-Broadway, at the Greenwich Village Theatre. The play was such a success, it transferred to Broadway, totaling an eleven-month run of 420 performances. Huston would remain one of the Nobel Prize-winning playwright's favorite actors. However, it was Burl Ives who reprised the Ephraim Cabot role in Desire Under the Elms (1958).
He worked steadily on Broadway through the 1920s until he became one of the legion of Broadway actors that traveled West to provide voices to the faces on the newly-talking silver screen. Huston memorably played the villain Trampas in the original 1929 production of The Virginian (1929) against future screen superstar Gary Cooper before being cast as the martyred 16th president Abraham Lincoln (1930) in D.W. Griffith's penultimate film. Though Griffith's film was a flop, Huston had established himself as a major player in Hollywood.
William Randolph Hearst's Cosmopolitan Productions cast the half-Northern Irish, half-Scot-Canadian Huston as super-tough Irish American police chief Jim Fitzpatrick in the often-overlooked Depression-era crime classic The Beast of the City (1932), with Jean Harlow as the moll who corrupts his kid brother. It was one of Huston's most memorable early roles, and showcased his superb talent for underplaying while conveying great emotion. (Huston himself said that working in the cinema made him a better stage actor, as it influenced him to eliminate elocutionary-style gestures and use a more natural voice when he returned to Broadway.) Other memorable roles in his early Hollywood period include the virtuous banker in Frank Capra's American Madness (1932) and the antagonist of Miss Sadie Thompson (Joan Crawford) in the 1932 remake of W. Somerset Maugham's Rain (1932). It's a testament to Huston's acting prowess that his interpretation of the self-righteous Davidson arguably surpasses that of Lionel Barrymore in the silent original: Barrymore generally was considered the best American cinema actor of his time until the rise of Paul Muni during the 1930s.
Hearst's Cosmpolitan Pictures once again handed Huston one of his more memorable roles, casting him as the corrupt politician who transmogrifies into a righteous President in the bizarre Depression Era film curio Gabriel Over the White House (1933). Huston is equally adept playing the ne'er-do-well hack solon (modelled after the public perception of Warren G. Harding) elevated to the White House by political fixers in smoke-filled rooms as he is as the saintly president, possessed by the Holy Spirit after a near-fatal car accident.
The great William Wyler directed Huston in what is perhaps his finest performance on film, the eponymous Dodsworth (1936) in Wyler's 1936 adaptation of Sinclair Lewis's novel. Huston received the first of his four Academy Award nominations for the role, which he had originated on Broadway in 1934. Huston's reputation as a great actor is rooted in this performance, one of the greatest by an English-speaking actor preserved on film.
Huston continued to return to the stage. After a three-week run in the title role of Shakespeare's "Othello" in 1937 (it wasn't until Paul Robeson played the role on Broadway that an African-American was cast as the Moor opposite a white cast on the American stage), he scored one of his greatest successes on Broadway in the musical Knickerbocker Holiday (1944). Playing Peter Stuyvestant, Huston achieved Brodway musical immortality singing the classic "September Song" (music by Kurt Weill, lyrics by Maxwell Anderson). Unfortunately, he was not hired to repeat the role when the musical was filmed in 1944.
Huston received his second Best Actor nomination playing Mr. Scratch in the film adaptation of Stephen Vincent Benet's The Devil and Daniel Webster (1941) and his third Oscar nod (for Best Supporting Actor) playing the father of George M. Cohan' (James Cagney) in Yankee Doodle Dandy (1942) the following year. Just before playing Lucifer, he had made a brief cameo appearance as the dying sea captain who delivers The Maltese Falcon (1941) to the office of Sam Spade (Humphrey Bogart). That film represented the directorial debut of his son by first wife Rhea Gore, John Huston, who had established himself in Hollywood as a screenwriter in the 1930s. Father Walter would go on to win an Oscar for Best Supporting Actor in 1948 for his role as the old miner in his writer-director son John' s The Treasure of the Sierra Madre (1948), in support of Bogie. Accepting his Academy Award, the elder Huston said, "Many years ago.... Many, MANY years ago, I brought up a boy, and I said to him, 'Son, if you ever become a writer, try to write a good part for your old man sometime.' Well, by cracky, that's what he did!"
Walter Huston died the following year in Beverly Hills from an aortic aneurysm, two days after his 67th birthday. Due to his great talent and his understated style, his reputation has not suffered as has some other of his "great actor" contemporaries of the 1930s, but rather, seems to have been burnished as time goes by, as the hot acting style of the past has been replaced by a cooler style that continues into the present.
- IMDb Mini Biography By: Jon C. Hopwood


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