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films of the 1930s, 1940s, and 1950s--including Now Voyager, Gilda, and Rebecca--receive a lively, incisive look that examines the stars, the story lines, and the contradictory messages of these popular movies.
- Sales Rank: #1165073 in Books
- Published on: 1993-08-31
- Released on: 1993-08-31
- Original language: English
- Number of items: 1
- Dimensions: 9.50" h x 6.50" w x 1.75" l,
- Binding: Hardcover
- 528 pages
Amazon.com Review
When film experts talk about the "woman's picture," a Hollywood genre that flourished in the '30s, '40s, and '50s, they often squabble over whether these films were liberating or constraining. Jeanine Basinger argues that they were both at the same time. She maintains that they freed their female protagonists to break social bonds while also punishing any women who seemed too free and feisty. This lively and exceedingly thorough book covers every major aspect of this fascinating film genre, including the roles female stars were expected to play, the fabulous clothes they wore, the social behaviors they were condemned to adopt, the ways they responded to and were treated by men, and the ideals of femininity Hollywood producers tried to impress upon their audiences. --Raphael Shargel
From Publishers Weekly
Full of sharp and entertaining insights, this exhaustive study analyzes dozens of "women's films"-- The Man I Love , My Reputation , Women's Prison , etc.--which presented the contradiction of covert liberation and overt support for women's traditional roles. Basinger, chair of the Film Studies Program at Wesleyan Univeristy, mostly avoids citing interviews and fan magazines, relying instead on her own perceptions. She offers clever epigrams--the constrained choices of the woman's world are a "Board Game of Life"--as she explores issues including men, marriage, motherhood and fashion. The film Jezebel , the author suggests, deserved a subtitle: "How Society Forces Bette Davis to Conform by Making Her Change Her Dress." Basinger's gimlet eye generates several schema, from the basic rules of film behavior to the four kinds of mothers. And while observations like one that finds similarities between women in prisons and in department stores are amusing, they also hit home. Photos not seen by PW.
Copyright 1993 Reed Business Information, Inc.
From Library Journal
Basinger (film studies, Wesleyan Univ.) has written a knowledgeable and entertaining study of the woman's film genre. With examples from hundreds of films, she demonstrates that these movies offered women the contradictory message that other roles were accessible to them, while simultaneously reaffirming their roles as housewives and mothers. Basinger covers every facet of the genre, including stars, the role of fashion, fan magazines, men, marriage, motherhood, and women in a man's world. She describes the "woman's world" in these films as "a series of limited spaces with the woman struggling to get free of them" and explores four typical settings: the prison, department store, small town, and house. Her lively analyses and amusing comments make this volume interesting to the fan of old movies as well as the film student. For most serious film collections.
- Marcia L. Perry, Berkshire Athenaeum, Pittsfield, Mass.
Copyright 1993 Reed Business Information, Inc.
Most helpful customer reviews
18 of 19 people found the following review helpful.
When Women Ruled the Screen
By Sandy Douglass (sandy@insanestars.com)
Jeanine Basinger is to be congratulated for shedding light on a too-little studied aspect of Hollywood history. She puts the movies and the stars she discusses in the context of how movie-going women perceived them at the time. In doing so, she concentrates not on the "greatest" stars, but rather on secondary figures like Kay Francis, Ann Dvorak, and Loretta Young, women who had (sometimes surprisingly) immense popular appeal while they were making movies but whose careers either faded, made the transition to character rather than leading-lady status, or moved to television. She reminds us that the "woman's picture" was far more than the drama of suffering and renunciation (like "Now, Voyager", "Back Street", or "Autumn Leaves") we most commonly think of today. She broadens her definition to include virtually any film that either focused on a woman as its central character or concerned itself with traditionally "women's" concerns.
What she makes clear is that, despite the pronounced limitations of the world view of the woman's picture, it represented a varied and vigorous film culture in which (as she writes) "on the screen ... the woman will decide. She is important. She matters. She is the Center of the Universe."
"A Woman's View" is that rare thing -- a scholarly examination of mostly obscure figures and works that is at the same time an excellent and entertaining read.
6 of 7 people found the following review helpful.
Basinger's "A Woman's View" is a Great History Read
By Madeline Giangrosso
A Woman's View, by Jeanne Basinger, was rightfully the most interesting history based book I have ever read. Although it can be lengthy at times, it touches on subjects in which I had barely any knowledge of, and shows how it was reflecting the time period of the 30's, 40's, 50's, and 60's. Seeing as though this was about women right after the women's rights movement in the 20's, this book shows how Hollywood used female movie stars to incorporate the countries opinions on them. With that, I thought the introduction chapter on the genre of these types of movies was absolutely spectacular. It really made me have so much respect for women during these time periods. They had such class and such morals, which, sad to say, is starting to slowly fade away, or can at least be argued that it is.
A few of the sections of this book that I thought was the most interesting, were the ones about twin women in movies and the fashion and glamour of women. Before reading this book, I never really thought into the idea that being a woman in Hollywood, and acting a certain role represented something as a whole. These actresses were not just playing the part of their assigned character; they were representing women as a whole. With their fashion, their speech, and their actions, I found it truly inspiring to know that they were stepping out of their comfort zone and taking risks with the roles that they chose to act out.
One chapter, entitled Duality, included how Hollywood used twins in their movies to represent one specific point in these movies. This chapter, being one of the more detailed ones, showed how twins portrayed particularly two things: the good and the bad. The good twin, usually dressed in fashionably acceptable clothes and appropriate styles, was usually criticized by her twin, which represented evil, or the bad. I thought it was very much a shock to me how many of the so called "bad" twins in these Hollywood movies were constantly pretending to be their twin to confuse their family, friends, or even their husbands! Many of them did this only to find some sort of revenge on their twin for whatever reason they could think of. In my mind, I would have never thought of this as being presented in movies during these time periods, but I also have to remember that this was also a time when women were really standing up for what they believed in and stepping out of the ordinary molds they had always been put into.
What was so fascinating about this book was how Basinger found a way to represent women in film in such a respectable way, and not so much trashy as some may have viewed it at the time. Women like Loretta Young, Kay Francis, and Greta Garbo are true heroines when it comes to paving the way for all future actresses, and also for open our countries eyes to the lives of women, and really shows that they were becoming less and less like housewives and more like the hardworking entrepreneurs that they really were and always will be.
12 of 13 people found the following review helpful.
Any Book That Will Quote A Cleo Moore Film Deserves 5 Stars
By Tee
This is one of the most enjoyable "film studies" I have ever come across, essentially about "soap opera" 'women's pictures' of the 1930's and 1940's but expanding into the 1920's and 1950's a bit and touching on other types of films and the great women stars from this time period. From Kay Francis (who is the cover girl and Basinger's main muse for this tome) to Rita Hayworth, this is a wonderful book for any one obssessed with films from the era, it's like finding a new best friend to talk about these classic films. Basinger writes informatively yet in plain academic-free language making the book a pleasuer to read - and she knows when to crack wise and when to be serious, no mean feat. It's a skill a lot of "movie historians" don't have.
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