Gloria de un día

It's a tired old story - maybe not so tired in 1933 - about a young hopeful, Eva Lovelace (Hepburn) who comes to Broadway in search of fame. Kate's character is just so naive and so forward - and broke yet proud - that she is captivating. I can't think of anybody else who played it just like this so early in the talking film era.

She bursts in on producer Joseph Easton's (Adolphe Menjou) office thinking because he actually said a few kind words to her in passing that there was some kind of professional connection there. She has several completely forward conversations in his office with complete strangers, and some react positively and some negatively. But it establishes who Eva is as a character.

Playwright Joe Sheridan (Douglas Fairbanks Jr.) is in love with the girl from first sight. Easton uses her one night and casts her aside, although from the set up it doesn't seem to be something he planned. Eva is just so naive that she thinks that this is the beginning of a beautiful relationship. Easton is such a coward he doesn't want to face her again.

RKO spent money on the stars for this one - they didn't rely on their stock company to populate it except perhaps for Hepburn who was under contract for several years and made her worst films for them. Only after she got away from RKO did she become great. But wasn't that true of everybody except for perhaps Robert Mitchum, Astaire, and Rogers?

The dialogue is very creaky, some of the scenes are too long, in particular the last one. And after watching it I was puzzled that Hepburn actually won her first Oscar for this, but not Alice Adams. So I looked up her competition. Only two other Best Actress nominees that year - Diana Wynward for the lead in one of the most puzzling Best Picture winners of all time - Cavalcade, and May Robson in Lady for a Day. So she won in a weak year.

If there had been Best Supporting Actress awards that year, I'd nominate Mary Duncan as diva Rita Vernon who is a completely obnoxious person who thinks her fame will last forever even though she is rounding the top of the hill. She trades catty remarks barb for barb and simply doesn't know what to do when confronted with the guileless Eva.

Lowell Sherman directed this one, and he got good performances out of everybody involved. I don't think I've seen a 30s film without a gimmick in it in which Fairbanks Jr. Looked better.

Many of the reviews point out how dated some of this movie is. And it is. It is a museum piece. That does not make it unwatchable. The story is cliche-ed by now, but only because Hollywood kept making various versions of it over the years. The talking movie was in its infancy then and silent movies were still a recent memory. The stage is where many film actors of the time started and performing in the theater meant putting the material across for the audience and projecting which current movie acting does not require. (Just show up and be yourself.) The theater had more cache in 1932 than movies and it is perfectly understandable Eva Lovelace would be attracted to it. Hepburns Bryn Mawr accent fits perfectly with the character who worries too much about how she sounds and wants to sound more British or high-toned. Her naivete makes her laughable at one moment and charming in another. Hepburn does a good job with all of that. She talks too much and says silly thinks that reflect her youth and romantic ideas about the stage, as the character is from some town in Vermont. She can be grating as the character no doubt would have been.

The script does not shy away from what went on with Adolph Menjou the night of the party where she gets drunk. (Pre-Code) The fascination with drunken writers and witty theater critics fits the time and is long gone today.

Even the great movie stars of the time felt that they had to appear in the theater at some point to show they were really as good as advertised.

Expecting Morning Glory to be something like The Power of the Dog of 1932 shows only how silly we are ourselves. I'm sure in 2112 Don't Look Up and the recent Batman will look very quaint and dated as well.

Douglas Fairbanks Jr. Does a lot with his part. (Why did he not have a bigger career?) Menjou is perfectly credible and restrained in his role that could have lent itself to scenery chewing.. The part that meshes best with Hepburn's is C. Aubrey Smith who is just British and paternalistic enough to make the role credible without overdoing it. He does a lot with his expressions. Mary Duncan as the egocentric star who gets the boot is fine. The catty dialog between divas is still funny. Yes there are gaps in the script's timeline that leave important events out. Lengthy talking scripts were a rarity then. Movies were still measured in reels. Yes it is old and the plot has been done many times since, but as a glimpse at what was popular with audiences in 1932, it is still worth a look. Hepburn, though a mannered actress at times, turned out to be no Morning Glory herself.

"Morning Glory" (1933): Katherine Hepburn won her first Oscar in the role of a naive, romantic young woman who wants to become a New York stage star. The story is of that climb, and were it kept this direct, might not be a brain teaser, but at least it wouldn't end muddled. Her character begins as a wonderfully flaky, idealistic, bubble-headed but assertive hopeful, who stumbles her way into the hearts of calloused stage people. You can't help but like her. However… whether it's in the script or the editing, the sense of TIMING becomes very odd. Her character is given plenty of attention and patience in the first half of the film, and then the story is increasingly horse-whipped into a faster & faster, more compressed, rushed explanation, until finally – at the end (if you can call it that) – the entire idea simply SCREECHES TO A SUDDEN HALT – and you're left looking around the room, wondering if the electricity just went out.

Story about Eva Lovelace (Katharine Hepburn) a stagestruck girl who comes to NY determined to be a great actress. She learns quickly that it isn't that easy and falls in love with producer Louis Easton (Adolphe Menjou) who doesn't love her. And writer Joseph Sheridan (Douglas Fairbanks Jr.) DOES love her but she doesn't have a clue.

The story is VERY old and the movie itself is incredibly stagy (it's based on a stage play--and it shows) but it is worth watching. It's well-directed and cast and Hepburn is just incredible. She won her first Academy Award for this and it's easy to see why. She never strikes a false note (even during a drunk scene at a party which could have been done very badly) and she's young and beautiful. Also Menjou is very good (as usual) and Fairbanks is just so-so but he WAS an incredibly handsome young man.

See it for Hepburn. And it is short (about 72 minutes).

In only her third film, Katharine Hepburn gives a lovely performance as a skinny, aspiring actress coming to New York from a small Vermont town convinced she will become a star. From the opening scenes where she stares admiringly at portraits of famous actors in the theater lobby, and then nervously starts her chatterbox conversation with C. Aubrey Smith in producer Adolphe Menjou's outer office, you are compelled to root for her because of her exuberance. But the climb to stardom is not that easy, she learns, failing in a small role Menjou gives her, taking menial jobs in vaudeville to keep from starving until she can get a break. When she does get the break of a lifetime, replacing the star who quit on opening night when her financial demands were not met, Hepburn is filled with fear of failure once again.

I loved the famous scene where Hepburn gets slightly drunk at a party given by Menjou and recites the "to-be-or-not-to-be" soliloquy from Hamlet and the balcony scene from Romeo and Juliet. So did the guests, who applauded, and Douglas Fairbanks, Jr., who fell in love with her. The supporting cast were all excellent, but I particularly liked Helen Ware playing Hepburn's costumer, who was briefly once a famous star, but faded quickly, like a morning glory.

If you are interested in credit errors, note that Menjou's onscreen character name credit is given as "Louis Easton," but when you see it printed throughout the film it is spelled "Lewis Easton."