| Frances Farmer, whose myth and reality still compete 50 years after her death. |
When
I watch the real Frances Farmer on 1958’s This
is Your Life versus Jessica Lange as a lobotomy-dazed Frances from 1982, it sums up for me the dichotomy between the real
woman and the misery myth that’s been sold for five decades. Just type ‘Frances
Farmer’ in a You Tube search and see what comes up. At least half the results are
the most sensationalistic clips from the ’82 film bio or “tributes” that focus
on the negative facts and fictions of
Farmer’s life.
| The infamous episode of 'This is Your Life.' At least Frances Farmer showed class & dignity! |
Frances’
appearance on This is Your Life is
composed, considering all that she had gone through, and then obliged to relive
it in front of a TV audience. Frances Farmer comes across as articulate, thoughtful,
and responsive—not the spooky zombie Jessica Lange portrays her as in the final
scenes of Frances. And considering
her rough ride in life thus far, Farmer looked lovely at 45.
| Jessica Lange as a ghostly 'Frances,' after appearing on 'This Is Your Life.' |
Frances
Farmer died of esophageal cancer at age 57 in 1970. From then through 1982,
Farmer’s life was the subject of a memoir that was completed by a friend, a
later biography that made even more sensational claims, and finally, the
nearly-total fiction film bio that launched Jessica Lange as a dramatic
actress. The cherry on top of this showbiz soap opera sundae was when another misunderstood
Washington-born artist, Kurt Cobain wrote the myth-inspired song, “Frances
Farmer Will Have Her Revenge on Seattle.” An eerie coincidence is that the Frances film bio came out a year after
another movie myth buster, Mommie Dearest—a
film that also buried and cemented a movie star image for decades to come. And
Joan Crawford’s “horror” myth also inspired a rock tune, Blue Oyster Cult’s
“Joan Crawford Has Risen from the Grave.”
| Paramount found Frances Farmer's "difficult" personality problematic. |
For
me, the big question regarding the career of Frances Farmer is this: Did she get
written off merely because she was “difficult?” I’m not talking about when she
hit bottom in the early ‘40s, I’m referring to the late’30s, after Come and Get It. Bette Davis and
Katharine Hepburn faced similar battles with their respective studios—pushing
back on foisted upon images, fighting for good roles and fending off bad ones,
resisting inane publicity stunts, etc. During that same time, Davis sued Warner
Brothers and Hepburn, labeled box office poison, fought to go back to Broadway,
too. Yet, Bette and Kate persevered, and eventually prevailed. Frances often
fought these battles, but didn’t emerge the ultimate victor because she didn’t
have the stability or steel-willed self-confidence of Davis and Hepburn.
| Frances Farmer, whose great beauty shown more when Paramount's hair & makeup department work was subtle and not slathered on. |
Frances
Farmer certainly had all the gifts to be a great movie star. Frances had the
similar beauty of fellow Paramount star Carole Lombard, the husky voice of a
Dietrich, talent and intensity, and she could sing, to boot. And Farmer was
very serious about her career as an actress. So what if she was “difficult”
over her career and image? That didn’t stop a lot of other actors who went on
to great careers. It seems strange to me one aspect of a Farmer negated all the
good things about her. Perhaps the problem was like this quote made about
Elizabeth Taylor, in terms of ET surviving stardom: A fighter when she had to
be, a diplomat when it paid to be. With Farmer, it was certainly the latter
that was problematic.
| Frances Farmer in college, looked very contemporary & natural. |
I
remember a Hollywood anecdote, when news of Marilyn Monroe’s firing and
subsequent death rocked the movie biz. If memory serves, it was Walter Wanger who
recalled at Paramount, when B.P. Schulberg had fired fragile Clara Bow from a
film, and never forgot studio boss Adolph Zukor’s reaction: “Our job is to make
stars, not fire them.”
This
led me to do some research on Paramount and Clara Bow. Paramount had just gone
through great turmoil with Bow, one of their greatest female stars. Despite her
huge audience, Clara’s emotional stability, dramas, and scandals came at a time
when Paramount itself was in dire financial straits. The studio survived, Clara
was fired and soon retired, but I wonder if studio head Zukor and the ‘suits’ just
didn’t want to go through all that drama again with Frances Farmer.
| Frances Farmer became a hit in her second movie, as leading lady to Bing Crosby, in 1936's 'Rhythm on the Range.' |
What’s
interesting is that Farmer scored with flying colors as a lovely leading lady
to Bing Crosby in Rhythm on the Range.
Then Frances made a strong dramatic impression with Edna Ferber’s Come and Get It, in a dual role, as the
tart with a heart mother and the good daughter. Howard Hawks adored working with
Frances, but left the film in a dispute with Sam Goldwyn, and was replaced by
William Wyler. Both were great directors, but whose styles were like night and
day. Hawks worked fast and had a loose improvisational style, a bit like the
later Robert Altman. Wyler on the other hand was painstaking and meticulous,
like George Stevens. Willie was also inarticulate if he didn’t get what he
wanted, calling for dozens of takes, to the frustration of his actors. Frances
clashed with him, but so what? He wasn’t a Paramount director.
| Frances in her breakout dual role, in 'Come and Get It.' Here she is, as the barroom mama. |
| And Farmer later, as the good daughter in 'Come and Get It,' with Joel McCrea. |
| With Cary Grant in 1937's 'The Toast of New York.' |
After
The Toast of New York with Cary Grant
and Edward Arnold, why was Frances stuck in so many junky genre pictures? Some
folks have pointed to the disappointment of costly Toast for Farmer’s career stalling. I don’t buy it, since co-star
Grant had been kicking around in movies for five years, yet hadn’t broken out as
a star, and nobody held it against him. Why didn’t Frances get to work with Paramount’s
Mitchell Leisen or Preston Sturges or get scripts by Billy Wilder, like later
Paramount girls Paulette Goddard and Veronica Lake? Both women had their charms
and they had to do junk, too. But Paulette and Veronica got far better star-making
material, and even together, they didn’t have half the star potential that
Frances possessed.
| With Fred MacMurray in 1937's 'Exclusive.' |
Ironically,
Frances and Veronica had very similar career trajectories. Though Veronica was
a decade younger, she swiftly took off as Frances did, with Lake barely past
20, as well. Like Frances, initial solid film work, Lake got stuck in genre garbage,
and in less than a decade, her career was quickly over. Veronica, too,
experienced pretty messy emotional ups and downs, and a drinking problem.
Farmer died in ’70 at 56 and Lake passed at 50 in ’73.
| With Tyrone Power in 1942's 'Son of Fury.' This was Frances Farmer's last major motion picture. |
A
book could be written about the “what ifs” of the life and career of Frances
Farmer. What if Frances had the wherewithal and opportunity to freelance like
Barbara Stanwyck did? Barbara signed short-term contracts at Paramount as well
as Warner Brothers. Yet, Stanwyck also did much of her best work freelancing.
Carole Lombard left Paramount in 1937 to pursue dramatic roles, so there seemed
to be paucity in the dramatic department at Paramount.
I
can think of many movies that Frances Farmer might have given fine performances
in. Disclaimer: the movies and roles I’m about to mention is not a knock on the
actors who actually played the roles, but offering as examples of what Frances
was capable was as an actress. Don’t light up your Internet torches, please!
| Frances Farmer with Luther Adler in 'Golden Boy.' WHY didn't Paramount option this property for their star? It would have been good business sense and created good will with their star. |
For
instance, after Frances fought to go back to the stage and appear in Golden Boy, which was a hit and she
received good reviews. Why didn’t
Paramount buy the property for her? Imagine if Zukor had bought the property
and borrowed new WB star John Garfield, in the lead role he longed to play?
Instead they got stuck doing Flowing Gold
a few years later at WB.
| John Garfield, who amazingly lost the role of 'Golden Boy' to Luther Adler, would have been perfect with Farmer in a screen version. Instead they got teamed in 'Flowing Gold!' |
I
think Frances might have played a number of Barbara Stanwyck roles quite well,
such as Double Indemnity, or The Strange Love of Martha Ivers. Farmer, with her husky voice, would have made a fine film noir fatale,
such as Joan Bennett’s roles in The Woman
in the Window or Scarlet Street. How about Frances as a '40s Hitchcock blonde? Or
how about Farmer in some of Dorothy McGuire’s more serious roles, like A Tree Grows in Brooklyn or Gentleman’s Agreement? Frances Farmer was just
three years older than McGuire and had that intelligence and strength that
Dorothy possessed.
| Though Frances Farmer was heralded as major talent by the likes of Cecil B. DeMille and Howard Hawks, Paramount shackled Frances to either glorified B-movies or merely decorative roles. |
I
can see Frances in the career women type roles that Rosalind Russell, Joan
Crawford, and Katharine Hepburn played. Frances also had the rare quality of
being physically beautiful but also intelligent
and would have been quite believable as a professional or an artist type. And
as Frances reached her 40’s in the ‘50s, Farmer could have played many roles in
Tennessee Williams and William Inge film adaptations. And Frances, who
preferred realism over glamour, could have fared quite well in the ‘60s and
‘70s as a character actress. I can totally see Frances working with Robert
Altman, or like Kate Hepburn, going back to the stage while holding out for the
occasionally good older woman roles in post-studio era Hollywood.
| I was struck by this 1958 TV publicity photo of Frances Farmer. Despite decades of hardships, 20 years later, Frances' strong beauty was still with her at 45. |
As
it stands, there are glimpses of what might have been in the brief list of
Frances Farmer movies. Frances is
animated in Rhythm on the Range,
versatile in Come and Get It, strong-willed
in Flowing Gold, and gorgeous in The Toast of New York and Son of Fury. There are others, too, like
Exclusive and Ebb Tide, and glimmers amidst the genre junk.
| It's startling to see Frances, '40s-style, as most of her work was from the '30s. What a great film noir fatale Farmer would have made. |
Frances
Farmer is almost always worth watching. Even in certain studio stills, Farmer’s
eyes are alive with intelligence and intensity. As a person, like Monroe,
Garland, and Clift, Frances Farmer struggled with emotional and substance
issues in an era not yet empathetic or equipped to deal with them. As an actor,
the great tragedy of Frances Farmer was that she was a modern star, trapped in
Hollywood’s “golden” era.
| The myths and what ifs of the life of Frances Farmer still intrigue movie lovers today. |
FYI: I put all the movie overflow on my public FB movie
page.