Tracy & Hepburn in Capra’s ‘State of the Union’ 1948

Spencer Tracy & Katharine Hepburn 's characters already have problems
before he decides to run for president, in 1948's "State of the Union."

State of the Union, successful in 1948, has been long considered second-tier Frank Capra. Hard to top a string of hits from original material during one's youth, for sure. Post-war, Capra questioned his place in movie making. He turned out It's a Wonderful Life in '46, not a smash but not the flop that legend has long claimed.

Frank Capra's "State of the Union" still has some pertinent political zingers!

Noteworthy is the fact that State of the Union came from a 1945 Pulitzer Prize-winning play, from Howard Lindsay and Russel Crouse, the creators of Life with Father, among other hits. Capra wasn't exactly slumming here! And this was a faithful rendition, with plenty of its sharp political humor intact. Technically a Frank Capra Liberty film, State of the Union was essentially a MGM movie, with their contract talent. Metro head L.B. Mayer probably wouldn't have permitted all of this adult, liberal material. Still, it reunited Tracy and Hepburn much more successfully than the previous year’s soapy Sea of Grass, directed by the young hotshot Elia Kazan.

The stars of Frank Capra's political comedy-drama, 1948's "State of the Union."
L to R: Katharine Hepburn, Spencer Tracy, Van Johnson, & Angela Lansbury.

State of the Union was filmed in the last quarter of 1947. Spencer Tracy was 47 and looked much older; Katharine Hepburn was 40 and looked great onscreen, with the aid of MGM's glam squad. Then there’s Angela Lansbury as the villainous other woman, who turned 22 during production! Angela always looked older and was cast as such, though she could have been cast as Tracy and Hepburn's daughter. 

Spencer Tracy as self-made man and presidential hopeful Grant Matthews,
in 1948's "State of the Union."

Katharine Hepburn as Mary Matthews, the estranged "good wife"
of Spencer Tracy's presidential candidate, in 1948's "State of the Union."

Tracy is the beacon of decency as Grant Matthews, though that light flickers a bit since he has had an affair with Angela Lansbury's Kay Thorndyke. In his latest test of integrity, running for President, the self-made man has a hard time not being made over by political hacks. Fear not, Grant is played by Saint Spencer, who will come through it all, decency intact. 

Kate, fussing over Spence as usual,  in 1948's "State of the Union."

Hepburn plays her political wife well, though her '40s woman, whose man has wronged her, feels that she deserves a kick in the pants... for not being unquestionably loyal. I also didn't realize that Kate’s doting on Spence so slavishly onscreen went back this far. Most movie fans eat it up, but I find it a bit much. That said, Tracy and Hepburn perform with their usual professionalism, intelligence, warmth, and wit as a couple who have had their ups and downs.

Political pillow talk with Spencer Tracy & Katharine Hepburn's at odds couple, 

in 1948's "State of the Union. "

Angela Lansbury's performance as Kay Thorndyke steals the show, from a cast at the top of their game. As a newspaper heiress, her Kay wants to determine the next Republican presidential candidate. The ruthless character is played with precision and no mercy, reminding me of Faye Dunaway's mad programmer in 1976's Network.

As the malevolent political opportunist, Lansbury gets a dress rehearsal for her classic political manipulator of nearly 15 years later, in The Manchurian Candidate. And once again, Angie was cast as much older. At 37, she was cast as Laurence Harvey's mother!

Adolphe Menjou & Angela Lansbury are the political heavies of 1948's 

"State of the Union." Angela's thinking maybe a game of solitaire to pass the time!

Lansbury's performance is extraordinary at such a young age. And had it been an actual MGM movie, Angie might have scored a Best Supporting Actress nomination. The film's opening scene, where Kay is saying farewell to her dying news magnet father (an excellent Lewis Stone), is chilling, and made me think of Bette Davis at her stone cold best.

Angela Lansbury as Kay Thorndyke, about to be come heir to her father's
 newspaper empire.  With Lewis Stone in 1948's "State of the Union."

Van Johnson, not a favorite of mine, is very good as a one man Greek chorus of non-stop humorous sarcasm. As Spark, he has some of the best lines in this movie, reacting to all the political monkey business. The only scenes with Van that I didn't like was of the maid (Margaret Hamilton) mooning over him, and Spark wincing in response—it seemed like a cheap shot at her expense.

Van Johnson is Spark, the freckled Greek chorus of 1948's
"State of the Union."

Adolphe Menjou was famously a right-wing Republican, so he's well-cast as Jim Conover, who only wants a candidate that will win. Menjou was an expert actor in comedy and drama, and it's fascinating to watch him in scenes with the famously liberal Hepburn. 

Adolphe Menjou schools Katharine Hepburn & Spencer Tracy's characters
on political realities, in 1948's "State of the Union." 

Frank Capra must have had a soft spot for Carl "Alfalfa" Switzer. Capra gave the fading young star a fun bit in It's a Wonderful Life and a showy one in State of the Union as the over-tipped bellboy.

While some of the dialogue in State of the Union is dated, it makes you realize that nearly 80 years later, there's nothing new in the world’s second oldest profession!

Director Frank Capra is in good form here as a storyteller and State of the Union is stylishly done and moves at a good clip. Capra only goes Capra-corn when Tracy's idealist waxes political and the about-face finale where Grant reclaims his integrity. Corny, but Capra and the cast put it over.

It struck me as unbelievable that Kay Thorndyke would try to shoehorn old flame Grant Matthews into a typical Republican candidate. By this time, the actual party was becoming even more conservative and Grant's political views were very liberal left. Kay may think she can tone down Grant's pie in the sky liberalism, but the tough cookie should know better. BTW, director Capra was a populist who later became a Republican.

Old flames in 1948's "State of the Union." Well, at least one was old!
Spencer Tracy was 47 and Angela Lansbury was 23.

The only scene I found flat-out too much was the flying scene where Tracy goes all Top Gun with a fellow pilot, capped by tubby, middle-aged Spence putting on a parachute and leaping out of the plane. What a he-man! 

State of the Union may be the first film to look at the packaging of a political candidate with the modern media of television. This State is not a classic, but classy entertainment boasting a great cast and a subject that never goes out of style.

Spencer Tracy & Katharine Hepburn, on the set of 1948's comedy-drama,
 "State of the Union."

MGM’s 1942 drama, Keeper of the Flame.

MGM’s suspense story Keeper of the Flame is one of two dramas that Spencer Tracy & Katharine Hepburn made, from their nine films together. This is the story of a revered American hero who turns out to be a cultish fascist. Spencer is the reporter on the story; Kate is the hero’s widow. My take here: 

https://ricksrealreel.blogspot.com/2025/05/tracy-hepburn-team-in-rare-drama-keeper.html

Stars & Story Light up MGM's ‘Gaslight’ 1944

The hot house atmosphere of 1944's "Gaslight" gets much of its heat from these
great stars: Ingrid Bergman, Angela Lansbury, and Charles Boyer.

As a suspense film fan, it’s amazing to me that I've only seen clips of 1944's Gaslight in my 50 years of watching movies. With the recent death of Angela Lansbury, plus the 40th anniversary of Ingrid Bergman’s passing on Aug. 29, I thought it was high time to remedy this.

Ingrid Bergman is the lady of the house who's so fragile that even the malicious maid
 (Angela Lansbury) gets under her skin, in MGM's "Gaslight."

Based on the Broadway hit 1938 Angel Street, MGM then bought U.S. film rights and tried to bury the British version that was made in 1940. They didn't succeed, but more about that later.

MGM glamorized Gaslight like they did to many period stories—Pride and Prejudice, Madame Bovary, and Little Women—all made to look super wealthy, though they weren't. Metro does so here, too, though it's not quite as intrusive. 

Ingrid Bergman in one of many striking shots from 1944's "Gaslight."

What MGM does well in this version, which makes me prefer their Gaslight as a suspense film, is a certain amount of ambiguity (partly due to censorship) and by not overtly giving away the husband's villainy from the get-go. 

A huge plus is the cast, particularly the stars whose characters inhabit this hot house household: Ingrid Bergman, Charles Boyer, and Angela Lansbury—in her first film. Their personas say much that dialogue can't. Bergman and Boyer have so much natural sensuality, much can be implied regarding what flamed their relationship. And Lansbury had that saucy and impudent look that could turn sour and bitchy in a blink of her huge eyes as the maid on the make.

Charles Boyer surround by his tall co-stars, Angela Lansbury & Ingrid Bergman,
on the set of MGM's "Gaslight."

The changes made in the MGM version work well, overall. Though it's an excuse to slather on some more Metro gloss, the prologue where young Paula meets and is swept off her feet by Gregory in Italy shows that this is her first love, with Boyer in full romantic mode. They also flipped certain plot points from the leading man to the leading lady, which works, too. The biggest change is the murdered relative and empty house now comes from her side of the family, not his.

The prologue to MGM's "Gaslight" shows Boyer & Bergman in love, on their honeymoon.

Though you know Boyer is the bad guy, the fact that he's played both heroes and villains has you hoping against hope he's not a total rat. That we don't see him actually setting up his tricks on Bergman, or that he's not blatantly abusive or adulterous, as in the British version.

MGM's version of "Gaslight" cleverly plays on Charles Boyer's romantic image
to create suspense as to his character's later villainy.

The great trio of performances gives the edge to this Gaslight. Ingrid Bergman's naturalness and emotionalism was her calling card as an actress, which is perfect for the role of Paula. That she has suffered trauma finding her murdered aunt makes great plot sense, and gives further authenticity to her fragility. When Boyer's Gregory subtly toys with her to the point where she begs not to be shamed in front of the servants, her humiliation is palpable. As the heroine questions her own sanity as the movie goes on, Bergman is utterly believable. Hedy Lamarr was the studio’s choice as Paula, but director George Cukor rightly rejected the idea. Most of MGM’s great dramatic divas had already left, leaving mature newcomer Greer Garson. British Deborah Kerr, who could have been great, didn’t arrive to Metro until ’47.

One of cinematographer Joseph Ruttenberg's amazing closeups of Ingrid Bergman
as Paula, who begins to question her own sanity, in MGM's "Gaslight."

Charles Boyer had already scored as charming cads in Algiers and Hold Back the Dawn. But he also played warm, romantic roles like All This, and Heaven Too. That duality adds to his fine performance. Those great dark eyes and deep romantic voice transfix you as much as Paula. The moments where Boyer’s charm turns cold are utterly chilling. As Gregory, Charles Boyer runs nearly the same range of emotions as Bergman’s, except his are those of a sociopath, and he’s a memorable villain.

Charles Boyer used his aristocratic looks, soulful eyes, and beautiful speaking voice
to help create the most manipulative villain in 1944's "Gaslight."

It's hard to believe that Angela Lansbury turned just 18 during the making of Gaslight. Her saucy, sharp-tongued maid reminded me a bit of Bette Davis as Mildred Rogers in Of Human Bondage. Which always made me think that Angela should been cast as a Bette Davis-style leading lady at MGM, which had more glamour girls than great actresses, frankly. But what a great start this was for Angela, and she's most subtle here. Nancy is tart with the missus and slightly tarty with the master. She’s very street smart and self-possessed. When Boyer’s master comments that she’s much too charming for the mistress of the house, Lansbury’s Nancy slyly replies, “She’s not the only one in the house, is she?”

Angela Lansbury as Nancy, the domestic who seems to be untamed! Angela was not yet
 18 when she worked on 1944's "Gaslight," but holds her own with Bergman & Boyer.

All three of these actors got Oscar nominations and Bergman deservedly won, I thought. Even Barbara Stanwyck, nominated for her classic performance in Double Indemnity, publicly lauded Ingrid’s victory. Watching the arc of Bergman’s character start off as bright and girlish to tormented and finally, nearly emotionally beaten, is fascinating to watch.

A fresh-faced Ingrid Bergman as young Paula at the beginning of MGM's "Gaslight."

This is one of those movies that more than a few have mistakenly attributed to Alfred Hitchcock. Indeed, since two of the stars—Bergman and Cotten—were under contract to David Selznick, it's a wonder that his director didn't come along to Metro for the ride. That said, MGM director George Cukor was in his prime here, his strengths were getting the best from his actors and in sophisticated storytelling.

Two of producer David Selznick's stars--Ingrid Bergman & Joseph Cotten--were loaned to MGM for "Gaslight." With Charles Boyer here.

I've watched the British version, which has been saved and restored. I notice that the 1940 and ‘44 versions have been pitted in the typical movie critics/movie lovers’ game of which is better. The '40 version gets a lot of sympathy because Hollywood's biggest studio tried to destroy the smaller British version. I believe MGM also tried to do the same with the Italian version of The Postman Always Rings Twice. Well, the 1940 version is more faithful to the Patrick Hamilton play and it is much more straightforward—in fact it barely runs 90 minutes. Does that necessarily make it better? The Mildred Pierce remake was more faithful, but I really prefer the 1945 film version.

Ingrid Bergman is radiant as a woman in love in 1944's "Gaslight."

What the British version offers are British leads whose characters live a more upper middle class British life. Also, playwright Patrick Hamilton offers side commentary on the British social hierarchy, especially when it comes to marriage and money. The two leads are Diana Wynyard and Anton Walbrook. Their performances are fine by their film era's standards. While her character stands up to her husband on occasion, Diana Wynyard’s performance feels very leading lady-ish, with much wide-eyed displays of  fear and disbelief. There’s very little of the raw emotion that Ingrid Bergman evinces as the beleaguered wife here. And while I enjoyed the expert mustache twirling of Anton Walbrook as the heartless husband, he feels a bit campy, and I wondered if Kevin Branagh’s mad “Maestro” was inspired by him later in Dead Again. Laurence Olivier and Vivien Leigh would have been wonderful—and British, but they didn’t get cast in either version. Cathleen Cordell as the maid was strictly one-note, with none of the magnetism or malice that Lansbury possessed. Joseph Cotten made a younger, attractive detective who is on the husband’s case in the ’44 Gaslight, and I found his warm charm preferable to his British counterpart’s aging ham. Yes, MGM does play the hint of romance card at the literal last minute, between Cotten and Bergman, with Dame May Whitty clucking cutely.

Angela Lansbury's maid on the make Nancy is performed with much more depth
in the MGM version of "Gaslight."

The 1940 version seems rather barebones and can’t imagine that the stage play was only 90 minutes. The MGM is 30 minutes longer, and feels more fully fleshed, not merely padded. Joseph Ruttenberg's photography is masterful, particularly depicting Bergman’s gradually growing unbalanced. BTW, though Bergman’s makeup-free, soft close-ups as the young Paula leaving the crime scene are convincing, did it look like they used an actual teenager in long-shot over the 5’9” Bergman? The score by Bronislau Kaper is superbly eerie.

Ingrid Bergman as the beaten-down wife in 1944's "Gaslight."

Gaslight is one of the first movies to depict spousal emotional abuse in a marriage, under the guise of a suspense film. The husband woos the wife, only to isolate and gradually wear down her self-esteem with abuse, is still relevant today. The final monologue, where Paula confronts her tormentor husband, is strongly written and performed by Bergman. Gaslight is a superior thriller with intriguing underlying themes.

Ingrid Bergman's big scene where her abused wife Paula tells off her
tormentor husband, now captured and helpless, in 1944's "Gaslight."

Super Star Gazing in "The Mirror Crack’d" 1980

Miss Marple in "The Mirror Crack'd" turned out to be a sneak preview for
"Murder, She Wrote" and its star Angela Lansbury.

The 1980 take on the thrice-told The Mirror Crack’d looks better in retrospect than it did on release. While not in the same league as the ’74 classic, Murder on the Orient Express, this Mirror is worth a look.

Judging from reviews in recent years of The Mirror Crack’d, the film’s reputation has improved, versus the poor initial reception. When this Agatha Christie adaptation came out Christmas 1980, the response was cool, after Orient Express.1978’s Death on the Nile got a better response, though disappointing, too. When Mirror opened, without exotic locations or younger stars, Mirror’s English village and middle-aged cast seemed mild, at best.

Elizabeth Taylor and Kim Novak are dueling divas Marina and Lola, with Rock Hudson
as the poor director!

Some Agatha Christie fans have criticized this take on Mirror as unfaithful to the novel, The Mirror Crack’d from Side to Side. Considering that the movie Mirror was conceived as a vehicle for the superstar cast, the streamlined version does keep the core story. The time frame is set back a decade—so what? And making Marina and Lola actress old enemies instead of casual, catty acquaintances is a brilliant way of condensing the story and heightening its tension. Even the two British TV remakes, more true to the book, lifted a few things from this film.

The Mirror Crack’d investigates several murders and further attempts that indicate someone is trying to kill the leading lady of a movie production. Luckily, the film folk are in proximity of ace amateur detective, Miss Marple!

Miss Marple, played by Angela Lansbury at 55, has the solution for every mystery.

Mirror benefited from lovely British locations and a stellar supporting cast that feel authentic to another era. Ironically, it’s the ‘50s star quartet who literally looks a bit generic. Taylor and Novak’s costumes, while flattering, don’t feel fab fifties at all. Hudson looks like ‘70s Rock, and Tony Curtis wears his usual bizarre suits that predate Prince’s one-of-a-kind duds. Novak sports her Lylah Clare wig and Elizabeth got Alexandre of Paris to recycle her spiky Boom! bouffant. The leading ladies wore their fave late ‘60s ‘dos, however, the film is set in 1953.

Kim, Rock, and ET in a candid shot promoting "The Mirror Crack'd."
Of the three, Rock looks best here, better than he did in the actual film!

Before the Internet and 24 hour news cycle, stars were not in our eyes 24/7. Post-Watergate reporting style on public figures had taken hold, but technology hadn’t—yet! So, back in 1980, it was one thing to see Elizabeth Taylor Warner as an overweight political wife in the tabloids, but quite another to see “Liz” looking “larger than life” on the big screen. Add dissipated Tony Curtis, distinctly middle-aged Rock Hudson, and a still-curvaceous but slightly drag queen-esque Kim Novak, all sharing the screen. For audiences, to watch their middle-aged idols, playing ‘50s movie folk, then deemed depressing. As time went by, Elizabeth, Rock, Kim, and Tony went from first viewed as falling stars, to a last chance to watch such Hollywood greats together. As a bonus, add Angela Lansbury, who soon became a beloved institution after Murder, She Wrote.

It's showbiz folk versus village sleuths in "The Mirror Crack'd."

The Mirror Crack’d was filmed the summer of 1980. At 48, Elizabeth Taylor had trimmed down a bit from her all-time high of 180-plus pounds as Senator Warner’s fried-chicken lovin’ wife. By next spring, Taylor would be down over 40 pounds for her Broadway debut in The Little Foxes. In Mirror, I’d say ET’s about half way there, and the extra weight shows more in her body than face.

They say film acting is all in the eyes. Well, ET knew how to wield those famous violet eyes!

The biggest departure from the Christie mystery was screenwriter Barry Sandler’s tweaking the story to “mirror” the legendary ‘50s stars. In the book, Taylor’s Marina Gregg was already a multi-married, middle-aged movie star making a comeback. Marina’s newest marriage and pastoral home are supposed to offer the star stability. All this sure sounds like Elizabeth Taylor Warner to me! What Sandler added was cracks about Marina’s weight and her abuse of pills. Though Marina’s nerves call for constant doses of “Calmo” in the novel, the film makes greater references to Marina/Elizabeth’s prodigious pill use. Was this already common knowledge in the business? I wonder, since Betty Ford was only three years away for ET.

Life imitated art when, in the film, Taylor’s star is referred to as Marina Gregg, but the credits list her as Marina Rudd, after the character’s latest husband, Jason Rudd. Off screen, Elizabeth reportedly requested to be billed as Elizabeth Taylor Warner, but was turned down by the studio. In retrospect, good call!

The recycled humor of  "The Mirror Crack'd" is hardly highbrow, but mildly amusing.

Considering Taylor’s latter day flair for bitchy comedy, Marina’s zingers are the least zesty aspect of her performance. This is partly because screenwriter Sandler’s wit is a bit wanting—it comes off like bitchy “ba-dum-tss” drag show patter. More than a few stale show biz jokes get recycled here, such as Taylor gazing in the mirror, wearily wishing: “Bags, bags, go away. Come right back on Doris Day.” The camera cuts to a mild double take of frequent Day co-star Rock Hudson. Director Guy Hamilton sets up the dramatic moments better than those with a comedic tempo, which comes across as abrupt or intrusive.

Maureen Bennett as Heather Babcock, Marina Gregg's biggest fan!

Still, Marina Gregg is one of Elizabeth’s best latter day portrayals. I read an interview with director Hamilton, who had great affection for Taylor, about the making of Mirror. Guy said that Elizabeth was indeed full-bodied, and though she was a good sport to spoof her figure, he instructed the camera man to take time to photograph her still-beautiful face for her big scenes. This wasn’t common practice once ‘70s realism came into vogue, and striking the balance between cinema verite and star vanity was just converging in the ‘80s. Taylor’s grand entrance, plus the extended scene where Marina is transfixed by what the first murder victim-to-be shared, is visually most generous toward Taylor. The violet flowered turban may be a bit much, but Taylor sported such headgear in her heyday. Elizabeth’s face is framed flatteringly here, and she knowingly raises her chin up when a local photographer requests a snap of the star. When Taylor’s Marina has her startling epiphany, Elizabeth uses those fabled eyes expertly.

Taylor's troubled star, Marina Gregg, has her big moment of revelation.

Post-murder, Inspector Craddock (Edward Fox) comes to interview Marina. This set piece offers Elizabeth Taylor a mini acting marathon. The scene begins simply, but Taylor gradually becomes hysterical. The movie fan inspector plays along for a bit, and then exposes her ruse. Marina’s recycling a dramatic moment from one of her old movies. Elizabeth’s Marina response is a raucous Taylor cackle. ET also just spoofed her own “emotional” movie image. Marina seemingly comes clean, showing the detective threats she’s received, which reminds her of a painful childhood incident. Taylor plays this scene in her most open style.

"You didn't!" ET is terrific in this extended scene, twitting the Inspector for not falling for her "act."

Kim Novak has a comic field day as Lola Brewster, a no-talent hack and tough broad, who is arch enemies with Taylor’s Marina. Novak, who made a career of being breathy, hesitant, and vulnerable, is obviously enjoying herself as the superficial Lola. It’s lucky for Joan Collins that Dynasty producers didn’t cast Kim as super bitch Alexis. It would have made Blake Carrington look a bit like John Derek, with a harem of past and present blonde wives, but Kim might have been quite marvelous! Anyway, Novak preens, parries, and thrusts that still-fabulous body, while skewering everyone in sight. First up is her reunion (next round) with Marina, with cracks about each other’s age, hair, weight, and just about everything else. Kim gets to be the comic to Taylor’s straight woman retorts. I love Kim’s line reading of this catty question to ET: “So, tell me. How does it feel to be back, after being gone for so-ooo long?”

As Lola, Kim Novak checks out her "Lylah Clare" wig, while Tony Curtis' producer makes them a drink.

Kim’s vamping and evading the detective’s questions is nearly upstaged by the pushed-up Novak knockers! Kim is again quite funny, with her husky voice pitched so low that you think she’s channeling The Legend of Lylah Clare. When the Inspector Craddock brings up an unpleasant past incident, when she fired a gun at Marina, Kim’s delivery of this line is a hoot: “So, I was a little miffed!” When Novak’s Lola isn’t sparring with Taylor’s Marina, or toying with the detective, she blasts Hudson’s director, that she could eat a can of Kodak and puke a better film! Novak and her onscreen husband, Tony Curtis’ crass producer, are both amusing caricatures. Kim’s deep voice and vamping, and Tony, dressed in black, including a fedora, remind me of Natasha and Boris Badenov!

Whatever Lola Brewster wants, Lola gets! Tony Curtis  goes gangsta as producer Marty Fenn!

Tony's inspiration?

Ruta Lee: A contender for Lola Brewster?

Kim Novak, 47 when Mirror was made, had recently wowed Oscar audiences with a trimmer than ever figure in a black sheath gown. It’s obvious from the candid shots that Kim hadn’t gone down the plastic surgery road just yet. Guy Hamilton also plays to Kim’s strengths favorably. With her favorite page boy wig, skin tight clothes, and stylized makeup, Kim came away with the kudos for her appearance in this Mirror.

What's bothering Taylor's Marina more... Novak's Lola or that painting in the background?

Rock Hudson, usually a warm, sympathetic screen presence, plays a bit of a departure here. As director Jason Rudd, Hudson’s character is challenged: directing an emotionally fragile wife trying for a comeback; keeping a voracious ex-girlfriend at arm’s length; tangling with crass producer; and keeping his secretary close, but not too close. One thing that may complicate things—is Jason the murderer? Hudson has a number of scenes where his character is distant, very effectively making you wonder if he’s more than just an unfaithful husband. As Jason Rudd, Rock has a number of scenes where he’s comically yelling on the phone or the set. When we wonder what Rock’s up to in the quiet scenes, that’s when Hudson is most effective.

Rock Hudson as Jason Rudd, director and long suffering husband of Taylor's Marina Gregg.

Tony Curtis is the natural comedian in The Mirror Crack’d, as crass, fast-talking Marty Fenn. I’ve never cared much for Curtis as a person, but admire his flair for comedy and strengths as a dramatic actor. Tony seems to be enjoying his bad self here, taking pot shots at the industry, and has a deflective one-liner for every occasion. Like Kim Novak, Tony has the cartoonish comic role, and both perform as well as they can, given the material.

Tony Curtis as slick producer Martin N. Fenn, whose middle initial stands for... Nothing!

Angela Lansbury makes a fine Miss Marple, but even she got nitpicked by some critics at the time. There were complaints that Marple got sidelined by an ankle injury was a story liability. Some considered Lansbury too young and that the old age makeup was a stunt. I think Miss Marple is integrated into the mystery and Angela’s makeup is realistic, as well. Lansbury’s scenes with Edward Fox, as her nephew Inspector Craddock, show a nice rapport, in solving the mystery together. Angela’s owlish features also lend itself to playing an older woman, and she shows a both serious and humorous side as the brilliant armchair detective. You just automatically believe Angela as Miss Marple, the grand matriarch of her village and home. There were supposed to be more Miss Marple movies with Lansbury but Mirror’s demise ended that line of thought. Still, it proved to be a great dry run for Angela Lansbury’s mid-career comeback as Jessica Fletcher.

Angela Lansbury as Miss Jane Marple, who I thought was terrific, as usual.

Geraldine Chaplin is well-cast as the neurotic, mousy secretary, having a not-so-secret affair with Marina’s husband. Chaplin gives snap to her many catty lines, most of them aimed at divas Marina and Lola. She definitely has a way with a comic delivery, never becoming tiresome. Geraldine also creates some sympathy for the character, as Ella is clearly in love with Jason, and she’s obviously just a shoulder for his ego to cry on. Again, amidst the campy humor, Geraldine Chaplin creates a real character here in Ella Zielinsky.

Along with her crisp way with a catty one liner, Geraldine Chaplin is also touching as Ella.

Edward Fox, often the villain, is endearing as the occasionally clueless Inspector Craddock. His flustered scenes with Novak’s brash Lola are funny, and Fox seems to have great fun in his big scene with Taylor’s diva, Marina.

Edward Fox is fun as the inspector who is frequently outwitted by his Aunt Jane Marple!

The Mirror Crack’d boasts a supporting cast of character actors: Margaret Courtenay as Mrs. Bantry, the pickle puss who’s given up her house to Marina and Jason; Charles Lloyd-Pack as the vicar, Maureen Bennett in her film debut as Marina Gregg’s biggest fan, Heather Babcock; Wendy Morgan as Miss Marple’s maid, Cherry; and plus great cameos from the “cast” of Murder at Midnight, the fun film-within-a-film. These actors and more bring some atmospheric heft to this lightweight mystery.

And how about Pierce Brosnan in his first role, as Marina’s Mary Queen of Scots paramour, with big ‘80s hair! Pierce later said he lost 35 pounds after seeing himself onscreen—five when he got a haircut?

The second most embarrassing moment of Pierce Brosnan's career? In his first movie,
Pierce probably made Elizabeth Taylor jealous that his hair was bigger!

Elizabeth Taylor, Rock Hudson, Kim Novak, Tony Curtis, and Angela Lansbury were at a lull in their careers when they made The Mirror Crack’d in 1980 and what came after was significant for all.

Three years after Mirror was released, Elizabeth Taylor became the first celebrity to go public about going into the Betty Ford Clinic, for severe drug and alcohol issues. Ironic, since Taylor had recently played a movie star addict Marina in Mirror and an alcoholic divorcee in ‘83’s Between Friends. Elizabeth Taylor found much needed sobriety, went on to become an AIDS activist, perfume mogul, and even tried one more marriage—and reclaimed her great beauty until old age and illness finally set in. Elizabeth died at age 79 in 2011.

Elizabeth Taylor at Cannes, 7 years after "The Mirror Crack'd,"
in 1987, at the height of her Betty Ford renaissance.

Rock Hudson, looked distinguished in his middle age here, in spite of his years of heavy drinking and smoking. In reality, Rock had only a few more years until he was diagnosed with AIDS, the first film star to admit to the disease. Less than five years after the release of Mirror, Hudson was gone, but Rock put a famous face on the AIDS epidemic. Since 1985, Hudson’s plight as an actor in the closeted era has been viewed with greater empathy, as well.

Rock Hudson's legacy runs the gamut of putting a famous face on AIDS, to classic comedies
with Doris Day, to films with Douglas Sirk, and "Giant," with BFF Elizabeth Taylor!

Like Elizabeth Taylor, Tony Curtis had yet to find sobriety, and looks much older in Mirror than fellow former Universal heartthrob Hudson. Curtis, Hudson, and Lansbury were all born in 1925, age 55 the year that Mirror was made. Tony eventually did straighten up and fly right, got plastic surgery, and his thinning, dyed black hair was replaced by a luxurious silver wig. Tony Curtis continued to work and tell tall tales about his life in show biz until his death in 2010.

Tony Curtis in "The Mirror Crack'd."

Tony, sober and silver!

At the time of Mirror, Kim Novak was considered a well-preserved, but lightweight star. A few years later, with the restoration of Vertigo and its ongoing revivals, Kim’s reputation as an actress was revitalized. As for Kim’s later cosmetic enhancements, Novak looked great without looking overdone until the last decade or so. It’s puzzling that Kim went this far, as she’s seldom acted onscreen since she left Hollywood in the mid-1960s. Novak lives in Washington, long happily married and a talented painter, too. Kim Novak has opened up over the years about her issues and seems happy today, at 86 in 2019. 

Kim Novak was in great shape at the 1980 Oscars, in a gown by Ron Talsky,
who was dating Raquel Welch at the time... he knew his curves!
Nearly 40 years later, Kim is still renowned as a classic Hitchcock blonde.

And who would guess that character actress Angela Lansbury would be the star to enjoy the greatest career renaissance. People talk, and rightly so, about Joan Collins’ huge TV comeback as Alexis Carrington on Dynasty. But even more extraordinary was Lansbury’s megahit with Murder, She Wrote. Angie’s show outlasted Dynasty by 3.5 seasons, 12 total years, plus four Jessica Fletcher TV movies after the show ended. Lansbury also had great control over the show, and her renewed stardom led to a slew of TV movies, a memorable turn as Teapot in Beauty and the Beast. When the series ended, she was an even bigger draw where she had the most success, the stage. And Angela still acts at age 95!

The financial failure of "The Mirror Crack'd" ended the idea of
more Miss Marple movies, but if only Angela Lansbury knew what lie ahead!

So, if you’re in the mood for a light, comedic take on an Agatha Christie murder mystery, enjoy some great star gazing in The Mirror Crack’d.

When Elizabeth Taylor was cast as a washed up actress, some unkind souls called it typecasting.
The next year, ET trimmed down and took on Broadway in 'The Little Foxes.'
And that was just the beginning of the last act of Elizabeth Taylor!