Barbara Stanwyck was one tough dame. And I mean that in the best possible sense. She often turned her leading men (Henry Fonda, Gary Cooper, Fred MacMurray) into putty in her hands, and we love every second of it.Her early career consisted mainly of variations on the "woman of questionable morals" type (Ladies They Talk About, Baby Face), but she took the audience's familiarity with her in that persona and used it to deft dramatic effect in Stella Dallas, leading to her first of four Oscar nominations.
More independent "career woman" roles followed (Meet John Doe, Christmas in Connecticut), but she livened things up with the sophisticated romantic comedies The Lady Eve and Ball of Fire (my personal fave), then went on to more or less create the femme fatale in Double Indemnity. Her Phyllis Dietrichson is the model that all subsequent shady sirens aspire to.
Curiously, Stanwyck next turned to a string of victim roles, most notably Sorry, Wrong Number, as well as a host of westerns, culminating with her matriarchal Victoria Barkley in the classic TV series The Big Valley. Television is where she could be found for most of her remaining life and career, highlighted by the popular mini-series The Thorn Birds and the primetime soap opera Dynasty and its spin-off, The Colbys.
Through all her dames and matriarchs and villains and victims, one thing always typified a Barbara Stanwyck performance: you can never take your eyes off her. If you did, you may miss something brilliant.
The Academy of Motion Pictures Arts and Sciences is currently spotlighting the movie posters of Barbara Stanwyck in their Grand Lobby Gallery, now through August 26. Visit the Academy's website for further information.
And for even more on the legendary Stanwyck, check out this insightful article from the San Francisco Bay Guardian.
Links via Imdb.com, Oscars.org and SFBG.com.
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