Stage Door

Stage Door

Maybe if you tried to do something for the theater, the theater would do something for you.

I wasn’t sure what to expect from Stage Door, especially given how tepid the title of the film was. It stars Katharine Hepburn and Ginger Rogers, among a generally-sized cast of women, and doesn’t have all that much in terms of plot and the development of it. Still, it seemed to be relatively well-regarded, from what I was able to find, and it was short, so I started it hoping it wouldn’t be too troublesome. Well, it definitely wasn’t, that’s for sure. In fact, I was surprised at what this did have to offer, which started out one way and ended entirely differently. All told, the film was just about the opposite of tepid that a film like this could’ve gotten.

Stage Door is ostensibly the story of the Footlights Club, a boarding house in New York City for aspiring stage actresses. Katharine Hepburn’s character shows up at the beginning, looking for accommodations, and she is boarded with Ginger Rogers; the two don’t get along at their first meeting, because this is a Hollywood film, after all. The film basically tells the story of the young actresses living under the Footlights roof, focusing mainly on the two leads, but featuring a few other of the boarders as well, one in particular who is responsible for the film’s dramatic shift of genre in the third act. The first thing that jumped out at me during my viewing of Stage Door was the dialogue, and how inordinarily improvisational it all seemed. The opening scene, for example, has a bunch of the tenants arguing and talking over each other in the main gathering room, a squabble of women gabbing and cavorting and generally not caring who else is talking or who they have to out-volume, which seemed to be exactly the opposite of the precise and controlled screenwriting typical of the era. As the film went on, though, I got the distinct impression that not only was the improv-style script the film’s main selling point, but that the film sure as hell knew it, perhaps a little too well. That the film’s script was written improvisationally was impressive and novel at the beginning; that the film kept such a script dialed up to eleven through almost the entire running time grew rather annoying as it went on, even with the film being only an hour and a half long. Thankfully, for me at least, the film seemed to know that it couldn’t remain one-note literally the whole time, and something happens to shift the film’s center of gravity away from snarky comedy and into more dramatic territory, where the film seemed to really come into its own, thanks to all the world-building that had taken place up to then.

This was a surprise, absolutely, but it wasn’t as much of one as I really felt it could’ve been. For one, with the film’s script being what it was, it thus didn’t have all that much in terms of actual narrative, especially with the short running time; the film feels like 15-20 minutes worth of plot carried by a full hour and half of snarky, sarcastic, improvisational dialogue in between. Then the third act happens, and suddenly the film wants to be more than what it had been up to that point. I just so happened to welcome the change, mostly because the constant non-stop speed of the dialogue was getting tiresome, but the film is fairly uneven as a result of the decision to do things the way the film does them. Ginger Rogers was a definite surprise, considering I didn’t think much of her at all in prior films, as was supporting player Andrea Leeds, but aside from them, I’m not sure how to recommend this one; it seems like two films inordinately sewn together, and thus everything I could point to on one side to recommend it to someone would be offset by something else in the other portion of the film. Still, this was pretty enjoyable for me, so I won’t consider this one as a loss or fault, at least too much.

Arbitrary Rating: 7/10


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