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Joan Crawford
Joan Crawford
(born Lucille Fay LeSueur; March 23, c. 1904[Note 1] – May 10, 1977) was an American film and television actress who began her career as a dancer and stage showgirl. In 1999, the American Film Institute ranked Crawford tenth on its list of the greatest female stars of Classic Hollywood
Hollywood
Cinema. Beginning her career as a dancer in traveling theatrical companies, before debuting as a chorus girl on Broadway, Crawford signed a motion picture contract with Metro-Goldwyn-Mayer
Metro-Goldwyn-Mayer
in 1925. In the 1930s, Crawford's fame rivaled, and later outlasted, MGM colleagues Norma Shearer and Greta Garbo. Crawford often played hard-working young women who find romance and success. These stories were well received by Depression-era audiences and were popular with women. Crawford became one of Hollywood's most prominent movie stars and one of the highest-paid women in the United States, but her films began losing money and, by the end of the 1930s, she was labelled "box office poison". But her career gradually improved in the early 1940s, and she made a major comeback in 1945 by starring in Mildred Pierce, for which she won the Academy Award
Academy Award
for Best Actress. She would go on to receive Best Actress nominations for Possessed (1947) and Sudden Fear
Sudden Fear
(1952). She continued to act in film and television throughout the 1950s and 1960s; she achieved box office success with the highly successful horror film Whatever Happened To Baby Jane? (1962), in which she starred alongside Bette Davis, her long-time rival.[14] In 1955, Crawford became involved with the Pepsi-Cola Company through her marriage to company Chairman Alfred Steele. After his death in 1959, Crawford was elected to fill his vacancy on the board of directors, serving until she was forcibly retired in 1973. After the release of the British horror film Trog
Trog
in 1970, Crawford retired from the screen. Following a public appearance in 1974, after which unflattering photographs were published,[15] Crawford withdrew from public life and became increasingly reclusive until her death in 1977.[16] Crawford married four times. Her first three marriages ended in divorce; the last ended with the death of husband Alfred Steele. She adopted five children, one of whom was reclaimed by his birth mother. Crawford's relationships with her two elder children, Christina and Christopher, were acrimonious. Crawford disinherited the two, and, after Crawford's death, Christina wrote a well-known "tell-all" memoir titled Mommie Dearest
Mommie Dearest
(1978).[17]

Contents

1 Early life 2 Career

2.1 Early career 2.2 Self-promotion and early successes 2.3 Transition to sound and continued success 2.4 Box Office Poison 2.5 Move to Warner Brothers 2.6 Radio and television 2.7 Al Steele and Pepsi Cola
Pepsi Cola
Company 2.8 Later career

3 Final years 4 Death and legacy 5 Mommie Dearest 6 In popular culture 7 Filmography 8 Radio appearances 9 See also 10 Autobiographies 11 Notes 12 References 13 Bibliography

13.1 Sources 13.2 Further reading

14 External links

Early life[edit] Born Lucille Fay LeSueur in San Antonio, Texas, the youngest and third child of Anna Bell (Johnson) and Thomas E. LeSueur, a laundry laborer. She was of English, French Huguenot, Swedish, and Irish ancestry.[18] Crawford's elder siblings were sister Daisy LeSueur, who died before Lucille's birth, and brother Hal LeSueur.[19] Crawford's father abandoned the family a few months before her birth, reappearing later in 1930 in Abilene, Texas, reportedly working as a construction laborer.[19] Following LeSueur's departure from the family home, Crawford's mother married Henry J. Cassin. The marriage is listed in the census as Crawford's mother's first marriage.[20] Crawford lived with her mother, stepfather, and siblings in Lawton, Oklahoma. There, Cassin, a minor impresario, ran the Ramsey Opera House; he managed to book diverse and noted performers such as Anna Pavlova and Eva Tanguay. At that time, Crawford was reportedly unaware that Cassin, whom she called "daddy", was not her biological father until her brother Hal told her the truth.[21] Cassin reportedly began sexually abusing her when she was eleven years old; the abuse continued until she went away to St. Agnes Academy, a Catholic school.[22] Crawford preferred the nickname "Billie" as a child and enjoyed watching vaudeville acts perform on the stage of her stepfather's theatre. Because the family's instability negatively affected Crawford's childhood, her schooling never formally progressed beyond elementary school.[23] Beginning in childhood, Crawford's ambition was to be a dancer. One day, however, in an attempt to escape piano lessons so she could play with friends, she leapt from the front porch of her home and cut her foot severely on a broken milk bottle.[24] As a result, she underwent three surgeries to repair the damage. She was unable to attend elementary school or continue with dancing lessons for 18 months.[24] While still residing in Lawton, Crawford's stepfather was accused of embezzlement. Although he was acquitted in court, he was blacklisted in Lawton, and the family moved to Kansas City, Missouri, around 1916.[20] Following their relocation, Cassin, a Catholic, placed Crawford at St. Agnes Academy in Kansas City. When her mother and stepfather separated, she remained at St. Agnes as a work student, where she spent far more time working, primarily cooking and cleaning, than studying.[25] She later attended Rockingham Academy, also as a working student.[25] While attending there, she began dating and had her first serious relationship, with a trumpet player named Ray Sterling. Sterling reportedly inspired her to begin challenging herself academically.[26] In 1922, she registered at Stephens College
Stephens College
in Columbia, Missouri, giving her year of birth as 1906.[27] She attended Stephens for only a few months before withdrawing after she realized she was not prepared for college.[28] Career[edit] Early career[edit]

Joan Crawford
Joan Crawford
in 1928

Under the name Lucille LeSueur, Crawford began dancing in the choruses of traveling revues and was spotted dancing in Detroit
Detroit
by producer Jacob J. Shubert.[23][29] Shubert put her in the chorus line for his 1924 show, Innocent Eyes, at the Winter Garden Theatre
Winter Garden Theatre
on Broadway in New York City. While appearing in Innocent Eyes Crawford met a saxophone player named James Welton. The two were allegedly married in 1924 and lived together for several months, although this supposed marriage was never mentioned in later life by Crawford.[30] Crawford wanted additional work, and approached Loews Theaters publicist Nils Granlund. Granlund secured a position for her with singer Harry Richman's act and arranged for her to do a screen test which he sent to producer Harry Rapf
Harry Rapf
in Hollywood.[31] Stories have persisted that Crawford further supplemented her income by appearing in one or more stag, or soft-core pornographic, films,[30] although this has been disputed.[32] Rapf notified Granlund on December 24, 1924, that Metro-Goldwyn-Mayer (MGM) had offered Crawford a contract at $75 a week. Granlund immediately wired LeSueur, who had returned to her mother's home in Kansas City, with the news; she borrowed $400 for travel expenses.[33] She departed Kansas City on December 26, 1924 and arrived in Culver City, California on January 1, 1925.[citation needed] Credited as Lucille LeSueur, her first film was Lady of the Night
Lady of the Night
in 1925, as the body double for MGM's most popular female star, Norma Shearer. She also appeared in The Circle and Pretty Ladies
Pretty Ladies
(both 1925), starring comedian ZaSu Pitts. This was soon followed by equally small and unbilled roles in two other 1925 successes, The Only Thing and The Merry Widow.[34] MGM publicity head Pete Smith recognized her ability to become a major star, but felt her name sounded fake; he told studio head Louis B. Mayer that her last name—LeSueur—reminded him of a sewer. Smith organized a contest called "Name the Star" in Movie Weekly to allow readers to select her new stage name. The initial choice was "Joan Arden" but, after another actress was found to have prior claim to that name, the alternate surname "Crawford" became the choice. Crawford later said that she wanted her first name to be pronounced "Jo-Anne", and that she hated the name Crawford because it sounded like "craw fish", but also admitted she "liked the security" that went with the name.[35] Self-promotion and early successes[edit] Growing increasingly frustrated over the size and quality of the parts she was given, Crawford embarked on a campaign of self-promotion. As MGM screenwriter Frederica Sagor Maas recalled, "No one decided to make Joan Crawford
Joan Crawford
a star. Joan Crawford
Joan Crawford
became a star because Joan Crawford decided to become a star."[36] She began attending dances in the afternoons and evenings at hotels around Hollywood, where she often won dance competitions with her performances of the Charleston and the Black Bottom.[37]

With John Gilbert in the film Four Walls (1928)

Her strategy worked, and MGM cast her in the film where she first made an impression on audiences, Edmund Goulding's Sally, Irene and Mary (1925). From the beginning of her career, Crawford considered Norma Shearer—the studio's most-popular actress—her professional nemesis. Shearer was married to MGM Head of Production Irving Thalberg; hence, she had the first choice of scripts and had more control than other stars in what films she would and would not make. Crawford was quoted to have said: "How can I compete with Norma? She sleeps with the boss!"[38] In 1926, Crawford was named one of the WAMPAS Baby Stars
WAMPAS Baby Stars
along with Mary Astor, Dolores del Río, Janet Gaynor, and Fay Wray
Fay Wray
among others. That same year, she starred in Paris, co-starring Charles Ray. Within a few years, she became the romantic female lead to many of MGM's top male stars, including Ramón Novarro, John Gilbert, William Haines, and Tim McCoy.[citation needed] Crawford appeared in The Unknown (1927), starring Lon Chaney, Sr. who played a carnival knife thrower with no arms. Crawford played his skimpily-clad young carnival assistant whom he hopes to marry. She stated that she learned more about acting from watching Chaney work than from anyone else in her career. "It was then," she said, "I became aware for the first time of the difference between standing in front of a camera, and acting." Also in 1927, she appeared alongside her close friend, William Haines, in Spring Fever, which was the first of three movies the duo made together.[39][40] In 1928, Crawford starred opposite Ramón Novarro
Ramón Novarro
in Across to Singapore, but it was her role as Diana Medford in Our Dancing Daughters (1928) that catapulted her to stardom. The role established her as a symbol of modern 1920s-style femininity which rivaled Clara Bow, the original It girl, then Hollywood's foremost flapper. A stream of hits followed Our Dancing Daughters, including two more flapper-themed movies, in which Crawford embodied for her legion of fans (many of whom were women) an idealized vision of the free-spirited, all-American girl.[41] F. Scott Fitzgerald
F. Scott Fitzgerald
wrote of Crawford:[42]

Joan Crawford
Joan Crawford
is doubtless the best example of the flapper, the girl you see in smart night clubs, gowned to the apex of sophistication, toying iced glasses with a remote, faintly bitter expression, dancing deliciously, laughing a great deal, with wide, hurt eyes. Young things with a talent for living.

On June 3, 1929, Crawford married Douglas Fairbanks, Jr.
Douglas Fairbanks, Jr.
at Saint Malachy's Roman Catholic Church (known as "The Actors' Chapel" owing to its proximity to Broadway theatres) in Manhattan, although neither was Catholic.[43] Fairbanks was the son of Douglas Fairbanks
Douglas Fairbanks
and the stepson of Mary Pickford, who were considered Hollywood
Hollywood
royalty. Fairbanks Sr. and Pickford were opposed to the marriage and did not invite the couple to their home, Pickfair, for eight months after the marriage.[18] The relationship between Crawford and Fairbanks, Sr. eventually warmed; she called him "Uncle Doug" and he called her "Billie", her old childhood nickname. She and Pickford, however, continued to despise each other.[44] Following that first invitation, Crawford and Fairbanks, Jr. became more frequent guests. While the Fairbanks men played golf together, however, Crawford was either left with Pickford, who would retire to her quarters, or simply left alone.[45] To rid herself of her Southwestern accent, Crawford tirelessly practiced diction and elocution. She said:[46]

If I were to speak lines, it would be a good idea, I thought, to read aloud to myself, listen carefully to my voice quality and enunciation, and try to learn in that manner. I would lock myself in my room and read newspapers, magazines and books aloud. At my elbow I kept a dictionary. When I came to a word I did not know how to pronounce, I looked it up and repeated it correctly fifteen times.

Transition to sound and continued success[edit]

Crawford in 1932

After the release of The Jazz Singer
The Jazz Singer
in 1927—the first feature-length film with some audible dialog—sound films, or talkies as they became nicknamed, were all the rage. The transition from silent to sound panicked many—if not all—involved with the film industry; many silent film stars found themselves unemployable because of their undesirable voices and hard-to-understand accents or simply because of their refusal to make the transition to talkies. Many studios and stars avoided making the transition as long as possible, especially MGM, which was the last studio to switch over to sound. The Hollywood Revue of 1929
The Hollywood Revue of 1929
was one of the studio's first all-talking films, and their first attempt to showcase their stars' ability to make the transition from silent to sound. Crawford was among the dozen or more MGM stars included in the movie; she sang the song "Got a Feeling for You" during the film's first act. Crawford made a successful transition to talkies. Her first starring role in an all-talking feature-length film was in Untamed in 1929, co-starring Robert Montgomery. Despite the success of the film at the box office, it received mixed reviews from critics, who noted that while Crawford seemed nervous at making the transition to sound, also noted that she had become one of the most popular actresses in the world.[47] Montana Moon
Montana Moon
(1930), an uneasy mix of Western clichés and music, teamed her with John Mack Brown
John Mack Brown
and Ricardo Cortez. Although the film had problems with censors, it was a major success at the time of its release. Our Blushing Brides
Our Blushing Brides
(1930), co-starring Robert Montgomery and Anita Page, was the final installment in the so-called Our Dancing Daughters franchise. Her next movie, Paid (1930), paired her with Robert Armstrong and was another success. During the early sound era, MGM began to place Crawford in more sophisticated roles, rather than continuing to promote her flapper-inspired persona of the silent era.[48] In 1931, MGM cast Crawford in five films. Three of them teamed her opposite the studio's biggest male star and King of Hollywood, Clark Gable. Dance, Fools, Dance, released in February 1931, was the first pairing of Crawford and Gable. Their second movie together, Laughing Sinners, released in May 1931, was directed by Harry Beaumont
Harry Beaumont
and also co-starred Neil Hamilton. Possessed, their third film together, released in October, was directed by Clarence Brown.[49] These films were immensely popular with audiences, and were generally well received by critics, stapling Crawford's position as one of MGM's top female stars of the decade, along with Norma Shearer, Greta Garbo, and Jean Harlow. Her only other notable film of 1931, This Modern Age, was released in August, and despite unfavorable reviews, was a moderate success.[50]

With Wallace Beery
Wallace Beery
in Grand Hotel (1932)

MGM next cast her in the film Grand Hotel, directed by Edmund Goulding. As the studio's first all-star production, Crawford co-starred opposite Greta Garbo, John and Lionel Barrymore, and Wallace Beery
Wallace Beery
among others. Receiving third billing, she played the middle-class stenographer to Beery's controlling general director. Crawford later admitted to being nervous during the filming of the movie because she was working with "very big stars", and that she was disappointed that she had no scenes with the "divine Garbo". Grand Hotel was released in April 1932 to critical and commercial success. It was one of the highest-grossing movies of the year, and won the Academy Award
Academy Award
for Best Picture.[51] Crawford achieved continued success in Letty Lynton (1932). Soon after this movie's release, a plagiarism suit forced MGM to withdraw it. For many years it was never shown on television nor made available on home video and is therefore considered the "lost" Crawford film. The gown with large ruffled sleeves, designed by Adrian, which Crawford wore in the movie, became a popular style that same year, and was even copied by Macy's.[52] On a loan out to United Artists, she played prostitute Sadie Thompson in Rain (1932), a film version of John Colton's 1923 play. Actress Jeanne Eagels
Jeanne Eagels
played the role on stage and Gloria Swanson
Gloria Swanson
had originated the part on screen in the 1928 film version. Crawford's performance was panned and the film was not a success.[53] Despite the failure of Rain, in 1932 the publishing of the first "Top Ten Money Making Stars Poll" placed Crawford third in popularity at the box office, behind only Marie Dressler
Marie Dressler
and Janet Gaynor. She remained on the list for the next several years, last appearing on it in 1936. In May 1933, Crawford divorced Fairbanks. Crawford cited "grievous mental cruelty", claiming Fairbanks had "a jealous and suspicious attitude" toward her friends and that they had "loud arguments about the most trivial subjects" lasting "far into the night".[54] Following her divorce, she was again teamed with Clark Gable, along with Franchot Tone
Franchot Tone
and Fred Astaire, in the hit Dancing Lady
Dancing Lady
(1933), in which she received top billing. She next played the title role in Sadie McKee
Sadie McKee
(1934) opposite Tone and Gene Raymond. She was paired with Gable for the fifth time in Chained (1934) and for the sixth time in Forsaking All Others (1934). Crawford's films of this era were some of the most-popular and highest-grossing films of the mid-1930s.[citation needed] In 1935, Crawford married Franchot Tone, a stage actor from New York who planned to use his film earnings to finance his theatre group. The couple built a small theatre at Crawford's Brentwood home and put on productions of classic plays for select groups of friends.[55] Tone and Crawford had first appeared together in Today We Live
Today We Live
(1933) but Crawford was hesitant about entering into another romance so soon after her split from Fairbanks.[56] Before and during their marriage, Crawford worked to promote Tone's Hollywood
Hollywood
career, but Tone was ultimately not interested in being a movie star and Crawford eventually wearied of the effort.[57] After Tone reportedly began drinking and becoming physically abusive, she filed for divorce, which was granted in 1939.[58] Crawford and Tone much later rekindled their friendship and Tone even proposed in 1964 that they remarry. When he died in 1968, Crawford arranged for him to be cremated and his ashes scattered at Muskoka Lakes, Canada.[59] Crawford continued her reign as a popular movie actress well into the mid-1930s. No More Ladies
No More Ladies
(1935) co-starred Robert Montgomery and then-husband Franchot Tone, and was a success. Crawford had long pleaded with MGM's head Louis B. Mayer
Louis B. Mayer
to cast her in more dramatic roles, and although he was reluctant, he cast her in the sophisticated comedy-drama I Live My Life (1935), directed by W.S. Van Dyke. It was well received by critics and made a larger profit than the studio had expected. She next starred in The Gorgeous Hussy
The Gorgeous Hussy
(1936), opposite Robert Taylor and Lionel Barrymore
Lionel Barrymore
as well as Tone, a critical and box office success, become one of Crawford's biggest hits of the decade. Love on the Run (1936), a romantic comedy directed by W.S. Van Dyke, was her seventh film co-starring Clark Gable. It was, at the time of its release, called "a lot of happy nonsense" by critics, but a financial success nonetheless. Box Office Poison[edit]

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Even though Crawford remained a respected MGM actress and her films still earned profits, her popularity declined in the late 1930s. In 1937, Crawford was proclaimed the first "Queen of the Movies" by Life magazine. She unexpectedly slipped from seventh to sixteenth place at the box office that year, and her public popularity also began to wane.[60] Richard Boleslawski's comedy-drama The Last of Mrs. Cheyney (1937) teamed her opposite William Powell
William Powell
in their sole screen pairing. The film was also Crawford's last box-office success before the onset of her "Box-Office Poison" period.

Crawford as Mrs. Fay Cheyney for The Last of Mrs. Cheyney (1937)

She co-starred opposite Franchot Tone
Franchot Tone
for the seventh and final time in The Bride Wore Red
The Bride Wore Red
(1937). The film was generally unfavorably reviewed by the majority of critics, with one critic calling it the "same ole rags-to-riches story" Crawford had been making for years. It also ran a financial loss, becoming one of MGM's biggest failures of the year. Mannequin did, as the New York Times
New York Times
stated, "restore Crawford to her throne as queen of the working girls". Most other reviews were positive, and the film managed to generate a minor profit, but it did not resurrect Crawford's popularity.[60] On May 3, 1938, Crawford — along with Greta Garbo, Norma Shearer, Luise Rainer, and John Barrymore, Katharine Hepburn, Fred Astaire, Dolores del Río
Dolores del Río
and others — was dubbed "Box Office Poison" in an open letter in the Independent Film Journal. The list was submitted by Harry Brandt, president of the Independent Theatre Owners Association of America. Brandt stated that while these stars had "unquestioned" dramatic abilities, their high salaries did not reflect in their ticket sales, thus hurting the movie exhibitors involved. Her follow-up movie, The Shining Hour
The Shining Hour
(1938), co-starring Margaret Sullavan and Melvyn Douglas, was well received by critics, but it was a box office flop.[61] She made a comeback in 1939 with her role as home-wrecker Crystal Allen in The Women opposite her professional nemesis, Norma Shearer. A year later, she played against type, playing the unglamorous role of Julie in Strange Cargo (1940), her eighth and final film with Clark Gable. She later starred as a facially disfigured blackmailer in A Woman's Face (1941), a remake of the Swedish film En kvinnas ansikte which had starred Ingrid Bergman
Ingrid Bergman
in the lead role three years earlier. While the film was only a moderate box office success, her performance was hailed by many critics.[citation needed] Crawford adopted her first child, a daughter, in 1940. Because she was single, California law prevented her from adopting within the state so she arranged the adoption through an agency in Las Vegas. The child was temporarily called Joan until Crawford changed her name to Christina. Crawford married actor Phillip Terry on July 21, 1942 after a six-month courtship.[62] Together the couple adopted a son whom they named Christopher, but his birth mother reclaimed the child. The couple adopted another boy, whom they named Phillip Terry, Jr. After the marriage ended in 1946, Crawford changed the child's name to Christopher Crawford. After eighteen years, Crawford's contract with MGM was terminated by mutual consent on June 29, 1943. In lieu of the last film remaining under her contract, MGM bought her out for $100,000. During World War II she was a member of American Women's Voluntary Services.[63] Move to Warner Brothers[edit] For $500,000, Crawford signed with Warner Brothers
Warner Brothers
for a three-movie deal and was placed on the payroll on July 1, 1943. Her first film for the studio was Hollywood
Hollywood
Canteen (1944), an all-star morale-booster film that teamed her with several other top movie stars at the time. Crawford said one of the main reasons she signed with Warner Brothers was because she wanted to play the character "Mattie" in a proposed 1944 film version of Edith Wharton's novel Ethan Frome
Ethan Frome
(1911).

Crawford in the trailer for Mildred Pierce (1945)

She wanted to play the title role in Mildred Pierce (1945), but Bette Davis was the studio's first choice. However, Davis turned the role down. Director Michael Curtiz
Michael Curtiz
did not want Crawford to play the part, and he instead lobbied for the casting of Barbara Stanwyck. Warner Bros went against Curtiz and cast Crawford in the film. Throughout the entire production of the movie, Curtiz criticized Crawford. He has been quoted as having told Jack L. Warner, "She comes over here with her high-hat airs and her goddamn shoulder pads... why should I waste my time directing a has-been?"[64] Curtiz demanded Crawford prove her suitability by taking a screen test. She agreed. After the test, Curtiz agreed to Crawford's casting. Mildred Pierce was a resounding critical and commercial success. It epitomized the lush visual style and the hard-boiled film noir sensibility that defined Warner Bros. movies of the late forties, earning Crawford the Academy Award
Academy Award
for Best Actress in a Leading Role.[65] The success of Mildred Pierce revived Crawford's movie career. For several years, she starred in what were called "a series of first-rate melodramas". Her next film was Humoresque (1946), co-starring John Garfield, a romantic drama about a love affair between an older woman and a younger man. She starred alongside Van Heflin
Van Heflin
in Possessed (1947), for which she received a second Academy Award
Academy Award
nomination, although she did not win. In Daisy Kenyon
Daisy Kenyon
(1947), she appeared opposite Dana Andrews
Dana Andrews
and Henry Fonda, and in Flamingo Road (1949) her character has an ultimately deadly feud with a corrupt southern Sheriff played by Sydney Greenstreet. She made a cameo appearance in It's a Great Feeling
It's a Great Feeling
(1949), poking fun at her own screen image. In 1950, she starred in the film noir, The Damned Don't Cry!, and starred in Harriet Craig. After the completion of This Woman Is Dangerous (1952), a film Crawford called her "worst", she asked to be released from her Warner Brothers contract. By this time she felt Warners was losing interest in her and she decided it was time to move on.[citation needed] Later that same year, she received her third and final Academy Award nomination for Sudden Fear
Sudden Fear
for RKO Radio Pictures. In 1953, she appeared in her final film for MGM, Torch Song. The movie received favorable reviews and moderate success at the box office.[citation needed] Crawford adopted two more children in 1947, two girls she named Cindy and Cathy. Radio and television[edit] Crawford worked in the radio series The Screen Guild Theater
The Screen Guild Theater
on January 8, 1939; Good News; Baby, broadcast March 2, 1940 on Arch Oboler's Lights Out; The Word on Everyman's Theater (1941); Chained on the Lux Radio Theater
Lux Radio Theater
and Norman Corwin's Document A/777 (1948). She appeared in episodes of anthology television series in the 1950s and, in 1959, made a pilot for her series, The Joan Crawford
Joan Crawford
Show.[citation needed] Al Steele and Pepsi Cola
Pepsi Cola
Company[edit] Crawford married her fourth and final husband, Alfred Steele, at the Flamingo Hotel in Las Vegas on May 10, 1955.[66] Crawford and Steele met at a party in 1950 when Steele was an executive at PepsiCo. They renewed their acquaintance at a New Year's Eve party in 1954. Steele by that time had become President of Pepsi Cola.[67] Alfred Steele would later be named Chairman of the Board and Chief Executive Officer of Pepsi Cola. She traveled extensively on behalf of Pepsi following the marriage. She estimated that she traveled over 100,000 miles for the company.[68] Steele died of a heart attack in April 1959. Crawford was initially advised that her services were no longer required. After she told the story to Louella Parsons, Pepsi reversed its position and Crawford was elected to fill the vacant seat on the board of directors.[69] Crawford received the sixth annual "Pally Award", which was in the shape of a bronze Pepsi bottle. It was awarded to the employee making the most significant contribution to company sales. In 1973, Crawford was forced to retire from the company at the behest of company executive Don Kendall, whom Crawford had referred to for years as "Fang".[70] Later career[edit]

with Louis B. Mayer
Louis B. Mayer
at the premiere of Torch Song (1953). "To me, L.B. Mayer was my father, my father confessor, the best friend I ever had," Crawford was quoted as having said.[71]

After her Academy Award
Academy Award
nominated performance in 1952's Sudden Fear, Crawford continued to work steadily throughout the rest of the decade. After a ten-year absence, she returned to MGM to star in Torch Song (1953), a musical drama centering on the life of a demanding stage star who falls in love with a blind pianist, played by Michael Wilding. Although the film was highly publicized as Crawford's major comeback, it was ultimately a critical and financial failure, known today for its camp appeal. In 1954, she starred in the cult camp western film classic Johnny Guitar, co-starring Sterling Hayden
Sterling Hayden
and Mercedes McCambridge. She also starred in Female on the Beach
Female on the Beach
(1955) with Jeff Chandler, and in Queen Bee (1955) alongside John Ireland. The following year, she starred opposite a young Cliff Robertson
Cliff Robertson
in Autumn Leaves (1956) and filmed a leading role in The Story of Esther Costello (1957), co-starring Rossano Brazzi. Crawford, who had been left near-penniless following Alfred Steele's death[72] accepted a small role in The Best of Everything (1959). Although she was not the star of the film, she received positive reviews. Crawford would later name the role as being one of her personal favorites. However, by the early 1960s, Crawford's status in motion pictures had declined considerably.

As Blanche Hudson
Blanche Hudson
in What Ever Happened to Baby Jane? (1962)

Crawford starred as Blanche Hudson, an old, wheelchair-bound former A-list movie star who lives in fear of her psychotic sister Jane, in the highly successful psychological thriller What Ever Happened to Baby Jane? (1962). Despite the actresses' earlier tensions, Crawford reportedly suggested Bette Davis
Bette Davis
for the role of Jane. The two stars maintained publicly that there was no feud between them. The director, Robert Aldrich, explained that Davis and Crawford were each aware of how important the film was to their respective careers and commented, "It's proper to say that they really detested each other, but they behaved absolutely perfectly."[73] After filming was completed, their public comments against each other propelled their animosity into a lifelong feud. The film was a huge success, recouping its costs within 11 days of its nationwide release, and temporarily revived Crawford's career. Davis was nominated for an Academy Award
Academy Award
for her performance as Jane Hudson. Crawford secretly contacted each of the other Oscar nominees in the category (Katharine Hepburn, Lee Remick, Geraldine Page
Geraldine Page
and Anne Bancroft, all East Coast-based actresses), to let them know that if they could not attend the ceremony, she would be happy to accept the Oscar on their behalf; all agreed. Both Davis and Crawford were backstage when the absent Anne Bancroft
Anne Bancroft
was announced as the winner, and Crawford accepted the award on her behalf. Davis claimed for the rest of her life that Crawford had campaigned against her, a charge Crawford denied.[citation needed] That same year, Crawford starred as Lucy Harbin in William Castle's horror mystery Strait-Jacket (1964). Robert Aldrich cast Crawford and Davis in Hush... Hush, Sweet Charlotte
Hush... Hush, Sweet Charlotte
(1964). After a purported campaign of harassment by Davis on location in Louisiana, Crawford returned to Hollywood
Hollywood
and entered a hospital. After a prolonged absence, during which Crawford was accused of feigning illness, Aldrich was forced to replace her with Olivia de Havilland. Crawford claimed to be devastated, saying "I heard the news of my replacement over the radio, lying in my hospital bed ... I cried for nine hours."[74] Crawford nursed grudges against Davis and Aldrich for the rest of her life, saying of Aldrich, "He is a man who loves evil, horrendous, vile things", to which Aldrich replied, "If the shoe fits, wear it, and I am very fond of Miss Crawford."[75] Despite being replaced, brief footage of Crawford made it into the film, when she is seen sitting in a taxi in a wide shot.[76]

in Night Gallery (1969)

In 1965 she played Amy Nelson in I Saw What You Did
I Saw What You Did
(1965), another William Castle
William Castle
vehicle. She starred as Monica Rivers in Herman Cohen's horror thriller film Berserk!
Berserk!
(1967). After the film's release, Crawford guest-starred as herself on The Lucy Show. The episode, "Lucy and the Lost Star", first aired on February 26, 1968. Crawford struggled during rehearsals and drank heavily on-set, leading series star Lucille Ball
Lucille Ball
to suggest replacing her with Gloria Swanson. However, Crawford was letter-perfect the day of the show, which included dancing the Charleston, and received two standing ovations from the studio audience.[77] In October 1968, Crawford's 29-year-old daughter, Christina (who was then acting in New York on the CBS
CBS
soap opera The Secret Storm), needed immediate medical attention for a ruptured ovarian tumor. Despite the fact that Christina's character was a 28-year-old and Crawford was in her sixties, Crawford offered to play her role until Christina was well enough to return, to which producer Gloria Monty readily agreed.[78] Although Crawford did well in rehearsal, she lost her composure while taping and the director and producer were left to struggle to piece together the necessary footage.[79] Crawford's appearance in the 1969 television film Night Gallery (which served as pilot to the series that followed), marked one of Steven Spielberg's earliest directing jobs. She made a cameo appearance as herself in the first episode of the situation comedy The Tim Conway Show, which aired on January 30, 1970. She starred on the big screen one final time, playing Dr. Brockton in Herman Cohen's science fiction horror film Trog
Trog
(1970), rounding out a career spanning 45 years and more than eighty motion pictures. Crawford made three more television appearances, as Stephanie White in a 1970 episode ("The Nightmare") of The Virginian[80] and as Joan Fairchild (her final performance) in a 1972 episode ("Dear Joan: We're Going to Scare You to Death") of The Sixth Sense.[81] Final years[edit] In 1970, Crawford was presented with the Cecil B. DeMille
Cecil B. DeMille
Award by John Wayne
John Wayne
at the Golden Globes, which was telecast from the Coconut Grove at The Ambassador Hotel in Los Angeles. She also spoke at Stephens College, where she had been a student for two months in 1922.[82] Crawford published her autobiography, A Portrait of Joan, co-written with Jane Kesner Ardmore, in 1962 through Doubleday. Crawford's next book, My Way of Life, was published in 1971 by Simon & Schuster. Those expecting a racy tell-all were disappointed, although Crawford's meticulous ways were revealed in her advice on grooming, wardrobe, exercise, and even food storage. Upon her death there were found in her apartment photographs of John F. Kennedy, for whom she had voted for in the 1960 presidential election.[83] In September 1973, Crawford moved from apartment 22-G to a smaller apartment next door (22-H) at the Imperial House, 150 East 69th Street. Her last public appearance was made on September 23, 1974, at a party honoring her old friend Rosalind Russell
Rosalind Russell
at New York's Rainbow Room. Russell was suffering from breast cancer and arthritis at the time. When Crawford saw the unflattering photos that appeared in the papers the next day, she said, "If that's how I look, then they won't see me anymore."[15] Crawford cancelled all public appearances, began declining interviews and left her apartment less and less. Dental-related issues, including surgery which left her needing round-the-clock nursing care, plagued her from 1972 until mid-1975. While on antibiotics for this problem in October 1974, her drinking caused her to pass out, slip and strike her face. The incident scared her enough to give up drinking, although she insisted that it was because of her return to Christian Science. The incident is recorded in a series of letters sent to her insurance company held in the stack files on the 3rd floor of the New York Public Library for the Performing Arts; it is also documented by Carl Johnnes in his biography of the actress, Joan Crawford: The Last Years.[84] When it came to personal politics, Crawford aligned herself as a Democrat who greatly supported, and admired, the administrations of John F. Kennedy
John F. Kennedy
and Franklin D. Roosevelt. She was once noted as saying: "The Democratic party is one that I've always observed. I have struggled greatly in life from the day I was born and I am honored to be a part of something that focuses on working class citizens and molds them into a proud specimen. Mr. Roosevelt and Mr. Kennedy have done so much in that regard for the two generations they've won over during their career course."[85] Death and legacy[edit] On May 8, 1977, Crawford gave away her beloved Shih Tzu, "Princess Lotus Blossom," being too weak to care for her.[86] Crawford died two days later at her New York apartment of a heart attack.[68] A funeral was held at Campbell Funeral Home, New York, on May 13, 1977. In her will, which was signed on October 28, 1976, Crawford bequeathed to her two youngest children, Cindy and Cathy, $77,500 each from her $2,000,000 estate. She explicitly disinherited the two eldest, Christina and Christopher: "It is my intention to make no provision herein for my son, Christopher, or my daughter, Christina, for reasons which are well known to them".[87] She also bequeathed nothing to her niece, Joan Lowe (1933–1999; born Joan Crawford
Joan Crawford
LeSueur, the only child of her estranged brother, Hal). Crawford left money to her favorite charities: the U.S.O. of New York, the Motion Picture Home, the American Cancer Society, the Muscular Dystrophy Association, the American Heart Association, and the Wiltwyck School for Boys.[88] A memorial service was held for Crawford at All Souls' Unitarian Church on Lexington Avenue in New York on May 16, 1977, and was attended by, among others, her old Hollywood
Hollywood
friend Myrna Loy. Another memorial service, organized by George Cukor, was held on June 24 in the Samuel Goldwyn Theater at the Academy of Motion Picture Arts and Sciences in Beverly Hills. Crawford was cremated and her ashes were placed in a crypt with her fourth and final husband, Alfred Steele, in Ferncliff Cemetery, Hartsdale, New York.[89]

Joan Crawford's grave at Ferncliff Cemetery
Ferncliff Cemetery
and Mausoleum

Joan Crawford's handprints and footprints are immortalized in the forecourt of Grauman's Chinese Theater
Grauman's Chinese Theater
on Hollywood Boulevard
Hollywood Boulevard
in Hollywood.[90] She has a star on the Hollywood
Hollywood
Walk of Fame at 1752 Vine Street for her contributions to the motion picture industry.[91] Playboy
Playboy
listed Crawford as #84 of the "100 Sexiest Women of the 20th century".[92] Crawford was also voted the tenth greatest female star of the classic American cinema by the American Film Institute.[93] Mommie Dearest[edit] Main article: Mommie Dearest In November 1978, Christina Crawford published Mommie Dearest, which contained allegations that her late adoptive mother was emotionally and physically abusive to Christina and her brother Christopher because she was more interested in her career than being a mother. Many of Crawford's friends and co-workers, including Van Johnson, Ann Blyth, Myrna Loy, Katharine Hepburn, Cesar Romero, Gary Gray, Douglas Fairbanks Jr. (Crawford's first husband), and Crawford's two other younger daughters—Cathy and Cindy—denounced the book, categorically denying any abuse.[94] But others, including Betty Hutton, Helen Hayes,[95] James MacArthur
James MacArthur
(Hayes' son),[96][97] June Allyson,[98] Liz Smith,[96] Rex Reed,[96] and Vincent Sherman[99] stated they had witnessed some form of abusive behavior. Crawford's secretary, Jeri Binder Smith, confirmed Christina's account.[100] Mommie Dearest
Mommie Dearest
became a bestseller and was made into the 1981 biographical film Mommie Dearest, starring Faye Dunaway
Faye Dunaway
as Crawford.[101] In popular culture[edit] The feud between Crawford and Bette Davis
Bette Davis
is depicted in Shaun Considine's 1989 book, Bette and Joan: The Divine Feud. It was fueled by competition over film roles, Academy Awards, and Franchot Tone, Davis’ co-star in 1935's Dangerous.[102] The Crawford–Davis rivalry is the subject of the 2017 first season of the FX anthology television series Feud, subtitled Bette and Joan. Crawford is played by Jessica Lange; Davis by Susan Sarandon.[103][104] Filmography[edit] Main article: Joan Crawford
Joan Crawford
filmography Radio appearances[edit]

Date Program Episode/source

July 27, 1936 Lux Radio Theatre Chained

May 10, 1937 Lux Radio Theatre Mary of Scotland

June 6, 1938 Lux Radio Theatre A Doll's House

January 15, 1951 Hollywood
Hollywood
Star Playhouse Statement in Full

October 6, 1951 Stars over Hollywood I Knew This Woman[105]

March 1, 1952 Stars over Hollywood When the Police Arrive[106]

See also[edit]

List of actors with Academy Award
Academy Award
nominations

Autobiographies[edit]

— (1962). A Portrait of Joan: The Autobiography of Joan Crawford. Doubleday. ISBN 978-1-258-17238-1.  — (1971). My Way of Life. Simon & Schuster. ISBN 978-0-671-78568-0. 

Notes[edit]

^ Crawford's year of birth is uncertain as various sources claim 1904, 1905, 1906 and 1908.[1] The 1910 census gave her age in April 1910 as five years old.[2] Crawford herself claimed 1908 (the date on her tombstone),[3] but most modern biographers cite 1904 as the most likely year.[4][5][6][7][8][9][10][11][12] Crawford's daughter Christina, in the biography Mommie Dearest
Mommie Dearest
(1978), states "1904" twice:

"Publicly her birth date was reported as March 23, 1908, but Grandmother told me that she was actually born in 1904."[13]:20

"My mother was born Lucille LeSueur in San Antonio, Texas, in 1904, although when she came to Hollywood
Hollywood
she lied about her age and changed the year to 1908."[13]:66

References[edit]

^ Time Magazine (June 23, 1947). LIFE. Time-Life Inc. p. 45. ISSN 0024-3019. (Originally appeared in Life, June 23, 1947) The year of Miss Crawford's birth has been variously identified as 1904, 1906, 1908 and 1909, the last being her own favorite..  ^ 1910 United States Federal Census Lrsesil Casson Birth:Circa 1905. Myheritage.com (1910 U.S. Federal Census Records) ^ Scott Wilson (2016). Resting Places: The Burial Sites of More Than 14,000 Famous Persons, 3d ed. McFarland. p. 165. ISBN 978-1-4766-2599-7. Crawford, Joan (Lucille LeSueur, March 23, 1904–May 10, 1977) San Antonio
San Antonio
born film star.... Her ashes were placed in the vault beside the coffin of her husband, with the crypt listing her birth year as 1908.  ^ Lawrence J. Quirk; William Schoell (2002). Joan Crawford: The Essential Biography. University Press of Kentucky. p. 1. ISBN 978-0-8131-2254-0. On March 23, 1904, in San Antonio, Texas, Anna Bell Johnson LeSueur gave birth to a little girl, whom she and her husband, Thomas, named Lucille Fay. Lucille was the couple's third child; another daughter, Daisy, had died in infancy, and Lucille's brother, Hal, had been born the previous year. (Many years later, when little Lucille was the famous woman known to the world as Joan Crawford, the year of her birth would mysteriously change to 1906 or 1908.)  ^ Thomas S. Hischak (2008). The Oxford Companion to the American Musical:Theatre, Film, and Television: Theatre, Film, and Television. Oxford University Press. p. 174. ISBN 978-0-19-533533-0. Crawford, Joan [born Lucille Fay LeSueur] (1904-1977)  ^ David Bret (2009). Joan Crawford: Hollywood
Hollywood
Martyr. Da Capo Press. p. 8. ISBN 978-0-7867-3236-4. She was born Lucille Fay LeSueur, most likely on 23 March 1904 (though she always maintained it was 1908, when birth certificates became state mandatroy...)  ^ Mark Knowles (2009). The Wicked Waltz and Other Scandalous Dances: Outrage at Couple Dancing in the 19th and Early 20th Centuries. McFarland. p. 233. ISBN 978-0-7864-3708-5. Joan Crawford
Joan Crawford
was born Lucille Fay LeSueur in San Antonio, Texas
Texas
on March 23, 1904. (After she was famous, the date of her birth mysteriously changed to 1906 or 1908)  ^ Liz Sonneborn (2002). A to Z of American Women in the Performing Arts. Infobase Publishing. p. 43. ISBN 978-1-4381-0790-5. Joan Crawford
Joan Crawford
was born Lucille Fay LeSueur in San Antonio, Texas, on March 23, 1904.)  ^ Peter Cowie (2009). Joan Crawford: The Enduring Star. University of Michigan. ISBN 978-0-8478-3066-4. On March 23, 1908, by her own reckoning (although the real date may have been 1905, or even 1904), Lucille Fay LeSueur was born ...  ^ Jennifer Uglow (1991). Macmillan Dictionary of Women's Biography. Palgrave Macmillan UK. p. 140. ISBN 978-1-349-12704-7. Crawford, Joan [stage name of Lucille Fay Le Suent] (1904–77).....  ^ Lynda G. Adamson (1999). Notable Women in American History: A Guide to Recommended Biographies and Autobiographies. Greenwood Press. ISBN 978-0-313-29584-3. CRAWFORD, JOAN (1904-1977) Actor San Antonio, Texas
Texas
Joan Crawford
Joan Crawford
was an award-winning actor....  ^ Richard Alleman (2013). New York: The Ultimate Insider Tour of Movie New York. Random House. p. 476. ISBN 978-0-8041-3778-2. Joan was born in 1904, and according to one Hollywood
Hollywood
contemporary who knew Joan when, it was really closer to 1901..  ^ a b Christina Crawford (1979). Mommie Dearest. Berkley. ISBN 978-0-425-04444-5.  ^ Miller, Julie. "Fact-Checking Feud: Joan Crawford
Joan Crawford
and Bette Davis's 1963 Oscar Showdown". HWD. Retrieved 2017-09-22.  ^ a b Considine, pg. 396 ^ Donald Spoto (3 February 2011). Possessed: The Life of Joan Crawford. Random House. p. 286. ISBN 978-1-4070-8811-2.  ^ Elizabeth Day. "I'll never forgive Mommie: Joan Crawford's daughter gives first interview in 10 years". The Guardian. Retrieved 2017-01-29.  ^ a b David Bret (2009). Joan Crawford: Hollywood
Hollywood
Martyr. Da Capo Press, Incorporated. p. 1. ISBN 978-0-7867-3236-4.  ^ a b Lawrence J. Quirk; William Schoell (2013). Joan Crawford: The Essential Biography. University Press of Kentucky. p. 1. ISBN 0-8131-4411-6.  ^ a b Spoto, Donald (2010). Possessed – the Life of Joan Crawford. Harper Collins. pp. 6–14. ISBN 978-0-06-185600-6.  ^ Newquist, pg. 25 ^ Caitlin Gallagher. "Joan Crawford's Story About Having Sex With Her Stepfather On 'Feud' Raises Serious Concerns". The Bustle. Retrieved 2017-04-21.  ^ a b Denby, David, "Escape Artist, The Case for Joan Crawford", The New Yorker, January 3, 2011. ^ a b Mark Knowles (2009). The Wicked Waltz and Other Scandalous Dances: Outrage at Couple Dancing in the 19th and Early 20th Centuries. McFarland. p. 233. ISBN 978-0-7864-5360-3.  ^ a b Lawrence J. Quirk; William Schoell (2013). Joan Crawford: The Essential Biography. University Press of Kentucky. p. 3. ISBN 0-8131-4411-6.  ^ Thomas, pgs. 23–24 ^ Lawrence O. Christensen; William E. Foley; Gary Kremer (1999). Dictionary of Missouri Biography. University of Missouri Press. p. 216. ISBN 978-0-8262-6016-1.  ^ Time Inc (June 23, 1947). LIFE. p. 45. ISSN 0024-3019.  ^ Thomas, pg. 30 ^ a b Considine, pg. 12 ^ Granlund, pg. 147 ^ Thomas, pg. 106 ^ Granlund, pg. 135 ^ Donald Spoto (3 February 2011). Possessed: The Life of Joan Crawford. Random House. p. 22. ISBN 978-1-4070-8811-2.  ^ Crawford, quoted in Newquist, pg. 31 ^ Maas, quoted in LaSalle, pg. 123 ^ Thompson, pg. 47 ^ Paul Donnelley (2003). Fade to Black: A Book of Movie Obituaries. Omnibus. p. 632. ISBN 978-0-7119-9512-3.  ^ Crawford, quoted in LaSalle, pg. 120 ^ Crawford, quoted in Skal, pg. 73 ^ Jennifer M. Bean; Diane Negra (21 November 2002). A Feminist Reader in Early Cinema. Duke University Press. pp. 235–236. ISBN 0-8223-2999-9.  ^ Fitzgerald, quoted in Thomas, pg. vii ^ " Joan Crawford
Joan Crawford
Weds in the East". Jefferson City MO Daily Capital News. June 4, 1929.  ^ Thomas, pg. 80 ^ Thomas, pg. 63 ^ Crawford, quoted in Thomas, pg. 65 ^ Háy, Peter (1991), MGM: When the Lion Roars, Atlanta: Turner Publishing, Inc., p. 72, ISBN 1-878685-04-X  ^ Leese, pg. 18 ^ Quirk, Lawrence J.; Schoell, William (2013). Joan Crawford, The Essential Biography. University Press of Kentucky. p. 54. ISBN 0-8131-4411-6.  ^ Dickstein, Martin (September 8, 1931). "'This (So Called) Modern Age' at the Capitol, "The Screen"". Brooklyn (New York) Daily Eagle. p. 22, columns 1–2.  ^ Adrian Robbe (June 2008). Metamorphosis of Hollywood
Hollywood
Filmmaking. Lulu, Inc. p. 45. ISBN 978-1-4357-3290-2.  ^ Mary Ellen Snodgrass (17 March 2015). World Clothing and Fashion: An Encyclopedia of History, Culture, and Social Influence. Routledge. pp. 387–388. ISBN 978-1-317-45167-9.  ^ Gary Marmorstein (16 July 2013). A Ship Without A Sail: The Life of Lorenz Hart. New York: Simon and Schuster. p. 218. ISBN 978-1-4165-9426-0.  ^ "Time Magazine". March 8, 1933. Retrieved February 10, 2009.  ^ Considine, pgs. 91–92 ^ Thomas, pg. 94 ^ Thomas, pg. 114 ^ Considine, pgs. 97–98 ^ Thomas, pg. 241 ^ a b Thomas, pg. 113 ^ Thomas, pg. 115 ^ " Joan Crawford
Joan Crawford
Weds Actor Phillip Terry". Lubbock (TX) Morning Avalanche. UP. July 22, 1942. p. 11.  ^ Quirk, Lawrence J. (2002). Joan Crawford: the essential biography. Lexington, KY: University of Kentucky Press. p. 124. ISBN 0-8131-2254-6.  ^ Curtiz, quoted in Thomas, pg. 136 ^ Miller, Julie (September 26, 2012). "The Academy Award
Academy Award
That Joan Crawford Accepted in Bed Sells; Can You Guess for How Much?". Vanity Fair. Retrieved December 23, 2014.  ^ " Joan Crawford
Joan Crawford
Is Wed in Las Vegas to Businessman". Moberly (MO) Monitor-Index and Democrat. Associated Press. May 10, 1955. p. 8.  ^ Thomas, pg. 190 ^ a b " Joan Crawford
Joan Crawford
Dies at Home; Joan Crawford, Screen Star, Dies in Manhattan
Manhattan
Home". New York Times. May 11, 1977. Retrieved 2007-08-21.  ^ Considine, pg. 286 ^ Quirk, Lawrence; Schoell (2002). Joan Crawford: the essential biography. Twenty-First Century Books. p. 312. ISBN 0-8131-2254-6.  ^ Hay, p. 22. ^ "I'm Broke, Says Joan Crawford". Jefferson City (MO) Post-Tribune. Associated Press. June 1, 1959. p. 1.  ^ Considine, ibid. ^ Thomas, pg. 225 ^ Considine, pg. 363 ^ Eu Cinemando (23 April 2017). "The References: "Feud" Episode 7 + "Hush... Hush... Sweet Charlotte" (Viewers Request)" – via YouTube.  ^ Thomas, pg. 231 ^ Windeler, Robert (1968-10-23). " Joan Crawford
Joan Crawford
Takes Daughter's Soap Opera Role". nytimes.com. Retrieved 2017-01-29.  ^ Thomas, pgs. 238–39 ^ " Joan Crawford
Joan Crawford
In "The Virginian" Part 1 of 8". YouTube. Retrieved October 6, 2012.  ^ " Joan Crawford
Joan Crawford
on The Sixth Sense". YouTube. Retrieved October 6, 2012.  ^ Shaun Considine (25 January 2017). Bette & Joan: The Divine Feud. Graymalkin Media. p. 347. ISBN 978-1-63168-107-3.  ^ Cowie, Peter. Joan Crawford: The Enduring Star (Rizzoli Universe Promotional Books, March 8, 2011), pp. 204–05 ^ Carl Johnnes. Joan Crawford: The Last Years. Dell Publishing. ISBN 0-440-11536-1.  ^ " Joan Crawford
Joan Crawford
quote: The Democratic party is one that I've always observed ..." Azquotes.com. Retrieved 2017-01-29.  ^ Thomas, pg. 266 ^ "Joan Crawford's Last Will and Testament".  ^ "Daughter Dearest", March 2008, Vanity Fair, pg. 2 ^ Wilson, Scott. Resting Places: The Burial Sites of More Than 14,000 Famous Persons, 3d ed.: 2 (Kindle Locations 10300-10301). McFarland & Company, Inc., Publishers. Kindle Edition. ^ Time Inc (March 1, 1937). LIFE. p. 49. ISSN 0024-3019.  ^ " Hollywood
Hollywood
Walk of Fame – Joan Crawford". walkoffame.com. Hollywood
Hollywood
Chamber of Commerce. Retrieved April 17, 2017.  ^ " Playboy
Playboy
Ranks 100 Sexiest Stars of the Century in January Issue". Playboy
Playboy
Enterprises. Retrieved March 11, 2012.  ^ Susan Ware (2004). Notable American Women: A Biographical Dictionary Completing the Twentieth Century. Harvard University Press. p. 142. ISBN 978-0-674-01488-6.  ^ Considine, pg. 412 ^ Hayes, Helen; Hatch, Katherine (1990). My Life in Three Acts. Harcourt, Brace Jovanovich. ISBN 0-15-163695-8.  ^ a b c Redbook v. 165, Redbook Publishing, Inc. p. 25. OCLC 1763595. ^ Strouse, Jean (1978). "Mommie Monster" Newsweek: Volume 92, Issues 10–18. p. 134. ^ Allyson, June; Leighton, Frances Spatz (1983). June Allyson. New York: Berkley. pp. 77–84. ISBN 0-425-06251-1.  ^ Sherman, Vincent (1996). Studio Affairs: My Life As a Film Director. University Press of Kentucky. pp. 209–213. ISBN 0813119758.  ^ "Mysteries and Scandals: Joan Crawford". E! Entertainment. 20 minutes in.  ^ Roger Ebert (January 1, 1981). "Mommie Dearest", Chicago Sun-Times; accessed March 12, 2017. ^ Rorke, Robert. "Why Bette Davis
Bette Davis
and Joan Crawford's Feud Lasted a Lifetime". The New York Post. Retrieved February 26, 2017.  ^ Wagmeister, Elizabeth. "Feud: Ryan Murphy Lands Third FX Anthology With Susan Sarandon, Jessica Lange". Variety. Retrieved May 5, 2016.  ^ Birnbaum, Debra (January 12, 2017). "FX Sets Premiere Dates for Feud, The Americans, Archer". Variety. Retrieved January 12, 2017.  ^ "Radio's Golden Age". Nostalgia Digest. 41 (2): 40–41. Spring 2015.  ^ "Those Were The Days". Nostalgia Digest. 40 (1): 32–39. Winter 2014. 

Bibliography[edit] Sources[edit]

Considine, Shaun (1989). Bette and Joan: The Divine Feud. New York, E. P. Dutton, a division of Penguin Books. ISBN 0-525-24770-X. Bret, David (2006). Joan Crawford: Hollywood
Hollywood
Martyr. Robson. ISBN 1-86105-931-0. Granlund, Nils T. (1957). Blondes, Brunettes, and Bullets. New York, David McKay Company. Hoefling, Larry J. (2008). Nils Thor Granlund: The Swedish Showman Who Invented American Entertainment. Inlandia Press. ISBN 0-9822313-0-X. LaSalle, Mick (2000). Complicated Women: Sex and Power in Pre-Code Hollywood. New York, Thomas Dunne Books, an imprint of St. Martin's Press. ISBN 0-312-25207-2. Dunaway, Faye (1998). Looking For Gatsby. Pocket. ISBN 0-671-67526-5. Leese, Elizabeth (1991). Costume Design in the Movies. Dover Books. ISBN 0-486-26548-X. Newquist, Roy, with introduction by John Springer (1980). Conversations with Joan Crawford. New Jersey, Citadel Press, a division of Lyle Stuart, Inc. ISBN 0-8065-0720-9. Quirk, Lawrence J. and William Schoell. (2002). Joan Crawford: the essential biography. University Press of Kentucky. ISBN 0813122546. Skal, David J. (1993). The Monster Show: A Cultural History of Horror. Penguin Books. ISBN 0-14-024002-0. Thomas, Bob (1978). Joan Crawford: A Biography. New York, Bantam Books. ISBN 0-553-12942-2.

Further reading[edit]

Carr, Larry (1970). Four Fabulous Faces: The Evolution and Metamorphosis of Swanson, Garbo, Crawford and Dietrich. New York: Doubleday. ISBN 0-87000-108-6.  Nowak, Donna Marie (2010). Just Joan: A Joan Crawford
Joan Crawford
Appreciation. Albany: BearManor Media. ISBN 978-1-59393-542-9. 

External links[edit]

Find more aboutJoan Crawfordat's sister projects

Media from Wikimedia Commons Quotations from Wikiquote Data from Wikidata

Joan Crawford
Joan Crawford
at the Internet Broadway Database
Internet Broadway Database
Joan Crawford
Joan Crawford
at the TCM Movie Database Joan Crawford
Joan Crawford
at AllMovie Excerpt of March 2008 biography, VanityFair.com Joan Crawford
Joan Crawford
at Curlie (based on DMOZ) Joan Crawford
Joan Crawford
profile, Virtual-History.com Joan Crawford
Joan Crawford
awards at Brandeis University Joan Crawford
Joan Crawford
papers, 1932–1976, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts

v t e

Academy Award
Academy Award
for Best Actress

1928–1950

Janet Gaynor
Janet Gaynor
(1928) Mary Pickford
Mary Pickford
(1929) Norma Shearer
Norma Shearer
(1930) Marie Dressler
Marie Dressler
(1931) Helen Hayes
Helen Hayes
(1932) Katharine Hepburn
Katharine Hepburn
(1933) Claudette Colbert
Claudette Colbert
(1934) Bette Davis
Bette Davis
(1935) Luise Rainer
Luise Rainer
(1936) Luise Rainer
Luise Rainer
(1937) Bette Davis
Bette Davis
(1938) Vivien Leigh
Vivien Leigh
(1939) Ginger Rogers
Ginger Rogers
(1940) Joan Fontaine
Joan Fontaine
(1941) Greer Garson
Greer Garson
(1942) Jennifer Jones
Jennifer Jones
(1943) Ingrid Bergman
Ingrid Bergman
(1944) Joan Crawford
Joan Crawford
(1945) Olivia de Havilland
Olivia de Havilland
(1946) Loretta Young
Loretta Young
(1947) Jane Wyman
Jane Wyman
(1948) Olivia de Havilland
Olivia de Havilland
(1949) Judy Holliday
Judy Holliday
(1950)

1951–1975

Vivien Leigh
Vivien Leigh
(1951) Shirley Booth
Shirley Booth
(1952) Audrey Hepburn
Audrey Hepburn
(1953) Grace Kelly
Grace Kelly
(1954) Anna Magnani
Anna Magnani
(1955) Ingrid Bergman
Ingrid Bergman
(1956) Joanne Woodward
Joanne Woodward
(1957) Susan Hayward
Susan Hayward
(1958) Simone Signoret
Simone Signoret
(1959) Elizabeth Taylor
Elizabeth Taylor
(1960) Sophia Loren
Sophia Loren
(1961) Anne Bancroft
Anne Bancroft
(1962) Patricia Neal
Patricia Neal
(1963) Julie Andrews
Julie Andrews
(1964) Julie Christie
Julie Christie
(1965) Elizabeth Taylor
Elizabeth Taylor
(1966) Katharine Hepburn
Katharine Hepburn
(1967) Katharine Hepburn
Katharine Hepburn
/ Barbra Streisand
Barbra Streisand
(1968) Maggie Smith
Maggie Smith
(1969) Glenda Jackson
Glenda Jackson
(1970) Jane Fonda
Jane Fonda
(1971) Liza Minnelli
Liza Minnelli
(1972) Glenda Jackson
Glenda Jackson
(1973) Ellen Burstyn
Ellen Burstyn
(1974) Louise Fletcher
Louise Fletcher
(1975)

1976–2000

Faye Dunaway
Faye Dunaway
(1976) Diane Keaton
Diane Keaton
(1977) Jane Fonda
Jane Fonda
(1978) Sally Field
Sally Field
(1979) Sissy Spacek
Sissy Spacek
(1980) Katharine Hepburn
Katharine Hepburn
(1981) Meryl Streep
Meryl Streep
(1982) Shirley MacLaine
Shirley MacLaine
(1983) Sally Field
Sally Field
(1984) Geraldine Page
Geraldine Page
(1985) Marlee Matlin
Marlee Matlin
(1986) Cher
Cher
(1987) Jodie Foster
Jodie Foster
(1988) Jessica Tandy
Jessica Tandy
(1989) Kathy Bates
Kathy Bates
(1990) Jodie Foster
Jodie Foster
(1991) Emma Thompson
Emma Thompson
(1992) Holly Hunter
Holly Hunter
(1993) Jessica Lange
Jessica Lange
(1994) Susan Sarandon
Susan Sarandon
(1995) Frances McDormand
Frances McDormand
(1996) Helen Hunt
Helen Hunt
(1997) Gwyneth Paltrow
Gwyneth Paltrow
(1998) Hilary Swank
Hilary Swank
(1999) Julia Roberts
Julia Roberts
(2000)

2001–present

Halle Berry
Halle Berry
(2001) Nicole Kidman
Nicole Kidman
(2002) Charlize Theron
Charlize Theron
(2003) Hilary Swank
Hilary Swank
(2004) Reese Witherspoon
Reese Witherspoon
(2005) Helen Mirren
Helen Mirren
(2006) Marion Cotillard
Marion Cotillard
(2007) Kate Winslet
Kate Winslet
(2008) Sandra Bullock
Sandra Bullock
(2009) Natalie Portman
Natalie Portman
(2010) Meryl Streep
Meryl Streep
(2011) Jennifer Lawrence
Jennifer Lawrence
(2012) Cate Blanchett
Cate Blanchett
(2013) Julianne Moore
Julianne Moore
(2014) Brie Larson
Brie Larson
(2015) Emma Stone
Emma Stone
(2016) Frances McDormand
Frances McDormand
(2017)

v t e

Cecil B. DeMille
Cecil B. DeMille
Award

Cecil B. DeMille
Cecil B. DeMille
(1952) Walt Disney
Walt Disney
(1953) Darryl F. Zanuck
Darryl F. Zanuck
(1954) Jean Hersholt
Jean Hersholt
(1955) Jack L. Warner
Jack L. Warner
(1956) Mervyn LeRoy
Mervyn LeRoy
(1957) Buddy Adler (1958) Maurice Chevalier
Maurice Chevalier
(1959) Bing Crosby
Bing Crosby
(1960) Fred Astaire
Fred Astaire
(1961) Judy Garland
Judy Garland
(1962) Bob Hope
Bob Hope
(1963) Joseph E. Levine
Joseph E. Levine
(1964) James Stewart
James Stewart
(1965) John Wayne
John Wayne
(1966) Charlton Heston
Charlton Heston
(1967) Kirk Douglas
Kirk Douglas
(1968) Gregory Peck
Gregory Peck
(1969) Joan Crawford
Joan Crawford
(1970) Frank Sinatra
Frank Sinatra
(1971) Alfred Hitchcock
Alfred Hitchcock
(1972) Samuel Goldwyn
Samuel Goldwyn
(1973) Bette Davis
Bette Davis
(1974) Hal B. Wallis
Hal B. Wallis
(1975) Walter Mirisch (1977) Red Skelton
Red Skelton
(1978) Lucille Ball
Lucille Ball
(1979) Henry Fonda
Henry Fonda
(1980) Gene Kelly
Gene Kelly
(1981) Sidney Poitier
Sidney Poitier
(1982) Laurence Olivier
Laurence Olivier
(1983) Paul Newman
Paul Newman
(1984) Elizabeth Taylor
Elizabeth Taylor
(1985) Barbara Stanwyck
Barbara Stanwyck
(1986) Anthony Quinn
Anthony Quinn
(1987) Clint Eastwood
Clint Eastwood
(1988) Doris Day
Doris Day
(1989) Audrey Hepburn
Audrey Hepburn
(1990) Jack Lemmon
Jack Lemmon
(1991) Robert Mitchum
Robert Mitchum
(1992) Lauren Bacall
Lauren Bacall
(1993) Robert Redford
Robert Redford
(1994) Sophia Loren
Sophia Loren
(1995) Sean Connery
Sean Connery
(1996) Dustin Hoffman
Dustin Hoffman
(1997) Shirley MacLaine
Shirley MacLaine
(1998) Jack Nicholson
Jack Nicholson
(1999) Barbra Streisand
Barbra Streisand
(2000) Al Pacino
Al Pacino
(2001) Harrison Ford
Harrison Ford
(2002) Gene Hackman
Gene Hackman
(2003) Michael Douglas
Michael Douglas
(2004) Robin Williams
Robin Williams
(2005) Anthony Hopkins
Anthony Hopkins
(2006) Warren Beatty
Warren Beatty
(2007) Steven Spielberg
Steven Spielberg
(2009) Martin Scorsese
Martin Scorsese
(2010) Robert De Niro
Robert De Niro
(2011) Morgan Freeman
Morgan Freeman
(2012) Jodie Foster
Jodie Foster
(2013) Woody Allen
Woody Allen
(2014) George Clooney
George Clooney
(2015) Denzel Washington
Denzel Washington
(2016) Meryl Streep
Meryl Streep
(2017) Oprah Winfrey
Oprah Winfrey
(2018)

v t e

National Board of Review Award for Best Actress

Joan Crawford
Joan Crawford
(1945) Anna Magnani
Anna Magnani
(1946) Celia Johnson
Celia Johnson
(1947) Olivia de Havilland
Olivia de Havilland
(1948) Gloria Swanson
Gloria Swanson
(1950) Jan Sterling
Jan Sterling
(1951) Shirley Booth
Shirley Booth
(1952) Jean Simmons
Jean Simmons
(1953) Grace Kelly
Grace Kelly
(1954) Anna Magnani
Anna Magnani
(1955) Dorothy McGuire
Dorothy McGuire
(1956) Joanne Woodward
Joanne Woodward
(1957) Ingrid Bergman
Ingrid Bergman
(1958) Simone Signoret
Simone Signoret
(1959) Greer Garson
Greer Garson
(1960) Geraldine Page
Geraldine Page
(1961) Anne Bancroft
Anne Bancroft
(1962) Patricia Neal
Patricia Neal
(1963) Kim Stanley
Kim Stanley
(1964) Julie Christie
Julie Christie
(1965) Elizabeth Taylor
Elizabeth Taylor
(1966) Edith Evans
Edith Evans
(1967) Liv Ullmann
Liv Ullmann
(1968) Geraldine Page
Geraldine Page
(1969) Glenda Jackson
Glenda Jackson
(1970) Irene Papas
Irene Papas
(1971) Cicely Tyson
Cicely Tyson
(1972) Liv Ullmann
Liv Ullmann
(1973) Gena Rowlands
Gena Rowlands
(1974) Isabelle Adjani
Isabelle Adjani
(1975) Liv Ullmann
Liv Ullmann
(1976) Anne Bancroft
Anne Bancroft
(1977) Ingrid Bergman
Ingrid Bergman
(1978) Sally Field
Sally Field
(1979) Sissy Spacek
Sissy Spacek
(1980) Glenda Jackson
Glenda Jackson
(1981) Meryl Streep
Meryl Streep
(1982) Shirley MacLaine
Shirley MacLaine
(1983) Peggy Ashcroft
Peggy Ashcroft
(1984) Whoopi Goldberg
Whoopi Goldberg
(1985) Kathleen Turner
Kathleen Turner
(1986) Lillian Gish
Lillian Gish
/ Holly Hunter
Holly Hunter
(1987) Jodie Foster
Jodie Foster
(1988) Michelle Pfeiffer
Michelle Pfeiffer
(1989) Mia Farrow
Mia Farrow
(1990) Geena Davis
Geena Davis
/ Susan Sarandon
Susan Sarandon
(1991) Emma Thompson
Emma Thompson
(1992) Holly Hunter
Holly Hunter
(1993) Miranda Richardson
Miranda Richardson
(1994) Emma Thompson
Emma Thompson
(1995) Frances McDormand
Frances McDormand
(1996) Helena Bonham Carter
Helena Bonham Carter
(1997) Fernanda Montenegro
Fernanda Montenegro
(1998) Janet McTeer
Janet McTeer
(1999) Julia Roberts
Julia Roberts
(2000) Halle Berry
Halle Berry
(2001) Julianne Moore
Julianne Moore
(2002) Diane Keaton
Diane Keaton
(2003) Annette Bening
Annette Bening
(2004) Felicity Huffman
Felicity Huffman
(2005) Helen Mirren
Helen Mirren
(2006) Julie Christie
Julie Christie
(2007) Anne Hathaway
Anne Hathaway
(2008) Carey Mulligan
Carey Mulligan
(2009) Lesley Manville
Lesley Manville
(2010) Tilda Swinton
Tilda Swinton
(2011) Jessica Chastain
Jessica Chastain
(2012) Emma Thompson
Emma Thompson
(2013) Julianne Moore
Julianne Moore
(2014) Brie Larson
Brie Larson
(2015) Amy Adams
Amy Adams
(2016) Meryl Streep
Meryl Streep
(2017)

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WorldCat Identities VIAF: 59052380 LCCN: n80008750 ISNI: 0000 0000 8385 8029 GND: 118638556 SELIBR: 182923 SUDOC: 027288277 BNF: cb11936318t (data) BIBSYS: 90853185 ULAN: 500330926 MusicBrainz: 32d3f10f-d30c-4133-9af4-9c3d62e343f5 NLA: 35908577 NDL: 00620538 BNE: XX1097

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