We cannot verify your location
Browse Book and Journal Content on Project MUSE

Barbara Stanwyck

The Miracle Woman

Dan Callahan

Publication Year: 2012

Published by: University Press of Mississippi

Cover, Title Page, Copyright

pdf iconDownload PDF (3.4 MB)


pdf iconDownload PDF (119.1 KB)
pp. vii-viii

read more


pdf iconDownload PDF (49.4 KB)
pp. 3-4

This book is a heartfelt appreciation of Barbara Stanwyck’s work in movies. While there have been many studies and biographies on female film stars of equal stature—stars like Bette Davis, Katharine Hepburn, Joan Crawford, Marlene Dietrich...

read more

Orphan of the Storm: The Locked Door Mexicali Rose

pdf iconDownload PDF (122.1 KB)
pp. 5-16

Barbara Stanwyck had a hard childhood, that’s certain. She didn’t linger over it, and I’m not going to, either, but it’s worth mulling over some of the available information and considering what it might tell us about her. We’ll never be sure just...

read more

The Capra Miracle: Ladies of Leisure, The Miracle Woman, Forbidden, The Bitter Tea of General Yen, Meet John Doe

pdf iconDownload PDF (140.7 KB)
pp. 17-35

Judging by Joseph McBride’s surely definitive biography of the director, Frank Capra lied about a lot of things, appropriating credit whenever he could, but he could also be brutally frank about others and about himself. There’s something of Elia Kazan about him...

read more

The Rough-and-Tumble Wellman Five: Night Nurse, So Big!, The Purchase Price, The Great Man’s Lady, Lady of Burlesque

pdf iconDownload PDF (115.8 KB)
pp. 36-45

In the same years she was laying the groundwork for her career with Frank Capra, Stanwyck made several films with another director, William “Wild Bill” Wellman, an adventurous teller of tall tales so rip-snortingly vigorous and “manly” that in interviews...

read more

Pre-Code Sex: Illicit, Ten Cents a Dance, Shopworn, Ladies They Talk About, Baby Face

pdf iconDownload PDF (116.0 KB)
pp. 46-55

There’s been a lot written about movies made before the censorious Production Code cracked down on Hollywood in 1934—probably too much, so that the talkies made from 1930–34 are now endlessly packaged at New York’s Film Forum...

read more

Drama Grab Bag, 1930s: Ever in My Heart, Gambling Lady, A Lost Lady, The Secret Bride, The Woman in Red, Red Salute, A Message to Garcia, Banjo on My Knee, Internes Can’t Take Money, Always Goodbye

pdf iconDownload PDF (119.5 KB)
pp. 56-66

As she worked out her contract at Warner Bros. and then acted at 20th Century Fox, Stanwyck found herself in some bread-and-butter program pictures and a few bizarre ventures into political intrigue. Ever in My Heart (1933) is a total downer, a bold...

read more

Screwball Stanwyck: The Bride Walks Out, Breakfast for Two, The Mad Miss Manton, You Belong to Me, Christmas in Connecticut, The Bride Wore Boots

pdf iconDownload PDF (106.2 KB)
pp. 67-72

Comedy is not something that came easily to Stanwyck, but she stuck to it and eventually mastered the genre. Early on, she professed that she found light material “a vacation—I was playing, not working.” But later, being interviewed by John Kobal...

read more

Private Lives: Fay’s End, Robert Taylor (His Brother’s Wife, This Is My Affair, The Night Walker), Robert Wagner

pdf iconDownload PDF (110.8 KB)
pp. 73-80

Oscar Levant described Frank Fay’s influence over Stanwyck during their marriage as “suffocating and total.” In a drunken rage, he once threw their adopted baby, Dion, into their pool. When he knocked Stanwyck down in front of a screaming Dion...

read more

The Scratch and the Itch: Stella Dallas

pdf iconDownload PDF (137.8 KB)
pp. 81-98

Olive Higgins Prouty wrote her bestseller, Stella Dallas, after her three-year- old daughter died of encephalitis. Known today mainly through this novel and a story about another misfit that would become the Bette Davis vehicle...

read more

Stage Stanwyck: The Plough and the Stars, Golden Boy, Clash by Night

pdf iconDownload PDF (116.0 KB)
pp. 99-108

Kenneth Tynan wrote that Greta Garbo couldn’t be considered a great actress, finally, because she had never put herself to the test in major theater roles; she had never given us her Hedda Gabler, her Masha in Three Sisters, her Mrs. Alving...

read more

Sturges/Stanwyck: Remember the Night, The Lady Eve [Contains Image Plates]

pdf iconDownload PDF (24.6 MB)
pp. 109-120

As we get farther and farther away from the classic Hollywood period of the old studio system, where so many disparate talents flourished, the case of Preston Sturges as writer and director only seems more exotic and unexplained. According to Sturges...

read more

Stanwyck Soap and 1950s Drama: The Gay Sisters, Flesh and Fantasy, My Reputation, The Other Love, B. F.’s Daughter, East Side, West Side, To Please a Lady, Titanic, Executive Suite, These Wilder Years

pdf iconDownload PDF (124.5 KB)
pp. 121-133

There were times when Stanwyck cast an envious eye over the kind of material Bette Davis was making her own at Warner Bros. She very much wanted to play in Dark Victory (1939), which went to Davis, and she also lusted for...

read more

Wilder/Stanwyck: Ball of Fire, Double Indemnity

pdf iconDownload PDF (134.7 KB)
pp. 134-150

Before moving to direction, Billy Wilder, like Preston Sturges, turned out a lot of screenplays (Wilder’s were usually co-written with Charles Brackett). A prickly Austro-Hungarian refugee from Germany, Wilder’s smart-aleck voice as a writer comes...

read more

Stanwyck Noir: The Strange Love of Martha Ivers, The Two Mrs. Carrolls, Cry Wolf, The Lady Gambles, The File on Thelma Jordan, No Man of Her Own, The Man with a Cloak, Jeopardy, Witness to Murder, Crime of Passion

pdf iconDownload PDF (143.0 KB)
pp. 151-170

Double Indemnity heralded a new era, one where Stanwyck dominated many a shadowy thriller, some of them failures, some of them overlooked gems, and some like The Strange Love of Martha Ivers (1946), which is a qualified success on its own limited terms...

read more

Ordeal for Oscar: Sorry, Wrong Number

pdf iconDownload PDF (109.1 KB)
pp. 171-177

Because Stanwyck never worked at one studio for long, she never had studio backing in the annual Oscar race, and so she went home empty-handed four times, the last time for a movie version...

read more

Two for Sirk: All I Desire, There’s Always Tomorrow

pdf iconDownload PDF (110.8 KB)
pp. 178-185

There is no cinema reputation that has made a more dramatic turnaround in recent years than the work of Danish-German émigré Douglas Sirk. In his most productive period, the 1950s, his Universal soap operas and melodramas were looked down on as tearjerker money makers...

read more

Wild West Stanwyck: Annie Oakley, Union Pacific, California, The Furies, The Moonlighter, Blowing Wild, Cattle Queen of Montana, The Violent Men, Escape to Burma, The Maverick Queen, Trooper Hook, Forty Guns

pdf iconDownload PDF (143.4 KB)
pp. 186-205

When asked about the western, which was probably her favorite genre, Stanwyck sighed happily, “Oh, I love to do them. I just love to do them.” She owned ranches for most of her life and also raced horses. Wide-open spaces agreed with her...

read more

Aftermath: The Barbara Stanwyck Show, Walk on the Wild Side, Roustabout, The Big Valley, The House That Would Not Die, A Taste of Evil, The Letters, The Thorn Birds, The Colbys

pdf iconDownload PDF (135.8 KB)
pp. 206-222

When film roles started to grow sparse in the late 1950s, Stanwyck was eager to get into television with a western series. She appeared on several Zane Grey Theater presentations, but the networks wanted her to parrot Loretta Young’s successful anthology show, where Young swirled...


pdf iconDownload PDF (106.9 KB)
pp. 223-237


pdf iconDownload PDF (71.8 KB)
pp. 238-240


pdf iconDownload PDF (545.6 KB)
pp. 241-252

E-ISBN-13: 9781617031847
E-ISBN-10: 1617031844
Print-ISBN-13: 9781617031830
Print-ISBN-10: 1617031836

Publication Year: 2012