#jane hall

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A CHILD NEEDS A MOTHER

Wentworth // 8.20 // Legacy //

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Woman Made: Great Women Designers

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Screenshots from the Wentworth extras dvd 

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Cast photo for Season 8.

VERY interesting.

Does Ferguson’s look indicate she won’t go back inside Wentworth?

Allie as I mentioned in the other post is looking very Frankyish. New Top Dog?

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I will post my all thoughts and feelings of the final ep later. I really want to ensure I haven’t missed the smallest detail for ‘analysing’ and ‘theorising’

Also WW S8 is now available for all the US bebe’s! Have fun and Binge all you want! We aussies don’t have it on Netflix due to Foxtel’s copyright claims, so please soak it al up for us!

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vera bennett and ann reynolds | 8x02

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Jane Hall and THESE GLAMOUR GIRLS (’39) by Raquel Stecher

Hollywood screenwriters of the 1930s were predominately male but there were quite a few women behind the scenes writing original stories, adapting screenplays and contributing dialogue. Women screenwriters of the era included Adela Rogers St. Johns, Anita Loos, Frances Marion, Lois Weber, June Mathis and many others. About these writers, film historian Cari Beauchamp said, “women had always found a sanctuary in writing; it was accomplished in private and provided a creative vent when little was expected or accepted of a woman…” Female writers brought a different sensibility to scripts and a fresh perspective to both male and female characters. One writer in particular, whose biggest contribution to Hollywood, THESE GLAMOUR GIRLS (‘39), was inspired by her own observations and criticisms on society, never became a household name but is one who deserves a spotlight nonetheless.

Jane Hall was born in 1915 in Phoenix, Arizona to Daysie Sutton Hall and Dick Wick Hall. Her father was a humorist, one of the founders of Salome, Arizona and the editor of the Salome Sun. He even signed a contract with Universal Studios as a screenwriter, however he died in 1926 before he could start his Hollywood career. Hall’s father was a major influence on her writing career. At a very young age, she began to write poems, short stories, novels, articles and essays and even considered journalism as a career. According to Hall’s daughter Robin Cutler, Hall’s first published piece was for the Los Angeles Times in 1925 when she was only 10 years old. An auspicious start to a lengthy writing career, Hall took over where her father left off.

Tragedy struck again when Hall’s mother Daysie passed away leaving Hall and her brother orphans. Much like Dick, Daysie was a strong role model in Hall’s life. The siblings moved to Manhattan to live with their aunt and uncle and were thrust into the upper echelon of New York City society. As an outsider—a girl from a small mining town during the Great Depression, suddenly thrust into the glamorous world of Manhattan’s social life— according to Cutler, “[Jane] used what she learned to portray and parody this privileged world in her fiction and screenplays.” By the late 1930s, Hall had become a socialite, hob-knobbing with the Hollywood elite and writing stories for magazines such as Good Housekeeping, The Saturday Evening Post and Cosmopolitan.

It was for the latter that she published her story These Glamour Girls. It wasn’t long before producer Sam Zimablist and MGM snapped up the rights to the story. Louis B. Mayer hired Hall as a staff writer, and with the help of fellow writer Marion Parsonnet, she adapted her story to the screen.

Released in 1939, THESE GLAMOUR GIRLS was a showcase for MGM’s rising stars, including Lew Ayres, Lana Turner, Tom Brown, Richard Carlson, Jane Bryan, Marsha Hunt, Anita Louise and Ann Rutherford. On the surface, the film is a collegiate comedy with a slightly dark edge. Dig deeper and you'll find a cutting social satire that rips apart its subject to both examine and judge. This is exactly what a woman writer could bring to the table: a story that could appeal to female audience members while delivering a powerful social message.

THESE GLAMOUR GIRLS is a critique on the politics of high society. It explores the monotony of upper-class life as well as the struggle of the lower class. Climbing the social ladder, a key element to the American dream, is what drives these characters’ actions. Jane Hall’s story shines a spotlight on the disastrous effects of strict sexual mores and gendered double standards. With Marsha Hunt’s character Betty in particular, we see social pressure and bullying can have tragic effects. It poses the question: Are wealth and social rank really the keys to happiness?

According to Hall’s daughter, the period between 1935 and 1942 was when Hall was at her most productive. She went back to the well of her experiences as a glamour girl in Manhattan for many of her stories. Hall even graced the cover of Cosmopolitan magazine in October 1939, with a glamorous portrait illustrated by Bradshaw Crandell. In addition to THESE GLAMOUR GIRLS, Hall adapted HOLD THAT KISS (’38) and NANCY GOES TO RIO (’50) for MGM and IT’S A DATE (’40) and PATRICK THE GREAT (’45) for Universal. Hall passed away in 1987 and her daughter keeps her mother’s legacy alive with a book written about her life, Such Mad Fun and an active blog with reflections on her mother’s career and archival findings.

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“Le etichette sono per i vestiti, non per le persone.”

— Jane Hall