From a still for the 1932 film Letty Lynton, here’s Joan Crawford epitomizing 1930s glamor in front of the most glorious Art Deco revolving doorway I’ve ever seen:
I’d like to imagine that this is the gay man’s version (or at least this gay man’s version) of Saint Peter and the Pearly Gates, but that might count too much of a good thing even by Heaven’s standards, so I can be willing to settle for just the doorway.
Here’s Joan Crawford’s cameo in the 1949 Doris Day vehicle It’s a Great Feeling:
Or as I like to call it, “Joan Crawford in furs, birthing cinematic Postmodernism.”
And then there’s Queen Bee, which leaves me without many words whether it’s as a single image:
Or an image in motion:
I only know that it’s high camp Joan Crawford playing the cruel matriarch of a Georgia manor. In other words, I want to go to there.
So don’t be surprised if you feel a little overwhelmed right about now. That’s just a natural reaction to witnessing what Joan Crawford does best, which is being a singularly unstoppable force of classic Hollywood glamor, camp fabulosity, and legitimately larger than life star power. If movies had gotten too small for Sunset Boulevard‘s Norma Desmond all the way back in the 1950s, I shudder to imagine Hollywood scavenging to find space for Joan Crawford in this day and age.
And that, of course, is precisely why we love her.
Much love, as always, to Dr. Macro for the beautiful images.