Quotes from Eve Golden

Through the early 1930s, Barbara Stanwyck established her reputation in a field overflowing with other young Broadway starlets: Bette Davis, Miriam Hopkins, Katharine Hepburn, Claudette Colbert, Joan Blondell. Barbara was lower-keyed and less mannered than Davis and Hepburn; less glamorous than Colbert. She was "real," and she also proved to be the personification of no-nonsense professionalism, making her popular with directors and coworkers alike.

Groucho Marx continued to alternately call Margaret Dumont "a great lady" and to denigrate her in interviews. But he seemed, at the end, to realize how important she'd been to his career. When accepting his 1974 Lifetime Achievement Oscar, the ailing Groucho told the audience, "I only wish Harpo and Chico could have been here—and Margaret Dumont.

I bumped into every kind of disappointment, and was frustrated at every turn. Roles promised me were given to other players, pictures that offered me a chance were shelved, no one was particularly interested in me, and I had not developed a strength of personality to make anyone believe I had special talents. I wanted so desperately to succeed that I drove myself relentlessly, taking no time off for pleasures, or for friendships." - Jean Arthur

It's a testament to [Joan Blondell]'s talent that she is so fondly remembered even though so few of her films were even adequate. Her Warners cohorts were given classics while Joan remained the reliable backup in unremarkable films badly needing her gifts.

In 1990 [Claudette Colbert] wished Vanity Fair readers "a fabulous new decade. I'm praying to make it to 2000. After all, I'll only be 97." She didn't quite make it.

During her lifetime, Marilyn Monroe was underrated as a dramatic actress, and this rightly rankled her—but she was also overrated as a comedienne.

Barbara Stanwyck, in particular, was peerless in everything from high and low comedy to drama to musicals to film noir. She never took a false step.

Joan Blondell] biographer, Matthew Kennedy, quotes her as admitting, "If I had taken myself more seriously . . . if I had fought for better roles as, say, Bette Davis did . . . I think I might have been a damned good dramatic actress. But it was just my way; I don't think I ever had the security of feeling confident in myself, really, ever. I used to think, 'I'm just lucky to be here!

It was Joan Blondell's good fortune—and good sense—to develop a screen character that aged well. When middle age and increasing weight took their toll, she was able to segue into playing wry, wisecracking old dames. Many of her contemporaries fell by the wayside, but Joan stayed busy. She didn't maintain the high-profile popularity she'd had in the early 1930s, but she kept working, to critical acclaim.

Calling Billie Burke a "character actress" is like calling the Grand Canyon "quite a slice." Though she's best known for dithering supporting roles in such films as The Wizard of Oz, Topper and Dinner at Eight, Billie was a stage star, silent movie star, and a brilliant dramatic actress as well. Her comic talent was only the tip of the iceberg.

One of the greatest was the blonde, urbane Ina Claire, who seemed a Dorothy Parker story or New Yorker cartoon come to life.

Not many performers are equally at home in drama and comedy; Claudette Colbert was one of those few. It's hard to decide whether she was more brilliant in screwball comedies like It Happened One Night, The Palm Beach Story and Midnight, or tragedies like Imitation of Life and So Proudly We Hail! The most modern of actresses, she was also one of the most talented.