Joan Crawford had a long and storied career in Hollywood, and unfortunately for many people my age, many people only see the drag-queen-esque Faye Dunaway Mommie Dearest when they think of Joan Crawford. I have a great "no wire hangers" routine as well, but when it comes to Joan Crawford, you really must check out the source material. Crawford was a Star with a capital S, and as much as you may not be able to get past the eyebrows and the shoulder pads, Crawford is immensely watchable and it is easy to get wrapped up in her films, even the less-than-stellar ones.

Sadie McKee (1934) is the earliest film in the JCCV2, and shows a young Joan at her prime. Crawford started out as a chorus girl back in the 20's, and clawed her way up to leading lady. By the time Sadie McKee came out, she was a name, and Sadie McKee is a good example of the quintessential early (and for the most part, later) Joan Crawford film. Crawford was good at playing characters that are born poor, but soon marry into money -- usually, not for love, per se, but not just for the money, either. These hasty marriages are almost always the result of being disappointed in love, and she turns hard, all the while remaining a softie at heart. Sadie McKee is no different, and actually, quite adorable in her ill-fated quest for true love. This film is quite charming, despite its somewhat dark subject matter.

Strange Cargo is a strange film, but as it is the last pairing of Joan Crawford and Clark Gable, it is definitely worth watching, and quite enjoyable, as you get to see Crawford au natural, kind of. Crawford and Gable, or should I say Gable and Crawford (Strange Cargo was the first film Gable did after Gone with the Wind, so he finally took top-billing over Crawford in this 1940 film) have palpable chemistry in this prison break through the jungle movie. This film has an impressive ensemble cast, but the plot takes on a lot of weight with the character of Cambreau (the story takes place in the Guianas, a French penal colony at the time, and everyone is supposedly French, but only two people have accents, but this is where suspension of disbelief comes into play). Cambreau is supposed to be Jesus, I think, or something rather godly, but I didn't follow some parts when they got all churchy on me. Still, a good film of survival with a touch of spirituality, and the additional bonus of Peter Lorre as Monsieur "Pig" -- need I say more?

A Woman's Face (1941) is a remake of a Swedish film, this version directed by the great George Cukor, with Crawford playing an unfortunately scarred woman that is so desperate for love that she will do anything for it, including murder. This film is moody and dark, with Crawford playing someone other than her usually hard-edged, quick-witted, sexy dame that gets what she wants. A Woman's Face is a little bit noir, as it sets up the story around a crime and lots of flashbacks, with a touch of Citizen Kane-style testimonials, but these are set up as witness for the court. Compact, with a lot of psychology in character motives. Also, the kid that plays Lars-Erik is probably the cutest kid ever that can also keep up with Crawford. This kid might be why she adopted a couple around this time.

Flamingo Road (1949) is the dream team of Crawford and director Michael Curtiz, the same duo that made the awesome Mildred Pierce. [Aside -- if you have not seen Mildred Pierce, make it top priority to see this 1945 film that finally got Crawford an Oscar, with another five nominations including Best Picture (it lost to The Lost Weekend, can you believe that? Academy voters have a soft spots for drunks)] In Flamingo Road, Crawford plays a drifter of sorts, who ends up leaving the carnival in a small southern town called Boldon. She beguiles the deputy sheriff, Zachary Scott, also from Midlred Pierce, and that pisses off the sheriff (Sydney Greenstreet), who runs the town, county and state, The sheriff convinces his deputy to run for state senator, and then governor, so he has another politician in his pocket, and he sure cannot be a politician with a wife like Crawford's carny dancer. Anyway, he marries someone else, and then she does too, people die, she falls in love with the guy she marries, conveniently, and everything turns out okay in the end for the right people. Not nearly as good as Mildred, but still enjoyable.

Torch Song (1953) is Crawford showing her age. The eyebrows are bigger, the hair has gone red (though that is explained in the story), shoulder pads are everywhere. She can still dance though, and sing. This period of American film history is interesting. Widescreen debuted in order to compete with television, and everyone loves musicals and big production numbers. Crawford's second career (she was considered box office poison in the late 30's and early 40's before Mildred Pierce gave her another decade or so) is starting to wane, as are the careers of other big Hollywood stars like Bette Davis. In fact, I couldn't shake the idea that Torch Song reminded me a lot of All About Eve, showing the insecurity of older actresses and reveling in it. Torch Song centers on Jenny Stewart (Crawford), a huge Broadway star that is equally as huge of a bitch. This film is fairly forgettable, except for an odd dance number that looks like everyone is in blackface make-up. But that can't be right, can it? It's a weird moment, despite being a good song, "Two-faced Woman."