oooA tremendous account by Karen Burroughs Hannsberry of the icon’s foremost noir movies.
Barbara Stanwyck wore many cinematic hats.
This talented thespian first made a name for herself in a series of pre-Code gems, including Night Nurse (1931), Ten Cents a Dance (1931), Forbidden (1932), and the granddaddy of them all, Baby Face (1933). She was also a presence in such dramatic fare as Stella Dallas (1937) and Golden Boy (1939); romantic comedies including Breakfast for Two (1937), The Lady Eve (1941), and Christmas in Connecticut (1945); westerns like The Furies (1950), Cattle Queen of Montana (1954), and The Violent Men (1954); and hybrids like Meet John Doe and Remember the Night (1940) that mixed together comedy and romance, and tossed in a generous dollop of drama for good measure.
But, wait – there’s more! You didn’t think I’d forgotten about film noir, did you? (Well, DID YOU??)
Not a chance. For it was in film noir, in my humble opinion, that Stanwyck—metaphorically…
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Noirish 