Jeanne Eagels

... with Kim Novak as the famous stage and screen actress. The film charts her beginnings as a dancer in a carnival run by Jeff Chandler, to her eventual conquest of the Broadway stage, with the assistance of imperious acting coach Agnes Moorehead. Eagels develops a drug and alcohol problem along the way. Also featuring Gene Lockhart in his final film role. Frank Borzage also cameos as himself.

Like most Hollywood biopics, this is more fiction than fact. The weight of the story lies on Novak, who's not the kind of actress to do this part justice, although she tries. She also shows off a lot of skin, so fans of her pulchritude will enjoy that, at least. There are a few sensationalist scenes that push things towards out-right camp, but not enough to make this a must-see. Eagels' family sued Columbia over the way Eagels had been depicted in the movie

Jeanne Eagels was in a number of silent films and in a couple of talking films. She was nominated for Best Actress for her part in "The Letter" and that talking film survives.

I saw this film only once, when I was a kid, but I still remember it, and I loved it. I have been hoping to see it again someday and am disappointed that it is not available even on video. Not only was Kim Novak, she of the lavender blonde hair, gorgeous, she was really just right for this movie. The story was interesting too. Yes, I know, TRUTH is hardly the most valued element in screen biopics, but since I knew nothing about Jeanne Eagels then (and, indeed, know little now--let's face it, there isn't a whole lot of information about her available) it was fascinating to see a story about an actress in the 1920s. Yes, somebody should do a more realistic remake, but put this one out too. Whether the story is factual or not, seeing Kim in the role is a reward in itself. I really can't think of an actress today who could match Kim's performance--she might be more like the real Jeanne Eagels, but Kim Novak's Jeanne shouldn't be lost. Put out the DVD-- you've got one customer for sure. Here's hoping.

It would be very difficult to cast at the time and to pick Kim Novak in the lead but it is the best she has ever done, even now. The story obviously had to be changed, especially names, because of the time there were relatives still living and they could sue.

The period and mood is right and Kim Novak does look fabulous, but to achieve the life and notoriety of a great actress of the period was impossible.

Jeff Chandler was miscast but the rest, including Agnes Moorhead were right. Its period, melancholy, costumes, scenery makes it sad but I still loved it! Perhaps it is time now for a remake as it is nearly 50 years since it was made?

"Jeanne Eagels" can almost be considered a "lost" film, since it is so rarely seen nowadays. That seems a shame. Yes, it suffers from standard "biopic" problems (cliched script, superficiality, etc.), but it is an interesting curiosity piece. Kim Novak, fresh onto the acting scene, actually acquits herself quite well in the role. There is an air of the troubled woman about her from the beginning, and the way she keeps adopting different personas shows Jeanne's desperate search for an identity. Contrary to the other reviewer here, I think that the drunk scenes are quite effective, without ever being pretty or played for comedic purposes. She succeeds in making Jeanne unlikable at times, which is a brave choice for the era. Unfortunately, the script and direction aren't the best, and some of Novak's more interesting choices contrast with other scenes that just don't come off as well. It's definitely worth a look though. I would argue that Novak's style is more "modern" than many other actresses of the era. Whether she always succeeds or not, she clearly looks for the reality of each scene, and is less interested in acting and more interested in "being." There are moments when I think she comes close to "being" Jeanne Eagels, making this forgotten film worth a second look.

Although Jeanne Eagels is a fascinating film with one of two career roles for Kim Novak, the other being Vertigo, it does do some disservice in telling the story of the legendary Jeanne Eagels, Broadway star of the Twenties. The Roaring Twenties was a hard partying era, especially on women as three of the brightest stars of that era, Marilyn Miller, Helen Morgan, and Jeanne Eagels died way to soon because they indulged too much.

That part of the story is all too true, Jeanne went like Elsie in the title song from Cabaret, from too much pills and liquor. What's not true is the fact that Jeanne was basically a raw talent who came to Broadway out of nowhere and then died. Eagels did pay her dues in a long hard road in stock companies. The character that Jeff Chandler plays is based on someone she did actually marry, one of the heads of a touring company, not a carnival barker. Her second husband played by Charles Drake was a Broadway playboy and former All American football player.

The surviving members of the Eagels family did threaten suit against Columbia Pictures for this film. From what I've researched about Eagels she got a whitewash in this picture.

Kim Novak does a great job playing Eagels, a woman who indulged too much in her life. She picked Jeff Chandler for her leading man in Jeanne Eagels. This was Chandler's first picture after finishing up his exclusive contract with Universal Studios. His new contract was non-exclusive and this was his first outside film. Jeff dusted off his Brooklyn accent for his role as the carnival man who loves Jeanne, but stands by helplessly as she self destructs.

Agnes Moorehead plays Jeanne's acting coach and Larry Gates her overwrought producer. This film was the farewell performance of Gene Lockhart who has a brief scene as the presiding member of an Actors Equity Hearing. Eagels got herself in lots of problems with Equity back in the day because she blew off performances. Lockhart was active in Equity and essentially is playing himself.

There is one other really good performance, a very touching one by Virginia Grey of a fading Broadway star who also dissipated herself. The role is great, but of course it has no basis in fact, Eagels did not 'steal' the play Rain away from this woman or anyone else.

Jeanne Eagels is a fine film capturing the essence of a self destructive star of a bygone era though factually it leaves quite a lot to be desired.