The Best of B

Backgammon  •  Pearl Bailey  •  Fay Bainter   •  Diane Baker  •  Balalaika   •  Balboa Bay Club   •  Lucille Ball  •  Balls   •  Anne Bancroft  •  Tallulah Bankhead  •  Larry Barbier   •  Betty Barker   •  Herb Barnet •  Red Barry  •   Barrymore Brothers  •  Hall Bartlett  •  Vicki Baum  •  Greg Bautzer  •  BBC  •  Cecil Beaton  •  Harry Beaumont  •  Wallace Beery  •  Bell Telephone  •  Bruce Bennett  •  Constance Bennett  •  Lou Bennett  •   Phil Berg  •  Polly Bergen  •  Ingmar Bergman   •   Ingrid Bergman  •  Paul Bern   •  Curtis Bernhardt  •  Elmer Bernstein  •   Berserk  •  Bertolucci   •  The Best of Everything  •  Billy Smart Circus  •  Birthdate  •  Bisexuality   •  Shirley Temple Black  • Blackglama  •   Earl Blackwell  •  Don Blanding  •   Robert Bloch   •  Joan Blondell  •  Bloody Mary  •  Blue Oyster Cult  •  Ann Blyth  •  Eleanor Boardman •  Bogart  •  Mary Boland  •  Richard Boleslawski  • Justin Bond  • The Boob  •  Bookplate  •  Ernest Borgnine   •  Frank Borzage   •  Clara Bow   •   Box Office Poison •  Scott Brady  •  Dr. Branch  •  Brandeis •  Brando  •  Harry Brandt  •  Michael Brazzel  •  Rossano Brazzi  •  Joseph Breen  •  Bremen • David Brian  •  Mary Brian  • The Bride Wore Red  • Anna Brinke  •  Geraldine Brooks  •  Louise Brooks •  Clarence Brown  • Johnny Mack Brown  •  Tod Browning  •  Yul Brynner  •  Clarence Bull  •  Victor Buono  •  Paul Burke  •  Carol Burnett  •  Charles Busch  •  Francis X. Bushman, Jr.

Backgammon. Joan loved the game and can be seen playing it in photos with husbands Doug Fairbanks Jr. and Franchot Tone in the '30s (the latter in their 1936 film Love on the Run), Philip Terry in the '40s, and Al Steele in the '50s. And, according to his 1979 book, Crawford: The Last Years, Joan also found a constant backgammon companion in Columbia publicist Carl Johnes during the early 1970s: "What she did...was impose the game upon me. Whether I wanted to or not, I was going to play backgammon with Joan Crawford. And Joan Crawford turned out to be a stern, gentle, impatient, entertaining, obsessive, and ultimately hilarious instructor."

Bailey, Pearl. See Memorial Service.

Bainter, Fay. Stage actress; Joan requested that she appear with her as the mean sister in '38's The Shining Hour.

Baker, Diane. (2/25/38 -  ) Actress who's had an active film and TV career from her debut in 1959 to the present (most recently appearing in the '03 satire A Mighty Wind). She appeared with Joan in '59's Best of Everything, '64's Strait-Jacket (as evil daughter Carol), and '64's TV movie Fatal Confinement (aka Della). She was also interviewed for TCM's '02 Joan doc The Ultimate Movie Star and '02's Battle-Axe: The Making of Strait-Jacket, a short documentary included on the DVD, where she relates how Joan insisted on having the last scene in "SJ."

Official website.     IMDb info.

Balalaika. A 1937 MGM "Cossack musical" that, according to IRS records, Joan screened in her home around that time. It happened to feature Phillip Terry, whom she married 5 years later. (US)

Balboa Bay Club. California club that named Joan "Woman of the Year" in the early '70s at a banquet to benefit a charitable hospital. Claire Trevor, Jimmy Durante, Cesar Romero, and John Wayne were all in attendance, and producer David Wolper presented a film tribute. (JCB)

Ball, Lucille. (8/6/1911 - 4/26/1989) Joan appeared on "The Lucy Show" on 2/26/68 as herself. Characters Lucy and Viv think she's down on her luck and try to get producers interested in her again by putting on a play.

Joan and Lucy apparently didn't get along. Click here to go to the TV Party site for an account of Joan's appearance on the show. And here for an account of more interactions between Lucy and Joan, and the book author and Joan, from Jim Brochu's Lucy bio.

IMDb Lucy info.

Balls. According to Joan, Gable had 'em. According to Gable, Joan swung more than he did. And according to Joan in CWJC: I've heard stories about how I had balls...hell, Shirley MacLaine has balls, too, but that lady knows how to use them. I didn't, so life was sort of semi-tough for me, both personally and professionally.

Bancroft, Anne. (9/17/31 - 2005) Winner of the 1962 Best Actress Oscar for The Miracle Worker (in competition with Bette Davis for Baby Jane). When Bancroft was unable to attend the awards ceremony in April 1963, Joan arranged to accept the Oscar on her behalf (thus satisfactorily upstaging Davis that evening). Bancroft also reportedly was first signed to play Joan in the 1981 Mommie Dearest film, but dropped out because she didn't like any of the scripts and because she feared industry repercussions. IMDb info.

Bankhead, Tallulah. (1/31/02 - 12/12/68) Irrepressible (to put it mildly) bisexual star of stage, screen, TV, and radio. Tallulah was born in Alabama to a political family; her father was the U.S. Speaker of the House from '36 to '40. After an unsuccessful stab at Broadway in the late teens, she moved to London and was a huge hit on the West End. She made her U.S. film debut in 1927, but only stayed in Hollywood for a few years, returning to the New York stage from the early '30s through the mid-'40s. (There she originated the roles in several plays that were later made into films without her, including "Dark Victory," "Little Foxes," and "Forsaking All Others"--a Joan vehicle in 1934.)

In '44 she briefly returned to the screen for two movies, one of which was her most famous, Hitchcock's Lifeboat. (She wouldn't appear onscreen again until the mid-'60s, when she did a couple of low-budget horror films.) The remainder of her career was again devoted primarily to the stage, with occasional guest appearances on TV (including "The Lucy Show") and radio.

Upon meeting Joan after her marriage to Doug Fairbanks, Jr., in 1929, Tallulah greeted her, "Darling, you're divine. I've had an affair with your husband. You'll be next." At the 1998 Christina Crawford and Lypsinka show at NYC's Town Hall, critic Rex Reed told a story about Joan attending a party for Tallulah and briefly upstaging her, making a begowned grand entrance dusted in gold glitter. Tallulah stormed off, but later re-emerged on her balcony, stark naked with gold glitter in her pubic hair, announcing "Guess who just went down on me?" (A favorite Tallulah quote of mine: "My father warned me about men and booze, but he didn't mention a word about women and cocaine.")

IMDb info.  A Passionate Life website.  Another neat fansite.

Barbier, Larry. MGM publicity man who met Joan at the bus station upon her arrival in Hollywood in January 1925 and drove her to her first California lodgings, the Hotel Washington.

Barker, Betty. Joan's Hollywood secretary. She started hanging around Joan and husband Doug Fairbanks, Jr., as a fan and eventually worked for Howard Hughes in the '30s; she worked full-time for Joan from 1955 until the latter's death in 1977. Joan left her $35,000 in her will.

Said Joan in POJ:

Betty Barker, now my secretary, was one of our first fans. Bettina was a little twelve-year-old freckle-faced child. We'd find her sitting out on the curb after Sunday School. Bennett the chauffeur would slow down and Betty would chat with us; sometimes she'd come into the kitchen and have a glass of milk and a cookie. She was a gay, friendly girl and she obviously loved us. You couldn't resist that. I think that when Douglas and I split up, Bettina was bereft. We had looked as happy-ever-after to her as we did to ourselves.

Barnet, Herbert. President of Pepsi-Cola after Alfred Steele's death in April 1959. Steele had hand-picked him as his successor ("Alfred and he were like brothers" said Joan), and at Barnet's recommendation, Joan was appointed to Pepsi's board of directors after Steele's death. In POJ (published in 1962) Joan wrote:

From the first Board meeting until today, Herbert has given me the sense of security and achievement so terribly necessary. 'We're a family, Joan,' he has told me so many times. 'We understand each other, we have a wonderful rapport.'... Working with Herbert is a rare privilege. I treasure his constant thoughtfulness for my well-being, my welfare and my happiness, I treasure his confidence and faith.

Barry, Don "Red." (1/11/11 - 7/17/80) Actor primarily known for his Republic Westerns. Joan had a brief affair with him following her divorce from Phillip Terry in 1946. Things didn't go too smoothly, however. Creditors re-claimed some expensive gifts he'd bought Joan, and the final straw came when he tried to buy the rights to the Broadway play "Anna Lucasta" for her, promising as collateral to deliver her in the film role. (LW)  More Barry info.

Barrymore, John and Lionel. Screen legends, brothers, and Joan's co-stars in 1932's Grand Hotel. ("Baron Felix von Geigern" and "Otto Kringelein," respectively.) According to JCB, John appeared for their scenes together "hung over and profane," while Lionel was "sympathetic." IMDb John info. IMDb Lionel info.

Bartlett, Hall. (11/27/22 - 9/7/93) Director, producer, and co-writer of 1963's The Caretakers.

Baum, Vicki. Author of the novel and play upon which the movie Grand Hotel is based.

Bautzer, Greg. (4/3/1911 - 10/26/87) Hollywood lawyer and man-about-town with whom Joan had an intense on-again-off-again romance from 1945 through the early '50s. Joan pal William Haines told Bautzer that the ideal Joan mate had to be a "combination of bull and butler," and Rosalind Russell seemed to think Bautzer fit that bill:

He treated her like a star. When they entered a room, he remained a few steps behind her. He often carried her dog or her knitting bag...and, at the dinner table, Greg did everything but feed her. Joan expected her escort to place her napkin in her lap, light her cigarettes and open doors for her. Not many men would put up with it. Greg did all these things without losing his masculinity. He made it seem as if it were the natural thing to do. They were nuts about each other.

Noel Coward thought he had too many teeth. Christina found him "boisterous, fun-loving, handsome, dashing," though the couple's late-night violent fights scared her. (MD) Joan herself told her press agent that she had "the most exciting sexual experience" of her life the night that Bautzer broke a window and bloodied himself to get to her. (LW) Their finale apparently came after a party at L.B. Mayer's when Bautzer--a ladies' man who'd been linked with Ginger Rogers, Merle Oberon, Rita Hayworth, and Lana Turner, among others--spent too much time talking to another woman. As he and Joan were driving home, she asked him to get out of the car to check a tire; she then zoomed off, leaving him to walk back to his apartment. (JCB)

Bautzer bio/timeline.

BBC. Joan appeared on the British Broadcasting Corporation on at least three occasions: An interview with Peter Haigh for "Picture Parade" on 8/7/56 touting her recent Esther Costello film (clips of her visit to the British Film Institute were also shown); on a program called "A - Z," which aired 11/9/56 (click here for transcript); and on "A Film Profile: Joan Crawford," a 30-minute interview promoting her film Berserk, airing on 6/6/67.

Beaton, Cecil. (1/14/1904 - 1/18/80) British society photographer, stage designer, and gadabout. In an article on file at the Lincoln Center, he writes of Joan:

She has become one of the most exotic pieces of affectation on the screen. It is occasionally most enjoyable to watch her exaggerated Frattellini clown makeup of white face, goggle eyes and enormous persimmon lips.... A detective is needed to discern any expression other than surprise....At one time she was insatiably interested in Miss Dietrich; then the Fairbanks Jr. house was littered with Marlene's photographs and gramophone records. Then she moved on to Lilyan Tashman, followed by the chief of her idols--Greta Garbo. (DF)

 Click here to see a 1931 shot of Joan by Beaton.  Wikipedia entry.

Beaumont, Harry.  (2/10/1888 - 12/22/66) Directed Joan's 1928 smash Our Dancing Daughters and 1930's Our Blushing Brides, as well as '31's Dance, Fools, Dance and Laughing Sinners. Also the director of the never-released 1931 MGM Joan vehicle Great Day.

In EB, Joan is quoted re the success of "Daughters" and re Beaumont: "I think it helped that Harry Beaumont let us be uninhibited because deep down he wanted to be uninhibited like us, too, but couldn't." The Divine Feud recounts that Beaumont claimed he saw Joan dancing in a nightclub and told MGM's Louis B. Mayer that she would be perfect for the role of Dangerous Diana. Joan denied this, saying "Mr. Beaumont never saw me dance anywhere. I had heard of the picture and I went to the story department late one night and stole the script..."

IMDb entry.   Silent Gents site photo/entry.

Beery, Wallace. (4/1/1885 - 4/15/49) This curmudgeonly MGM star began his show-biz career in the circus before moving on to Broadway and then Hollywood in 1915 (along with his then-wife Gloria Swanson). He won an Oscar for "The Champ" in 1932. He plays the lecherous magnate "Preysing" in 1932's all-star Grand Hotel.

In 1940, after Norma Shearer bowed out of Susan and God, refusing to play the mother of a teenage girl, Joan accepted the role, famously telling Louis B. Mayer: "I'd play Wally Beery's grandmother if it's a good part!"

Wikipedia entry.

Bell Telephone Company. In early 1923, after quitting Stephens College, Joan entered the training program for Bell in Kansas City, but quickly dropped out. (JCB)

Bennett, Bruce. (5/19/1906 -    )  Born "Herman Brix," this silver medalist (shot put) in the 1928 Olympics went on to a 30-year film career, including some Tarzan movies in the '30s and later as Mildred's husband Bert in '45's Mildred Pierce and as Myra's lawyer in 1952's Sudden Fear.

IMDb entry.   Brian's Drive-In Theater page.

Bennett, Constance. (10/22/1904 - 7/24/65) From a renowned stage family, Bennett made her Hollywood debut in 1924 and was an elegant and popular star through the 1930s. (Her last role was as Lana Turner's mother in 1966's posthumously released "Madame X.")

She played "Sally" in '25's Sally, Irene, and Mary. On set, the established star seemed unapproachable, and Joan always referred to her as "Miss Bennett," though the two later became more comfortable social acquaintances. (JCB)  (Later Joan paramour Clark Gable's first film role was in a Bennett film, The Easiest Way.)

Wikipedia entry.

Bennett, Lou. Joan's Hollywood bodyguard.

Berg, Phil. Joan's agent at the time she was re-negotiating her 1931 contract with MGM. (US)

Bergen, Polly. (7/14/30 -    )  In the 1950s, actress/singer Bergen was a protegee of Pepsi head Al Steele, who would marry Joan in 1955. During that decade, Bergen was hostess of the ABC program "Pepsi-Cola Playhouse" and starred in 6 Pepsi commercials. She went on to co-star with Joan herself in 1963's The Caretakers. Most recently, she has appeared as President Geena Davis's mother in TV's "Commander in Chief." (An upcoming project is the film "A Very Serious Person," written by Charles Busch.)

IMDb page.   Fan site.

Bergman, Ingmar. Author Carl Johnes (Crawford: The Last Years) was friends with Joan in the mid-1970s and at that time tried to get her to appreciate Bergman's Cries and Whispers:

I had told her how much I admired [the movie], which I had seen several times. When it finally appeared on her cable television, she made sure to watch it carefully. She never understood it and I spent almost a half-hour trying to explain what I thought it meant, why I was so moved by it, and how beautiful I found this story of three anguished sisters living on an estate in Sweden around the turn of the century. She listened patiently to my arguments, and then, having obviously resigned herself to my hopeless stupidity, said, "I still say it's about a bunch of dykers."

Bergman, Ingrid. (8/29/1915 - 8/29/82) This Swedish-born actress came to Hollywood in 1939 to re-make her earlier European hit "Intermezzo" and became an immediate sensation in the US and worldwide. She's probably best known for 1942's "Casablanca," and she also received Oscars for '44's "Gaslight" and 1956's "Anastasia." She was a nominee for the Best Actress Oscar in 1945, which Joan won for "Mildred Pierce." Bergman also appeared in an earlier Swedish version of A Woman's Face, which was re-made with Joan in 1941. Her final performance was in 1982's "A Woman Called Golda," for which she posthumously received an Emmy.

Said Joan of the ridiculousness of Bergman's Hollywood ostracism in the 1950s following her affair with and 1950 marriage to Roberto Rossellini: "God, wasn't that funny, during the Stromboli affair, when Louella wrote, 'Ingrid, Ingrid, whatever has gotten into you?'" (CWJC)

IMDb page.

Bern, Paul. (12/3/1889 - 9/5/1932) MGM exec and early Joan-booster. The German-born Bern came to the US as a child, attending the American Academy of Dramatic Arts and initially working as an actor before becoming a writer and director. By the 1920s, he'd become production assistant to MGM's Irving Thalberg (the two co-produced Grand Hotel) and supervisor of Garbo's silent films.

Upon her arrival in Hollywood, Bern took Joan under his wing--as he had with other young starlets such as Barbara LaMarr--tutoring her in social graces, suggesting she lose weight, and escorting her to various functions.(He was her escort the night Joan first laid eyes on future husband Doug Fairbanks, Jr, at an LA performance of "Young Woodley" in 1927.) Said Joan of Bern,"He recognized something in me that other men did not care to see--that I had a brain." (DF) In the August 1931 issue of Photoplay, Katherine Albert wrote of Joan and Bern's relationship: "Paul Bern knew that Joan was miserable [in her early years in Hollywood] and he began the awakening of her mind. Paul taught her things she had not known existed...the beauty of words on paper, the feeling for musical harmony, the appreciation of form and color on canvas...that one simply cannot exist in a room cluttered with wildly painted Coney Island dolls."

Bern committed suicide two months after his marriage to Jean Harlow.

IMDb page.

Bernhardt, Curtis. (4/15/1899 - 2/22/1981) Director of Joan's Possessed ('47). In DF, he says of Joan that she was "as easy to work with as can be. She was naturally a little subdued because she was the studio's second-ranking star. She threw her handbag at me several times when I called her Bette by mistake...Bette can snap in and out of a scene quite rapidly. Joan was not as facile an actress. Several times we had to call a break when her hysterics continued beyond the 'cut.'"

Bernhardt was also a frequent date of Joan's; once, when he criticized her for treating her children like circus monkeys, she made him get out of their limo. (JCB)

IMDb page.

Bernstein, Elmer. (4/4/1922 - 8/18/2004) Prolific film composer (14 Academy Award nominations over 6 decades, from the '50s through the 2000s), who did the scores for Joan's 1952 movie Sudden Fear and 1963's The Caretakers.  IMDb page.

Berserk. Columbia, 1968. Directed by Jim O'Connolly, 96 minutes. Joan's penultimate film before Trog. Joan stars as circus-owner "Monica Rivers," who must deal with murders, geeks, a suspicious tight-rope-walking younger lover (Ty Hardin), and a wayward daughter (Judy Geeson). The movie was filmed in Britain on a low budget, produced by Herman Cohen, who palled around with Joan but also requested that she at least not drink in the morning. (She politely acquiesced.) To help save money, Joan wore her own clothes in the film, except for the ringmistress outfit, which was designed by Edith Head. (JCB)  

Berserk page.

Bertolucci, Bernardo.

Best of Everything, The. 20th Century-Fox, 1959. Directed by Jean Negulesco, 121 minutes. Joan has a small role as testy senior editor "Amanda Farrow," who delights in tormenting her underlings (Hope Lange, Suzy Parker, Diane Baker).

Says Joan in CWJC: This was a rather complex semi-movie which was supposed to showcase a whole bunch of up-and-coming 20th Century-Fox actors. The youngsters did all right, but for some reason or other I'm proud to say I sort of walked off with the film. Perhaps it was the part--I had all the balls--but I think it was a matter of experience, knowing how to make the most of every scene I had.

This was the first film she made after the death of husband Al Steele; the role was given to her rather as a favor by friend and producer Jerry Wald, partially to get her out of the house and also to get her some money--she'd just given an interview to Louella Parsons saying that Steele had left her "flat broke." (US, JCB)  

The Best of Everything page.

Vanity Fair article on the making of the film.

Billy Smart Circus. This real-life UK circus provided the acts for Joan's 1968 film Berserk.

Birthdate of Joan. March 23 (an Aries), but the year varies depending on the source-text: 1904: CM, EB, MD, US. 1905: LW. 1906: CWJC, JCB. Joan herself claimed to have been born in 1908, but the 1904, 1905, or 1906 dates seem more likely.

According to the sources that list 1906, this is the birth-year she gave upon registration at Stephens College in the fall of 1922 (this would have made her 16 at the time).

However, she arrived in Hollywood and signed her first contract with MGM in early 1925; MGM required parental consent if the signee were under the age of 21, and their records (according to US) don't show that she required a parent's signature--this would indicate a 1904 birthdate. (In MD, daughter Christina writes that her grandmother---Joan's mother---said Joan was born in 1904.) But one thing that goes against the 1904 date: JB says that according to 1917 Kansas City school records, her older brother Hal was born on 9/3/03 (the IMDb also gives this year for him and California death records state the same date). Joan couldn't have been born only 6 months later, unless she was premature, which no source mentions.

In favor of the 1905 date is the 1910 Comanche County census (dated April 20, 1910), which lists Joan as 5 years old. The problem with this, though, is that it lists Hal as being 8, when he was actually only 6 as of that date!

See also Horoscope of Joan.

Bisexuality of Joan. In EB, author Lawrence Quirk says Joan slept with several fellow chorus girls while in NYC, and relates that Joan's press agent Jerry Asher told him Joan had a crush on early co-star Anita Page, and actually slept with Dorothy Sebastian, Gwen Lee, May Clark, and Barbara Stanwyck. (Stanwyck's press agent Helen Ferguson is quoted as saying "There is no doubt in my mind that Joan and Barbara were intimate on more than one occasion.")

Asher also said Joan was interested in Bette Davis in the 1930s (though not at the time Baby Jane was filming, which Davis claimed), when Davis had eyes for Joan's husband Franchot Tone. Said Joan: "Franchot isn't interested in Bette, but I wouldn't mind giving her a poke if I was in the right mood. Wouldn't that be funny?" Quirk also says that in her autobiography, Martha Raye claims she slept with Joan when they were both involved with the USO during WWII.

In DF, author Shaun Considine quotes director Vincent Sherman (himself a Joan-paramour) as saying, "When we were at Columbia [early '50s] there was a girl who was always hanging around [Joan]. We often wondered about her." Considine also quotes actress Louise Brooks that Joan was "one of those girls who went back and forth." And quotes photographer Cecil Beaton re Joan's frequent crushes: "At one time she was insatiably interested in Dietrich...Then she moved on to Lilyan Tashman, followed by the chief of her idols--Greta Garbo."

In CM, author Jane Ellen Wayne relates that when, on the set of '32's Grand Hotel, Greta Garbo took Joan's face in her hands after a chance meeting on-set, Joan was thrilled and later said, "If there was ever a time in my life when I might have become a lesbian, that was it." (Joan mentions the rather sexual excitement of this meeting in her April '73 Town Hall appearance.)

In LW, author Fred Guiles says that Marilyn Monroe told her press agent that Joan had made a drunken pass at her one afternoon while Monroe was trying on clothes at Joan's house. In tapes made for her psychiatrist shortly before her death, published in 2003 in a book by Matthew Smith, Marilyn said of Joan: Oh yes, Crawford. We went to her house from a cocktail party, feeling no pain. We went to the bedroom and went down on each other. Crawford had a gigantic orgasm and shrieked like a maniac. Next time I saw her she wanted another round. I told her straight out I didn't enjoy it much, doing it with a woman. After I turned her down she became spiteful.

In MD, Christina says that a former nurse later told her that Joan had frequently propositioned her. Christina says she already knew about her mother's "lesbian proclivities" and so wasn't surprised at the news, but doesn't elaborate.

Black, Shirley Temple. (4/23/28 -   ) In her book, Child Star, Black recounts how she failed an audition for the role of Joan's character as a child in 1933's Dancing Lady. She also describes a visit by Joan to her home. A mutual friend, George Murphy, brought Joan to meet Black. Joan offered her a box of Austrian chocolates saying, "Do you like candy or do they make you fat?" Black describes Joan as: ...impeccably groomed and acutely self-conscious about every fold in her skirt. Her elbow length black gloves were constantly being adjusted so as to be absolutely even, and her mannish suit of jet black elegantly framed the large golden cross at her bosom. Altogether, she was a beautiful and incandescent person, picture-postcard perfect.

Later, Joan would return with adopted children Christina and Christopher and then-husband Phillip Terry. Black describes the children as having "...performed like a programmed wind-up toy." Christina peeked into her closet and remarked about the amount of clothes inside; Black said they were costumes. While Joan was examining Black's mother's glass miniatures, Christopher punched her hard on the thigh, which prompted Joan to slap him on the cheek, sending him into a fit that gained everyone's attention. Finally, Black recalls a gift that Joan gave her, a cocker spaniel puppy that died the very next day before she could name it. More Shirley info.

Blackglama. Joan appeared in the ad campaign "What becomes a legend most?" for this mink company in 1969. See the Blackglama site (Campaign: Legends) for more info on the  "Legends" series. See also the Ads page of this site for more Joan endorsements.

Blackwell, Earl. Friend of Joan. Made the call to Joan's dressing room on the set of Female on the Beach on New Year's Eve 1954, telling her that Al Steele wished to speak with her.

Blanding, Don. (11/7/1894 - 6/9/57) Poet and artist. (For more info, click here.) He was a neighbor of Joan's in Lawton, Oklahoma, when they were kids. She cut her foot severely when she was 6, and he was the one who carried her inside her house and called the doctor. In 1935 he wrote the following about his memories of her (the two met again on the set of 1936's Gorgeous Hussy):

Bloch, Robert. Most famous for his Psycho screenplay for Hitchcock, he also wrote the screenplay for Joan's '64 film Strait-Jacket.

Blondell, Joan. This veteran actress was initially slated for Joan's role in 1964's Strait-Jacket, but an accident prevented her from taking the part.

Bloody Mary. In LY, Joan instructs author Carl Johnes how to make one: "Always use Snap-e-Tom, never tomato juice!"

Blue Oyster Cult. Their 1981 album "Fire of Unknown Origin" contains a song titled "Joan Crawford":

Blyth, Ann. (8/16/28 -  ) Initially a Broadway actress, Blyth came to Hollywood at age 15 and acted in 4 musicals for Universal before playing Evil Daughter Veda in '45's Mildred Pierce, for which she received an Oscar nomination. Joan and Blyth got along well (Joan rehearsing extensively with her when studio execs were at first reluctant to cast her as Veda, thinking she was too "sweet"). Blyth acted in films up until the '50s, and made TV appearance into the '80s. Today, Turner Classic Movies occasionally runs a 5-minute spot featuring her affectionate remembrances of working with Joan.

In July 2006, Blyth was interviewed at San Francisco's Castro Theatre after a showing of Mildred Pierce. Click here to see photos from this event.

IMDb info.

Boardman, Eleanor. (8/19/1898 - 12/12/1991) Silent actress, star of The Only Thing (1925), in which Joan also appeared. (Boardman also starred in two other 1925 films that Joan might or might not have appeared in: The Circle and Proud Flesh. The IMDb lists Joan in the cast of these two films, but other sources don't confirm completely. See the "1925 Films" note at the bottom of the Films of JC page.) Boardman was married to director King Vidor, and the couple had Joan over for brunch and swimming occasionally in the mid-20s. (LW)   More Boardman info.

Bogart Humphrey. In Life magazine, Bogart was quoted as saying:

Movie Stars? I don't like the name. The words 'movie stars' are so misused they have no meaning. Any little pinhead who does one picture is a Star. Gable is a star, Cooper is a star, Joan Crawford, as much as I dislike the lady, is a star, but I don't think the so-called others are.

(If you know the year/setting of this quote, please e-mail me.) Thanks to Debbie for providing the above quote.

Boland, Mary. Joan's co-star in '39's The Women.

Boleslawski, Richard. Director of Joan's '37 film The Last of Mrs. Cheyney. He died during the filming, which was completed by Dorothy Arzner.

Bond, Justin. Performance artist Bond developed the stage character of the anarchic 60-something "boozy chanteusie" Kiki DuRane in the mid-90s; he and Kenny Mellman (aka "Herb," Kiki's accompanist/accomplice/collaborator) have since performed as "Kiki and Herb" in New York City cabaret venues as well as making special appearances across the country and in London. (The two gave their "Farewell Concert" at Carnegie Hall in September 2004.) A May 2003 article in Next magazine said : "Sounding like Shirley Bassey filtered through Lauren Bacall, Justin Bond embodies Kiki with the determination of Joan Crawford, the glamour of Lypsinka, and the tongue-in-cheek delivery of Charles Busch."

Bond also collaborated with Bob Ostertag and Otomo Yoshihide in the electronic/experimental noise band PantyChrist. Again, for some reason there are Joan references in reviews: "Justin Bond...has one of those inimitable voices that sounds like Joan Crawford after an acid bath....So if your idea of a good time involves listening to a CD that variously puts one in mind of Jerry Lewis enduring a painful prostate examination, a video game gone haywire,...or the modern audio equivalent of Whatever Happened to Baby Jane?, then PantyChrist is for you."

Kiki and Herb site.

Boob, The. MGM silent, 1926. Directed by William A. Wellman, 64 minutes. Joan plays "Jane," a prohibition agent. George K. Arthur stars as a country bumpkin good-guy. Said Joan: ...a disaster, even with George K. Arthur. The script was terrible and I simply wasn't cut out for slapstick. (CWJC)  In a 1926 letter to a fan, she wrote (with original punctuation shown): I just found out, a picture I made over a year ago called 'Ill Tell the World' Has been released under-'The Boob'. Im so sorry I made such a dreadful mistake. Will you forgive me? You dont need to tell me it was a terrible picture. How well I know. I wouldnt even go to see the preview.

The Boob page.

Bookplate, Joan's. (The head on the Venus de Milo statue is Joan's!)

Borgnine, Ernest. Co-star of Johnny Guitar.

Borzage, Frank. Directed 3 of Joan's films: '37's Mannequin, '38's The Shining Hour, and '40's Strange Cargo.

Bow, Clara. (7/29/05 - 9/27/65) Known as Hollywood's, and America's, "It"-Girl in her silent-film heyday, the Brooklyn-tenement-born Bow made 57 films between 1922 and her retirement in 1933 to marry cowboy star (later Nevada political candidate) Rex Bell.

In a November 16, 1933, interview with John C. Moffitt in the Kansas City Star, Bow spoke about her Hollywood flapper days and about Joan:

"It's funny. I really learned a lot during those dizzy years when Joan Crawford and I were running around town as the two hey-hey girls of Hollywood. Nobody thought I was learning anything. It seems rather funny to think that I was a sort of trademark for the flapper. The 'flapper' as a type seems about as antiquated as the suffragette or the vestal virgin, but I can remember when the whole country was standing on its ear over flappers. They yelled about us in the pulpits and long-haired guys denounced us in the press. They made a world menace of us and all we were was a bunch of dizzy little gals with our skirts up to our knees and with Fiji Island haircuts. It seems sort of funny that anyone should have taken us seriously. But,boy, you should have seen some of the 'sinner beware!' letters I got."

...Clara then grinned and continued: "My life in Hollywood contained plenty of uproar. I'm sorry for a lot of it but not awfully sorry. I never did anything to hurt anyone else. I made a place for myself on the screen and you can't do that by being Mrs. Alcott's idea of a little woman. Hollywood always reminds me of one of those French Revolution pictures where the women are hollering and waving pitchforks twice as violently as any of the guys are. The only ladies in sight are the ones getting their heads cut off."

With that, Clara gave "what looked suspiciously like a sigh" and added: "Anyhow, we got what we wanted out of it." She then spoke about her present off-screen life and that of her fellow flapper: "Joan Crawford called me up the other day and I didn't know her. She had one of those trick English accents and a Lady Vere-de-Vere voice. She's been married to the son of the royal family and she's running around with Franchot Tone, who they tell me represents the spirit of Cornell and aristocracy on the hoof. Joan's gone a long way from the Charleston contests and you can bet your life she's got what she wants...."

Thanks to Greg for passing along William M. Drew's find.

The Clara Bow Page.   Silent Ladies Photo Gallery.    IMDb page.

Box Office Poison. In 1938, Harry Brandt, president of the Independent Theater Owners of America, published an article in The Independent Film Journal complaining about the unappealing (and non-money-making) films being released to theaters. Contrary to popular belief, the main complaint wasn't primarily the stars, but the quality of the subject matter of the films. Said the article: Among those players whose dramatic ability is unquestioned, but whose box-office draw is n