The Best of Everything:

    A Joan Crawford Encyclopedia














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All original Encyclopedia text, from A to Z, is copyright © 2004 - 2014 by Stephanie Jones


Celebrating 10 Years of BOE: 2004  2014


You can donate year-round to this site to help keep Joan's legacy going strong online. Your support is always appreciated.








[in last month]





1953:  Torch Song -- Candid on the set in PJs, publicity shot with larger-than-life poster of herself, and film still in glorious Technicolor.

1955:  Queen Bee -- Publicity shots one and two.

1956:  Autumn Leaves -- With Cliff Robertson: Presenting him with the original "The Way We Are" script, a film still in the supermarket from a deleted scene with Ruth Donnelly, and a publicity shot.












ART:  "Woman (Joan Crawford)" by Sylvester Stallone, 1990.


FILMS:  A lobby card for 1942's Reunion in France.



1943:  Publicity for Above Suspicion.

1945:  Screen shot from Mildred Pierce.











LETTERS:  1933, handwritten, to writer Gertrude Walker, re Walker's new play and Joan's own new home theater.



1934:  Publicity for Chained shot by Hurrell.

1936:  Screen shot from Love on the Run with Clark Gable. (Thanks to Spiros.)

1939:  On the set of Ice Follies. And a candid.













MAGAZINES:  Added 2 larger covers for Films in Review, 1956 and 1979.



1925:  Publicity by Clarence Sinclair Bull for the "Name Her and Win $1000" Movie Weekly contest.


A rare film still from Tide of Empire, which Joan ultimately did not appear in.

Publicity shot by Ruth Harriet Louise.

1931:  Possessed -- Screen shot peering in train window, and publicity with Clark Gable.


Grand Hotel -- Title shot and another screen shot.

Rain -- Publicity shot by John Miehle.









Added 27 larger covers to the T - Z page.


And added 5 new covers to the page:

Tops (1954; back cover: "Joan and Marilyn Are Slugging It Out!")

True Confessions (1932)

Variety (1946; the Oscar-win cover)

Vida Mundial Ilustrada (1946, Portugal)

Yedigun (1944, Turkey)


NOTE: I'm finally finished updating the covers for all of the Magazines pages (uniformly increasing the cover size from 236 to 400 pt high, when a larger cover was available). If you see a smaller-than-400-pt-high photo, it's because I haven't been able to find a larger one; if you have a larger version of any cover that I can add here, please send it in.








Added 23 larger covers to the S (part 2) page.


And added 2 new covers to the page: for Portugal's Seculo Ilustrado, and for an unknown country's Selecciones.














ADS:  A "Gift to You from Joan Crawford" ad-postcard for Seventeen Cosmetics, handed out at This Modern Age screenings in 1931.



2010 by Christopher Gustave.

2013 by Seymour Chwast.



1973:  At her Imperial House apartment.













star02_pink.gif 1952:  To Christina at the Chadwick School. And to Mrs. Chadwick, with Joan's itinerary and instrux for Tina's home visitation.

1957:  To a constant fan, with travel plans.

1958:  To the above fan, re GE Theatre and other scripts.


To the above fan, re TV appearances and the upcoming Strait-Jacket.

To singer Hildegarde, asking for help with the "Stars for Mental Health" campaign.

1967:  To colleague Ray Hynes, with thanks for his "protective care."

1969:  To Ray Hynes, with thanks for his portrait of her.

1970:  To a fan, with her opinion of Garbo.

1974:  To George Cukor: "I am absolutely sick of horror movies."

1975:  To a friend, with thanks for his birthday flower arrangement.



1953:  In blackface Torch costume at the Hollywood Press Photogs' annual ball.

1962:  Title screen shot for What Ever Happened to Baby Jane?

1968:  Publicity for Berserk.

1969:  Color on the set of Night Gallery.







FILMS:  A trade ad for 1947's Possessed.



1947:  Daisy Kenyon screen shots: with Henry Fonda, one and two; and at the trial.

1952:  This Woman Is Dangerous screen shots: one, two, and three, plus title shot.

1954:  Candid at the premiere of Phffft! with Glenn Ford.

1955:  A bigger, better replacement for a Queen Bee film still.








1947 PHOTOS:  14 screen shots (plus one film still) from Possessed:


Title shot. And long shot walking down street at opening.

David! one, two, and three.

Nurse Louise: one, two, and three.

Post-opera: one and two.  And shooting David.

Misc. intensity: one, two, three, and four.














1940:  Strange Cargo -- Screen shots one and  two.

1941:  A Woman's Face -- Publicity with Conrad Veidt.


They All Kissed the Bride --  Film still with Helen Parrish.

Reunion in France -- A film still and a screen shot.

1946:  A screen shot from Humoresque.












1937:  In her dressing room on the set of The Last of Mrs. Cheyney.


The Shining Hour:  A film still, and screen shots one, two, and three.

Publicity with hat.


The Ice Follies of 1939:  Publicity with James Stewart.

The Women -- A screen shot in the tub.













1933:  Film still from Today We Live with Robert Young.

1934:  9 screen shots from Forsaking All Others:

Intro on massage table one and two.

With Robert Montgomery one and two.

With Clark Gable one, two, and three.

With Montgomery and Gable. And solo.









FILMS:  Lobby card and herald cover / centerfold for 1928's Rose-Marie.



1931:  Possessed -- On the set, and a film still.

1932:  Candid at the Biltmore in LA with Leslie Howard.

1934:  Chained -- A film still with Clark Gable.













 10 Years of BOE: 2004 - 2014


This website, "The Best of Everything: A Joan Crawford Encyclopedia," debuted on March 23 exactly 10 years ago.


In the months leading up to this day, I've thought long and hard about how to best express what honoring Joan online for the past decade has meant to me. Here's a biographical bit from an initial draft:

I first became a true fan of hers in ’87, when I was 22. When there was no TCM, and just barely any VHS tapes. If I wanted to see any Joan Crawford movies, I either went to my university library and checked one out and then watched it in a tiny library viewing room on a plastic chair, or I “splurged” ($20 on a college kid’s non-income was splurging) on renting a video-player to hook up to my 12-inch black-and-white TV. (The only Joan movies then available for rental at Austin video stores: Grand Hotel, Autumn Leaves, Johnny Guitar, Strange Cargo.)

It was also in 1987 that I ordered from a local graphics store a 3’ x 4’ poster featuring Joan from a Hurrell photography show in Chicago 10 years earlier. I still remember how proud I felt carrying the mounted poster home under my arm on the college shuttle bus, how much I wanted people on the bus to KNOW THIS ABOUT ME: I LOVE JOAN CRAWFORD.

This poster has hung in the living room of every one of the 14 places I’ve lived since 1987 (except for my 3 years in NYC, where I flew off to live with only a suitcase too small to fit it in). An artwork, a beauty, a symbol, a guardian. Representing everything from Joan’s movies that I’ve watched (and gotten goosebumps from) to her perseverance to, more mundanely, my own perseverance and what has continued to be important to me, and a touchstone, for over a quarter of a century.

But why create this website? And why continue working on it for a decade? What I wrote 10 years ago on the "About" page of this site still very much holds true today:

After participating in various Joan message boards for a couple of years, I realized that people were often posting very helpful and informative info re Joan that was subsequently being forgotten as the later messages scrolled on... And most of the Joan websites available primarily seemed to focus either on the camp aspects of her later career or on her "glory days" from MGM through Warners; or else the webmaster would get bored and discontinue the site on a whim.

Neither the Camp nor the Glamour Girl (nor the, um, "discontinued") approach, I feel, is adequate for a star and woman whose career spanned an incredible 50 years from the Silents through the Television Age and whose various incarnations defy easy categorization. On this site, I don't just want to show pretty pictures from the '30s or make fun of her grand guignol era; instead, I want to show where Joan Crawford came from as well as every step of her journey, including what she had to say about what was going on around her. The woman had a brain and guts and opinions and talent as well as a face, and her longevity as an actress was hardly reliant solely on lucky breaks or pure sex appeal; she worked to get to the pinnacle of her field and subsequently worked to maintain her career and status long beyond what anyone thought tenable.

I'm extremely in awe of both her talent and her business acumen, as well as of her beauty and style, and this site is intended to honor all of these aspects of this astonishing woman and actress, as well as to be a repository for otherwise-scattered information.

Joan Crawford's contributions to film, and to the entertainment world and pop culture in general, have been immense, and her personal story inspiring. I'm proud to be able to make this small contribution in recognition of her talent and legacy.

What I wrote 10 years ago at the conclusion of the Joan biography on this site expands a bit on why she continues to fascinate both me and, perhaps, the rest of the world:

Whatever the path that leads to the discovery of Joan's body of film work, Cukor was right: Joan Crawford will never die. Obviously, celluloid and the VHS and DVD have in themselves already granted immortality to certain films and their stars. And the media certainly have been fascinated by Joan Crawford for the past 80-odd years. But that's either a cold, "officially historical" kind of permanence (in the former case) or an ephemeral, arbitrary focus of the spotlight (in the latter case). Crawford's own immortality has been achieved, and will continue to be achieved, on an individual and personal level, as it has been since her film debut in 1925---every time a viewer has gotten, or will get, a jolt from Dangerous Diana's exuberant Charleston, or Vienna's eyes blazing as she stands atop that staircase, or Lane Bellamy's death-wrestle with Titus Semple, or Myra Hudson's nerve-wracking wait in the closet, or Flaemmchen's freshness and verve, or Helen Wright's lushly gorgeous angst, or Sadie Thompson's indignant anger, or Crystal Allen's bitchy audacity, or Janie Barlow's naive spunk, or Blanche Hudson's masochistic ordeal...

A single initial jolt of emotional recognition, of connection. Followed later, perhaps, by sheer admiration not only for the woman's artistry, but also for her intense struggle for expression and survival in a world that counted her out on numerous occasions.

A bow to a brave, audacious soul. Joan Crawford lives.

She does indeed.

In closing: A huge heart-felt THANK YOU to all of the readers of this site who have taken the time over the past decade to send in their Joan facts, photos, articles, remembrances, and reviews. This site would be a much, much lesser place without all of your contributions. I am deeply grateful for all of your help.

Thanks also to all of the fellow Joan fans that I've met over the years in both New York City (from 2006 to 2010, during my visits to her Ferncliff crypt and at various showings of her movies at the Chelsea, as well as some random sightseeing ventures! Special shout-out to NYC's John for squiring me around town one evening from the Rainbow Room to a Chelsea drag club, and to Jersey's Mike O'Hanlon for driving me out to Ferncliff!), and in San Francisco (2006, at Ann Blyth's hosting of "Mildred Pierce" at the Castro). As I wrote 10 years ago on the "About" page of this site:

Before, my friends had been merely tolerant of my Crawford obsession, but when I got online I discovered that there were other people just like me out there who really looooved her! (It's always a happy day when you find you're no longer "merely tolerated"!

Here's to worldwide Joan Aficionados (aka "Joanuts") -- past, present, and future. May this site continue to honor the Joan Crawford legacy, satisfying long-time fans and gaining converts, for decades to come.

Yours in Joan,


Stephanie Jones

Austin, Texas

March 23, 2014


If you've enjoyed this site for the past 10 years... Please consider donating to help with its upkeep.








If your city, group, or self is presenting a Joan Crawford-related event in the
coming weeks or months, please
e-mail me so I can post the info below.



New York City: November 5, 2014 - January 3, 2015. Lypsinka's "The Trilogy" includes Lyp as Joan in "The Passion of The Crawford" for 20 performances at the Connelly Theater.





 Let me know if you have updates to add here.


March 4, 2014. Montana Moon, Our Blushing Brides, I Live My Life, The Last of Mrs. Cheyney, and The Bride Wore Red on DVD from Warner Archives.

May 6, 2014. The Women on Blu-ray. Order from Warner Bros. or Amazon.




March 2006: Ferncliff Mausoleum and Flower Photos

July 2006: Ann Blyth at the Castro

May 2007: Ferncliff Mausoleum and Flower Photos

March 2008: Ferncliff Mausoleum and Flower Photos

March / May 2009: Ferncliff Flower Photos


Visitors to this page since the site's debut on March 23, 2004:

 "The dogs bark, but the caravan moves on."