bring on the girls--my favorite womens films

the mother of women in prison films. eleanor parker is a marvel as marie allen in her slide from hapless innocent to hardened inmate on the make. she gets solid support from agnes moorhead, hope emerson and betty garde. also featured are great character turns from queenie smith, jan sterling, lee patrick, gertrude michael, olive deering and ellen corby.

the remake has its points but still pales against the glittery 1939 version of luce's 1936 comedy of manners. of course, even this adaptation makes nicey-nice with some characters but its to the advantage of the actresses. especially rosalind russell, who steals the film as sylvia.

this film is an antidote to 1939's the women. it's a story of eight vassar graduates and their clashes with society as they try to embody the ideal of the 'modern woman'. some are cowed, other meet a tragic end and some choose to live a life on the margin of society. which is which? watch the movie and find out!

1937's 'stage door' was a comeback of sorts for hepburn. she was in a lull and her turn as arrogant society girl turned broadway star was a feather in her cap. she is matched moment for moment by ginger rogers as a saucy chorus girl and fellow resident in a boarding house on broadway.

cate blanchett always blows me away. a lot of people don't agree with kapur's romantic take on elizabeth's life and reign of england but this film and the first are both sumptuous showcases for blanchett's incredible skill as an actress.

blanchett and judi dench give the performances of the 2006 year in this melodrama about a repressed teacher's obsession for a colleague and its tragic outcome.

audrey hepburn gives the performance of her career as headstrong nun sister luke. peter finch proves a formidable match for her as a doctor that challenges her belief in her faith.

bette davis and miriam hopkins are brilliant in this tale of love denied and jealousy. it is beautifully produced and all the elements from the score of max steiner, the camera work, the stunning costumes by orry-kelly and many others is top-notch.

this is not a good film. but maggie gyllenhaal's performance as an addict that is struggling to gain control of her life and soul is the most bare, raw performance since jane fonda's work in 'klute'.

diane keaton has never done it for me as a comedienne. but when she has the right project, she is a compelling actress. this performance is one of the best on film in america. period. she has yet to match it because everyone sees her as a dippy new yorker type.

lupino is great as the devious, aggressove helen chernin, a woman that will not stop until her baby sister kitty (joan leslie) is a stage star.