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Pictures of Crawford were used in the album artwork of The Rolling Stones' album Exile on Main St. (1972). [161] Four years after her death, Blue Öyster Cult released the song "Joan Crawford" as part of their album Fire of Unknown Origin (1981). Crawford was portrayed by actress Barrie Youngfellow in the 1980 film The Scarlett O'Hara War.
MGM remade the story in 1941 as When Ladies Meet, this time starring Joan Crawford, Greer Garson, Robert Taylor, and Herbert Marshall. The cast initially saw Kay Francis play Claire and Harding as Mary before Francis was replaced by Loy and Harding settled on the role of the long-suffering wife.
Within one year, beginning in 1942, Mayer released his five highest-paid actresses from their MGM contracts: Joan Crawford, Greta Garbo, Myrna Loy, Jeanette MacDonald and Norma Shearer. After being labeled "box office poison", Crawford's MGM contract was terminated and she moved to Warner Brothers, where her career took a dramatic upturn. Garbo ...
Torch Song is a 1953 American Technicolor musical drama film distributed by Metro-Goldwyn-Mayer and starring Joan Crawford and Michael Wilding in a story about a Broadway star and her blind rehearsal pianist.
In 1953, Crawford starred in the musical Torch Song, her final film role for MGM. Her next film, Johnny Guitar (1954), although not originally a hit, has become considered a classic. During the latter half of the 1950s, Crawford starred in a series of B-movies , including romantic dramas Female on the Beach (1955) and Autumn Leaves (1956).
Tinseltown icons Lucille Ball and Joan Crawford each left their indelible mark in their given sector of the Hollywood realm. But when they came together in an episode of Ball's sitcom, The Lucy ...
Dancing Lady is a 1933 American pre-Code musical film starring Joan Crawford and Clark Gable, and ... According to MGM records the film earned $1,490,000 in the US ...
The Unknown (1927), Joan Crawford as Nanon. Based on a story by director Tod Browning and a scenario by Waldemar Young, this tale of sexual obsession involving physical and emotional disfigurement unfolds in a circus setting—a setting that comports with Browning’s penchant for “the lower forms of spectacle and theatrical performance.” [29]