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Sex and the City

Orphaning Carrie Killed And Just Like That

02/17/2022 by leah@carygrantwonteatyou.com Leave a Comment

Sex and the City had this odd way of pretending its heroines were parentless. Sure, there was a reference or two, and that lovely episode about Miranda dealing with her mother’s death. But overall, the show just pretended the women had no moms or dads. For six seasons and two movies, the lack of parents enabled the show to stick with sunnier, lighter fare, favoring romance over family drama.

And then the reboot came, presenting the show’s writers with a conundrum: how do you talk about women in their fifties—especially childfree ones—without dealing with aging parents?

Unfortunately, the writers’ solution was to conflate the fifties and eighties, giving the ladies hip replacements and their husbands hearing issues and farmers’-market-forgetfulness. Even the elderly parents of the new characters are pressuring their kids to get married or use their time differently—in other words, things parents of 30-year-olds do.

And how grim these writers make aging seem! Look how much more measured—and funny—Grace and Frankie is in tackling the same ground—and for much older women.

What Carrie, Miranda, and Charlotte would really be doing if they were in their fifties is worrying about their parents’ minds, limbs, and ailments. And for those of us who have been living with the slow-burn terror that our parents will catch COVID—or grieving the loss of those who died of it—the fear of parental aging is what’s keeping us up (not partying neighbors or mysterious dinging sounds). That’s why the erasure of our worry from the experience of 50-year-old women is infuriating in a franchise that used to get us.

What important things this show could have covered about what single, childfree women face in their fifties! What if Carrie’s married siblings with children had expected her to move home to take care of their sick mother or father? How would she have dealt with that as a single woman whom they assumed had time they didn’t?

The parentless state of our heroines also killed so many avenues for humor, like mothers’ attempts to comfort their daughters’ PMS worsening with age by saying, “Don’t worry. You don’t have long to worry about that.” (Just my mom? OK, the cheese stands alone.) Or dads bluffly cheering daughters after bad Bumble dates by saying, “Aren’t you about ready for Our Time? That’s much better.”

Of course, those weren’t the only humorous avenues And Just Like That neglected. Exactly how much did your frugal friend invest in wrinkle cream once she spotted Zoom’s skill for highlighting neck skin sagging? What collection of ring lights has your single buddy amassed to ensure she looks young for those selfies of her breasts for Hinge dates?

And the thing is, your friends in their 50s will confess these acts openly to strangers. That’s one of the beauties of aging: you don’t care what others think. We are ALL Samantha now. I remember the joy of canceling plans for the first time because I didn’t feel like taking a shower. Or the admission that yes, I was watching Lifetime reruns on a Saturday night, or organizing my earrings instead of going to a party. How much I would have loved Carrie dropping by Miranda’s because the latter couldn’t tear herself away from a marathon binging of Tiger King! (An update on the rabbit episode. LOL.) Remember when Carrie struggled to get her friends together? Now THAT’s a struggle for your 50s.

A podcast for Carrie never made much sense to me either—not for a woman who loves being seen (especially not a 90s-era radio show masquerading as a podcast). What does our former sex columnist think of Love Is Blind? Or 90-Day Fiancé? What if she hosted some cheesy reality dating show, like Love Island? That could have been so funny, unlike Che’s humorless standup.

And what silly notions about being woke these AJLT writers have! Is this an after-school special from 1985? What women in their fifties are suddenly realizing they have no non-white friends? I know these characters aren’t as reflective as they could be, but I do believe they have eyes.

What would these women be facing? Well, these characters might be worrying about terminology they use when it comes to race, ethnicity, and gender. Miranda would not have blundered as much as she did in class. But I could see her using a term from five years ago. Or Charlotte, Carrie, or Miranda could be chided by BIPOC friends for a clueless privilege moment. If AJLT wanted to address race in a more organic way, why not have Lily recovering from the trauma of the racism she dealt with during COVID, or Charlotte appalled by other parents fighting critical race theory?

(About midway through the series, I began to wonder whether Michael Patrick King was paying us all back for calling Carrie an unlikeable narcissist by making Charlotte and Miranda so much worse. Why else reinvent history, and make Carrie suddenly the most tolerant and understanding of the bunch? You think Miranda should have been the star? he might have said. I’ll show you…..)

I was, of course, happy to see Miranda, who is played by a public-school advocate, re-inventing her life to do something she found meaningful. That’s what women in their 50s do: Try to find new purpose in their lives. But AJLT had her dump that idealism to play fangirl to a bad comic (how like Carrie that decision was). Che was a missed opportunity, of course. I would have liked Carrie recognizing in Che’s struggles some similarities between what she had dealt with in feeling isolated as a single woman. Their experiences would never be quite the same. But empathy is born of comparison. Carrie didn’t have to fully get it. But she could have begun….

I didn’t expect much of the reboot, I admit, despite my love for Sex and the City. The movies, after all, had already done damage. Samantha’s absence, I knew, would do more. Still, I didn’t expect to be this disappointed. I’m younger than these women, but they always echoed some measure of my experience—and some measure of my future.

Until now.

Parents couldn’t have saved And Just Like That entirely. But it would have been a start.

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Posted in: 1990-current films, Anti-Romance films, Childfree, Comedies (film), Feminism, Humor, Romantic Comedies (film), TV & Pop Culture Tagged: And Just Like That, childfree women, middle-aged women and TV, Sex and the City

Mad Men Meets Sex and the City: The Best of Everything

06/28/2015 by leah@carygrantwonteatyou.com 16 Comments

Baker-BestofEverything
This post is part of the Modern Era portion of the Classic Movie History Project Blogathon, sponsored by Aurora of Once Upon A Screen, Ruth of Silver Screenings and Fritzi of Movies, Silently. Previous days are covered here: Silent Era and Golden Age. Thanks to Flicker Alley for sponsoring and promoting this event.

Ever since Mad Men ended, I’ve been wondering about Peggy’s real-life equivalents, from the woman who coined “A Diamond Is Forever,” to those who paid a far greater cost for their romantic missteps than Peggy did. I’ve been curious about ’50s and ’60s movie versions of the career girl as well. Films covered single women in the city from the silent era on, but naturally, I viewed the movie based on the book Don Draper was reading at the start of the show, Rona Jaffe’s The Best of Everything.

Jaffe is an interesting figure in herself; her characters are based on her own experience in publishing, and her friends within it. She earnestly explained to Hugh Hefner (what a choice!) that her goal in writing the book was to normalize and destigmatize the experience of those girls who felt ashamed and alone in their mistakes: their dalliances with married men, the children they bore (or didn’t) as a result.

The controversial film version (1959) quickly lands us in the center of the action in a publishing company, and I was instantly hooked by the drama: the boss (Brian Aherne) who casually pinches his workers’ rears, the secretaries trying to balance social lives and unreasonable work demands, the crowded shared apartments and crammed lunch spots. (The film is given props for fashion, and deserves it. It’s a visual feast throughout.) Right away, we get a sense of what women had to put up with just to get paid, and not well.

First day on the job

First day on the job

Newcomer to  the city Caroline (Hope Lange) rooms with coworkers Gregg (supermodel Suzy Parker) and April (Diane Baker) in a miniscule apartment, and the three instantly become tight friends despite having little in common: Gregg is the adventurous bombshell/aspiring actress, April the innocent, and Caroline, the sophisticate who is trying out work until her fiancé returns to the U.S. and marries her.

Single roommates in the city

Single roommates celebrating

Caroline and Gregg talk about lovers with April

Caroline and Gregg talk about lovers with April

The three unite in hatred of Amanda Farrow, the harsh editor who has chosen success over marriage, and scorns the secretaries who didn’t have to go through as much as she did to advance.

JoanCrawford-Farrow
She has a smidgen of Miranda Priestly of The Devil Wears Prada in her, but there’s pathos and empathy to Farrow too. She may fail to support her many secretaries’ ambitions, but she tries to save them from her romantic fate, from awful men. And The Best of Everything is full of them.

The Sex and the City ladies might have faced a lot of freaks, but at least they had some personality; the men of The Best of Everything are as interchangeable as the vice presidents in American Psycho. A recent play of the book even used cardboard cutouts of men to emphasize the point.

What’s puzzling is what these interesting women see in these duds. Effervescent April (Baker) falls for a guy who is so obviously a sleaze he might as well be wearing a signboard to announce it. Hope’s fiancé announces he’s married a rich girl instead of her—over the phone—and then expects her to sleep with him afterward. And get this: dazzling Gregg (Parker) falls so hard for a director (Louis Jourdan) that she goes into a crazy, stalking tailspin when he dumps her. (Yes, nothing inspires sexual obsession so much as heartthrob Gigi‘s Gaston. What??)

JourdanBestofEverything
Since the men are so patently lacking in any redeeming qualities but sleep inducement, the film’s attention to them rather than the workplace and roommate dynamics is disappointing, as the latter, when they’re the focus, are well developed and fascinating. Caroline advances quickly to the rung above secretary (a reader), but is accused by an alcoholic friend, Mike (Stephen Boyd), of faux ambition, just to avoid her romantic life (by the way, this is the love interest we’re rooting for).

Ambitions attacked

Ambitions attacked

Yet between the romantic interludes (and their sad repercussions) are intriguing signs of the second wave of feminism to come: Farrow (Crawford) leaves the marriage she impulsively makes with an old flame, returning to work, and we have the sense that she’s better for it. Caroline is promoted again. Abortion is presented as the fault of men who are careless with the hearts (and bodies) of naïve women—not the deserved end for loose ones. Female solidarity* prevails throughout, as when one of our heroines slaps a faithless boyfriend of the other. (*In one brief, funny exception, the secretaries all try to pass off work on one another.) The workplace even has moments of startling modernity, as with the hilariously painful bonding “picnic,” with its forced fun and workers getting drunk in self-defense. There’s enough worth watching in the film, in short, to get viewers through the unearned suds of these worthless romances.

Single women have fled to New York for all kinds of reasons, in all kinds of ages: post-Civil War belles, without men or funds; rural women leaving farms for factories; aspiring starlets, hoping for a berth at the glamour-girl dorm, The Barbizon Hotel (an upscale Footlights Club, a la Stage Door). These women certainly didn’t find the “best of everything.” But they still managed to live out enough of the excitement of the big city to keep other women coming, to keep dreamers hankering for if not the best of everything, the thrill of aspiring for it.

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Posted in: 1950s films, Blogathons, Drama (film), Feminism, Romance (films) Tagged: city, Joan Crawford, Mad Men, Sex and the City, single girls

3 Classic Anti-Valentine’s Films for Sex and the City Fans

02/13/2014 by leah@carygrantwonteatyou.com 6 Comments

Single or attached, I’ve always loathed Valentine’s Day. When single, I’ve wondered why our couples-obsessed culture needs a day devoted to twosomes. When attached, I’ve pondered why I should celebrate en masse what’s supposed to be intimate. Therefore, my three recs today are for those who share my distaste for the day:

Female Bonding: Stage Door
For those who’d rather split a few bottles of wine with pals than brave pink-and-red-bedecked nightclubs this Friday, I recommend Stage Door, a film centered on women who live in an all-female boarding house as they try to make their big breaks on the stage.

The heroines’ choice to remain single (and have casual boyfriends only) is celebrated rather than reviled by the film. If anything, the film mocks marriage. But don’t just view Stage Door (1937) for its politics; watch it to see the phenomenal cast interact: Ginger Rogers, Katharine Hepburn, Lucille Ball, Eve Arden. (The latter you may recognize as the principal in Grease; in her youth, she was always the smart-talking sidekick.)

Rogers, Arden, Ball, and Hepburn

Rogers, Arden, Ball, and Hepburn

The dialogue is so slick and cynical and quick that you’ll have a hard time keeping up with the one-liners, as when wealthy Terry’s (Katharine Hepburn’s) haughty tone annoys her impoverished fellow residents. Jean (Ginger Rogers) is not one to let an insult slide. When Terry snootily states, “Unfortunately, I learned to speak English correctly,” Jean fires back, “That won’t be of much use to you here. We all talk pig Latin.”

While the more famous classic movie about female friendships, The Women (1939), favors marriage with unfaithful partners over relationships with backbiting friends, this feminist flick celebrates the humor and loyalty between single women. In fact, I would argue that Stage Door’s women are in some ways more liberated than those in Sex and the City. Watch and see if you agree.

More of a feminist: Jean Maitland or Carrie Bradshaw? (Ginger Rogers & Sarah Jessica Parker)

More of a feminist: Jean or Carrie?


Revenge as Art:  Gilda
I enjoyed Samantha Jones’s (Kim Cattrall’s) revenge on boyfriend Richard Wright for his infidelity in Sex and the City: the dirty martini in his face, the papering of the city with posters describing his behavior.

Samantha in revenge mode

Samantha in revenge mode

But this kind of takedown is kitten play compared to the work of Rita Hayworth in Gilda.

Gilda, who calls herself the "Bar Nothing," and her spiritual descendant, Samantha Jones

Gilda, the “Bar Nothing,” and her spiritual descendant, Sam

Like Samantha, Gilda (Hayworth) is in full command of her sexuality; it’s not difficult to discover why this WW II pinup was dubbed “The Love Goddess.” But her treatment of her ex, Johnny, is far more ruthless than her modern counterpart’s. First, she marries Johnny’s boss; then, she flaunts her affairs with other men to torment him further.

Gilda (Hayworth) torturing her ex

Gilda (Hayworth) torturing her ex

Gilda is so skillful a manipulator that you root for her to get what she wants, even if the ex she desires is no prize (and no mean manipulator himself).

Here’s an anti-Valentine’s Day conversation if ever there were one:

Gilda: “Would it interest you to know how much I hate you, Johnny?”
Johnny: “Very much.”
Gilda: “I hate you so much I would destroy myself to take you down with me.”

I think Samantha would be impressed.

Exploiting Men: Baby Face
In an early episode of Sex and the City, “The Power of Female Sex,” Carrie’s fling has left a tip on her bedside table and she’s feeling ill at ease with the implications. The four friends discuss whether it’s ever acceptable to use your sexuality to get ahead. Barbara Stanwyck’s character in Baby Face (1933) has no such qualms: She leaves her hometown for NYC with the aim of doing just that.

The shocks accumulate quickly as you watch Baby Face: Lily’s (Stanwyck’s) father has been prostituting her since she was fourteen. A grandfatherly figure in her dad’s speakeasy recommends she leave home to sexually exploit men for personal gain, quoting Nietzsche to back his case.  Once in New York, Lily takes quick steps to follow his advice, seducing the HR assistant in a bank to get a job, and then sleeping her way floor by floor to the top. (The camera helpfully pans up to highlight each floor as she ascends.)

Lily (Stanwyck) on the make

Lily (Stanwyck) on the make

You might expect the movie to make the heroine suffer for her behavior, given the date of this film, but she is unmoved by the heartbreak and eventual tragedy she leaves in her wake (among her victims is a smitten John Wayne). Men have used her all her life. Lily figures it’s her turn, and the film clearly sympathizes with her reasoning. She calmly goes about her business of seducing men, accumulating jewels and bonds, and sharing her successes with her best friend, Chico (Theresa Harris).

Chico and Lily admiring another woman’s wealth before Lily starts to advance

Chico and Lily scheming

Here’s a typical exchange with a discarded lover who stops by Lily’s apartment:

Ex-Lover: “It’s been brutal not seeing you.”
Lily: “Yeah, well you better get used to it.”

When he returns and offers marriage, Lily answers, “So you want to marry me, huh? Isn’t that beautiful. Get out of here….”

Lily's reaction to a marriage proposal from a discarded lover

Lily’s reaction to a marriage proposal from a discarded lover

This is a strange film with a number of flaws, but you won’t care; it’s too much fun to watch this predator in action. (Be sure to watch the pre-release version; it’s much better.)

What are your favorite anti-Valentine’s films?

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Posted in: 1930s films, 1940s films, Anti-Romance films, Comedies (film), Drama (film), Feminism, Film Noir/Crime/Thriller & Mystery, Humor, TV & Pop Culture Tagged: Carrie Bradshaw, Gilda, Samantha Jones, Sarah Jessica Parker, Sex and the City, Stage Door

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