Showing posts with label Joan Harrison. Show all posts
Showing posts with label Joan Harrison. Show all posts

Wednesday, July 15, 2020

Phantom Lady: Hollywood Producer Joan Harrison, The Forgotten Woman Behind Hitchcock by Christina Lane


Phantom Lady
Hollywood Producer Joan Harrison
The Forgotten Woman Behind Hitchcock
by Christina Lane
Chicago Review Press
Hardcover ISBN: 9781613733844
400 pages
February 2020

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"Alfred Hitchcock would not have become 'Hitchcock' without her." — Christina Lane

I first learned of Joan Harrison when I saw her name pop up in the title credits for The Alfred Hitchcock Hour television show. I was deep into my binge watch of that series when I noticed that Harrison was replaced by Norman Lloyd as executive producer. It was only when I read Christina Lane's excellent biography Phantom Lady: Hollywood Producer Joan Harrison, The Forgotten Woman Behind Hitchcock that I learned why Harrison left the show. While Harrison had been fully involved in the original series Alfred Hitchcock Presents, she was less enthused with the new format coupled the pressure to find original stories that would work for the hour long presentation. According to Lane, Harrison "was a woman who liked to be in control." If she didn't feel the work was suited to the best of her abilities or that she could do better elsewhere she removed herself and moved on. This is a woman I needed to learn more about.

Christina Lane's biography offers readers a portrait of a headstrong woman with a passion for both storytelling and the business of movie making. Harrison refused to take the path set for her as a woman. She wanted more and she was determined to get it. Harrison got her start in the business when she answered Alfred Hitchcock's want ad for a personal assistant/secretary. She was a terrific writer, editor and visionary and she quickly rose in ranks to writer and eventually to producer. According to Lane, Harrison "championed women's stories and alternative narrative methods." She believed that films should have complex and dynamic female characters. Highly collaborative, she oversaw continuity of story and vision and had a hand in procuring stories as well as launching writer's careers. Harrison helped groom Jane Greer for her career at RKO (but quickly left when Harrison saw Hughes was bad news) and was instrumental in Robert Mongtomery's career at Universal. She was nominated for two Oscars in the same year, for best adapted screenplay for Rebecca (1940) and best original screenplay for Foreign Correspondent (1940). I admire the fact that Harrison felt strongly against the blacklist and when she transitioned to television work, producing shows like Janet Dean, Registered Nurse and the two Alfred Hitchcock anthology series, she used the opportunity to help blacklisted talent get back to work.




“She was realizing that the women’s angle -- the persistent search for filmic ways to penetrate the mind of a sympathetic female character -- was her greatest motivation.”— Christina Lane

Phantom Lady is an exquisitely written and thoroughly researched biography of an extraordinary woman. Author Christina Lane is an associate professor of film studies at the University of Miami and writer. Lane offers readers tons of interesting information, beautifully crafted sentences and thoughtful observations. There are extensive interviews with surviving members of Lane's circle of friends and colleagues including living legend Norman Lloyd. Films discussed include: Rebecca (1940), Foreign Correspondent (1940), Suspicion (1940) (lots of information about that darned ending!), Phantom Lady (1944), Nocturne (1946), Ride the Pink Horse (1947), Once More, My Darling (1949), etc. There are plenty of spoilers so if you're not familiar with the film plots you may want to skip ahead a paragraph or two when the synopsis is discussed in the text. There is quite a bit of information about Harrison's love life which may or may not be interesting to the reader. Lane offers juicy tidbits while being careful not to cross over into the territory of salaciousness.

I'm particularly interested in learning more about people behind the scenes of film making, beyond actors and directors. The role a producer is not fully understood or appreciated by many and there was much to learn from here through Harrison's involvement in various projects. Lane does an excellent job deciphering what Harrison's contributions as a screenwriter and producer would have been based on research but also educated guesses where information was lacking.

A truly enlightening and empowering read. Highly recommended!

Thank you to Chicago Review Press for a copy of Phantom Lady for review.



This is my first review for my Summer Reading Challenge.


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