Cover image for Vixens, floozies, and molls : 28 actresses of late 1920s and 1930s Hollywood
Vixens, floozies, and molls : 28 actresses of late 1920s and 1930s Hollywood
Wollstein, Hans J.
Personal Author:
Publication Information:
Jefferson, N.C. : McFarland & Co., [1999]

Physical Description:
viii, 274 pages : illustrations ; 26 cm
Hollywood's other women -- Olga Baclanova -- Binnie Barnes -- Evelyn Brent -- Dorothy Burgess -- Juliette Compton -- Katherine DeMille -- Claire Dodd -- Mary Duncan -- Josephine Dunn -- Noel Francis -- Wynne Gibson -- Bernadene Hayes -- Beulah Hutton -- Rita La Roy -- Nina Mae McKinney -- Sari Maritza -- Natalie Moorhead -- Esther Muir -- Ona Munson -- Vivienne Osborne -- Gail Patrick -- Dorothy Revier -- Gale Sondergaard -- Lilyan Tashman -- Verree Teasdale -- Helen Vinson -- Thelma White -- Anna May Wong.
Format :


Call Number
Material Type
Home Location
Item Holds
PN1998.2 .W655 1999 Adult Non-Fiction Non-Fiction Area

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They were the high-pitched, hard-boiled blondes with legs that had to be continued on the next page, the brunettes from exotic climes who clawed their way almost to the top, the redheads who flamed out in the last reel. They were very good at being very bad. In fact, one of them won an Academy Award on her first try. Wollstein, writing from his per

Reviews 2

Booklist Review

Similar in arrangement to such recent McFarland publications as Women in Horror Films, 1930s and Women in Horror Films, 1940s [both RBB My 1 99], this volume profiles 28 of Hollywood's "other women," including Esther Muir, femme fatale of A Day at the Races, and Ona Munson, remembered best for her role as Belle Watling in Gone with the Wind.

Choice Review

Like Gregory Mank's glossy volumes (Women in Horror Films, 1930s and Women in Horror Films, 1940s, both CH, May'99), Wollstein's aptly titled book dresses up secondary actresses from the early sound era. Wollstein introduces the reader to 28 women in a forgotten sorority of proverbial bad girls and femme fatales and places each B-movie actress--for example, the sultry Evelyn Brent (Underworld, 1927)--on a pedestal for a brief, shining chapter of glory. The book seeks to answer the question, "Who was that snappy dame?" It does so by sketching biographical silhouette portraits, lively descriptions that impress like antique cameos. Stories about actresses like Katherine DeMille (usually cast as a wild vixen), the exotic Anna May Wong, or the menacing Gale Sondergaard (predatory foil to Bob Hope in My Favorite Blonde, 1942) center around their various film roles. Each section gently spills a collection of facts, photographs, and filmographies. Though only adequate, the bibliography invites more rigorous research. A friendly, easy, and enjoyable introduction to second-fiddle sassy feminine icons of temptation, seduction, and danger, this title is recommended for all extensive collections supporting film studies. T. Lindvall Regent University