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Josie Andrews 412 Midterm ProjectsMain MenuIntroductionThe Ideological Function of Stars: Contradictions and Promises of Individualism.Prompt AnalysisLittle Women (George Cukor 1933)Tomboyism: Negotiating and Celebrating a Strong, Sprited Woman in the Great DepressionSylvia Scarlett (George Cukor, 1936)"Woman of the Year" (George Stevens, 1942)ConclusionBibliographyCATCH ME IF YOU CANThe Contradictions and Promises of Individualism in the Films of Katharine Hepburn 1933-1942Josephine Andrews3a113b8327c230bc7c10dd21f21428c4f7bcd00c
12018-03-09T17:01:44-08:00Little Women Smashes Box Office Records7Little Women Smashes Box Office Recordsplain2018-03-11T17:58:09-07:00 During the Depression, movies were a popular form of escapism, particularly for women, and affordable entertainment for audiences ("Women, Impact of the Great Depression On"). With an Oscar under her belt for Morning Glory, Hepburn’s exuberant performance in Little Women broke Box Office records, with 20,000 people sixteen days after opening storming Radio City Music Hall to try and get a seat. In a two-page RKO promotional piece, Variety Magazine’s December 26, 1933 ad stated: “Christopher Columbus: Show Business Has Never Known Anything Like It.” The advertisement then provides an entire page of touted excited theater operators praising the film as the “largest gross in history,” “crowds have been standing in line all day,” and the film has “given theater operators a real reason … to be thankful.” The November 17, 1933 New York Times review of the film effused excitement for Miss Hepburn’s interpretation of Jo, stating that “She talks rather fast at times, but one feels that Jo did, and after all one does not wish to listen to dialogue in which every word is weighed when the part is acted by a Katharine Hepburn [who] goes darting through this picture without giving one a moment to think of her as other than Jo.”
