Ginger Rogers made this film at Paramount just before she did BLACK WIDOW at Fox. In both productions she's an aging actress struggling to stay on top. In BLACK WIDOW she commits murder, but in FOREVER FEMALE she doesn't resort to such drastic measures. Of course, she is still deeply in denial, unable to face the facts that she can no longer convincingly play ingenue roles.
Because FOREVER FEMALE is a romantic comedy, there are plenty of amusing and sincere moments. The best relationship in the story is the one between Miss Rogers' theatrical character and her producer slash ex-husband (Paul Douglas). They're still connected to each other, and he still owes her thousands in unpaid alimony, which is a running joke in the movie.
At the same time Rogers develops a relationship with a rising playwright (William Holden). His new play is good enough for Douglas to produce, though it needs a bit of polishing. More importantly, it could be Rogers' next triumph on Broadway. While things turn romantic between Rogers and Holden, to the consternation of Douglas, another character pops up.
It is an aspiring actress (Pat Crowley) who gains work as Holden's typist. She thinks she should have the lead in the new play, not Rogers- who is clearly too old to be playing 19 or even 29.
The other relationship that we see in the story is the one that Rogers has with her adoring public (shades of Tallulah here). She is constantly on the go, always playing to others, but secretly wanting to be more down to the earth and acting her own age. The way she comes across is commented on by everyone else, including an assortment of local NYC theater types who add flavor to the proceedings- played by Marjorie Rambeau, James Gleason, Marion Ross, Jesse White and George Reeves.
But key to the story is the way Rogers' behavior affects Holden as a writer. In a way Holden covered some of this in his earlier film for the studio, SUNSET BOULEVARD. In that production, Gloria Swanson was the over-the-hill star, with Holden ensnared in her grandiose plans for a comeback. Since Rogers doesn't chew the scenery as much as Swanson, this is a more relatable story about growing older and it is grounded in reality.
Supposedly Miss Crowley's part was intended for Audrey Hepburn, who had just scored a hit with ROMAN HOLIDAY. But Miss Hepburn was unavailable (she would team up with Holden a year later in SABRINA). So a talent search was conducted that led to Paramount discovering Crowley. While Crowley is certainly above average and does a nice job, I think Hepburn's inimitable charm would have worked better. Mostly because the neophyte actress role is intended to come across as annoying in spots, and Hepburn would probably have made her more likable than Crowley does.
The story's resolution is not very surprising. The older actress must concede her moment in the sun is over and graciously relinquishes the main role in the play to the newbie. This is a kinder version of ALL ABOUT EVE. She also decides to give up the hunky author and remarry her ex-husband.
But what makes FOREVER FEMALE forever good is the truthful performance that Ginger Rogers provides. It becomes a semi-autobiographical "workshop" where she is able to confront her own aging in an industry that values youth. She wisely turns it into a winning character part, while still retaining her status as the star.
Because FOREVER FEMALE is a romantic comedy, there are plenty of amusing and sincere moments. The best relationship in the story is the one between Miss Rogers' theatrical character and her producer slash ex-husband (Paul Douglas). They're still connected to each other, and he still owes her thousands in unpaid alimony, which is a running joke in the movie.
At the same time Rogers develops a relationship with a rising playwright (William Holden). His new play is good enough for Douglas to produce, though it needs a bit of polishing. More importantly, it could be Rogers' next triumph on Broadway. While things turn romantic between Rogers and Holden, to the consternation of Douglas, another character pops up.
It is an aspiring actress (Pat Crowley) who gains work as Holden's typist. She thinks she should have the lead in the new play, not Rogers- who is clearly too old to be playing 19 or even 29.
The other relationship that we see in the story is the one that Rogers has with her adoring public (shades of Tallulah here). She is constantly on the go, always playing to others, but secretly wanting to be more down to the earth and acting her own age. The way she comes across is commented on by everyone else, including an assortment of local NYC theater types who add flavor to the proceedings- played by Marjorie Rambeau, James Gleason, Marion Ross, Jesse White and George Reeves.
But key to the story is the way Rogers' behavior affects Holden as a writer. In a way Holden covered some of this in his earlier film for the studio, SUNSET BOULEVARD. In that production, Gloria Swanson was the over-the-hill star, with Holden ensnared in her grandiose plans for a comeback. Since Rogers doesn't chew the scenery as much as Swanson, this is a more relatable story about growing older and it is grounded in reality.
Supposedly Miss Crowley's part was intended for Audrey Hepburn, who had just scored a hit with ROMAN HOLIDAY. But Miss Hepburn was unavailable (she would team up with Holden a year later in SABRINA). So a talent search was conducted that led to Paramount discovering Crowley. While Crowley is certainly above average and does a nice job, I think Hepburn's inimitable charm would have worked better. Mostly because the neophyte actress role is intended to come across as annoying in spots, and Hepburn would probably have made her more likable than Crowley does.
The story's resolution is not very surprising. The older actress must concede her moment in the sun is over and graciously relinquishes the main role in the play to the newbie. This is a kinder version of ALL ABOUT EVE. She also decides to give up the hunky author and remarry her ex-husband.
But what makes FOREVER FEMALE forever good is the truthful performance that Ginger Rogers provides. It becomes a semi-autobiographical "workshop" where she is able to confront her own aging in an industry that values youth. She wisely turns it into a winning character part, while still retaining her status as the star.