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| APRIL 23 TUE | |
| THE PATSY | 2:00, 5:15, 8:30* |
| JUNE 4 TUE | |
| SHOW PEOPLE | 2:50, 6:10, 9:30 |
All pre-1930 films are silent.
Live piano accompaniment by STEVE
STERNER
at showtimes followed by an "asterisk" (*)
Marion Davies (1897-1961) is mostly remembered as
the mistress of newspaper tycoon William Randolph Hearst,
whose love for the former chorus girl and Ziegfeld beauty
knew no bounds and who lavished millions to make her a
movie star, a perception that's been almost irretrievably
distorted by the character of Susan Alexander - loosely
based on Davies - in Orson Welles'
Citizen Kane. But, as
Welles pointed out years later, there were few real similarities
between Alexander and Davies.
If both were mistresses of publishing magnates (Hearst's wife wouldn't give him a divorce), Hearst and Davies were a devoted couple who remained together till his death, with Davies dipping into her own fortune when he hit financial storms. Far from being a failed opera singer (that was based on the paramour of an altogether different tycoon), Davies, admittedly backed by the full power of the Hearst pressand empire (even she thought it was overkill), maintained her stardom for over three decades, garnering box office success, her own following, and raves from non-Hearst critics. Off-screen colleagues were unanimous that she was, in the words of Hearst biographer W.A. Swanberg, "a warm and winning personality - fun-loving, joyous, wildly sentimental and generous." (No one ever complained after a weekend at the Hearst/Davies pleasure palace San Simeon.) Twenty-five years after Kane, perhaps carrying the guilt of character assassination, even Orson Welles himself had to admit that Marion Davies was "one of the most delightfully accomplished comediennes in the whole history of the screen...She would have been a movie star if Hearst never happened."
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