And when a Black Becky Jane shows up in person, her resume just might be joining them. Your email address will not be published. Connect with us. In this article: Raven-Symone , the view. Click to comment. Leave a Reply Cancel reply Your email address will not be published.
Mayer and Dore Schary demanded she honor her contract with the studio. Howard Keel , Cary Grant , George Murphy , and James Mason were among those considered for the role of Steve Harleigh, which eventually went to Wendell Corey , who worked on the production through mid-February but then allegedly asked to be released from the film because he felt he wasn't right for the role.
Other sources claimed he was dismissed at the request of Turner and director George Cukor following an argument between the two stars supposedly Corey, after an inadvertent wardrobe delay by Turner, made a remark that Barbara Stanwyck , whose husband Robert Taylor was reportedly having an affair with Turner, wouldn't have kept everyone waiting; Turner then demanded a casting change.
He was replaced by Ray Milland. The film's original ending had Lily leaping to her death, but the studio insisted on a happier finale. Cukor disapproved of the studio's interference and was unhappy with the film as it was released.
Variety observed, "The soap opera plotting has been polished to considerable extent, the playing by the femme cast members is topnotch and the direction aids them, but it is still a true confession type of yarn concerned with a big city romance between a married man and a beautiful model.
Script is spotted with feeling and character, and also a lot of conversation that doesn't mean much. A decided asset is Lana Turner's performance. As revealed in the liner notes of the Film Score Monthly release of the music from the film, the main theme for this film would be reused by the composer in the MGM film Invitation.
From Wikipedia, the free encyclopedia. A Life of Her Own Theatrical poster. January 3, Later I began to see that I was writing about the relationship between the powerful and the powerless. Firstly there is the story that centres on the mother who has collapsed herself into the colonial matrix and necessarily, therefore, figures the imposition of mother-country rule.
This mother she must deny. Secondly there is the mother who is doubly subjugated, as colonial subject and woman, but who, paradoxically, possesses in reality a power that the imperial, colonialist, political structures cannot accommodate. She never confuses this with weakness, even if she herself cannot go this way.
Daughters do have options. They can fall into the near identity with their mothers that provides the most complete figure of colonial rule and the surest demonstration of its efficient power.
Labour leader humiliated after bricklaying student he posed beside for Yet this claim does seem to me to find a measure of support in the work of a writer like Kincaid. The Beckhams, Taylor Swift and 50 Cent have also sought legal means to stop the misuse of their names. She befriends former top model Mary Ashlon Ann Dvorak , who becomes her mentor. Pseudonyms and acronyms are often employed in medical research to protect subjects' identities through a process known as de-identification.
They can discover their necessary difference, which also gives narrative extension to the allegorical text of the nation state; Kincaid refers to herself as an expatriate, presents her departure for America as an exile. More strikingly, however, it is the self division and ambivalence into which the colonized is driven to which her work bears witness.
To live in America is to sever herself from historical continuity; in interviews she has declared herself "nobody. Within the life of an English person there was always clarity I am illegitimate, I am ambiguous. In some way I actually claim the right to ambiguity, and the right to clarity.
To write, especially to write the fissured text of autobiographical fiction, may be taken as a canny response to the imposition of colonial demands, just as slave narratives, according to Henry Louis Gates, effect for their narrators "self-transformation into subjects.
"During the fur-trapping era of the early s, with two rambunctious young sons to raise, Marie Dorion refuses to be left behind in St. Louis when her husband heads west. A Name of Her Own book. Read reviews from the world's largest community for readers. Based on the life of Marie Dorion, the first mother to cross the.
On the face of it, fiction in English written in the ex-colonies of the Caribbean looks an all too probably candidate for typification as the work of "colonial mimicry. She is equally clear that this literature was taught her not out of any concern for her education, but to consolidate English "superiority," yet she goes on to free herself sharply from this ideological bind:.
The thing that I knew was English literature. It was not told to me because the English cared for me and wanted to educate me and thought it was a good thing if I had a mind. It was taught to me to reinforce their superiority. But if I have influences, it would be English literature, of the greatest kind, mind you, they really did show us their best in a tantalizing way.
This is backchat put to other purposes. She finds it especially in anger, an anger that has affiliations, but also situates her somehow beyond of categorization.
Mariah is unmarked. The smell of Mariah was pleasant. Just that—pleasant. But then I already knew that I wanted to have a powerful odor and would not care if it gave offense.
What I suggest is that it not only defines "living, really living," it offers the basis for her self invention—a Caribbean aesthetic, however much it may offend her white and, indeed, her black mothers. This is a remarkable moment, but also characteristic, hard-eyed writing; it carves out her preferred identity, but also, in a world where Lucy is surrounded with white images of self-hood, a black semblance. The dream is always there. There is no question that they figure the compound structure of feeling that is imperialism, but there is also no question that there is a very specific Caribbean dimension which posits not empire but social relations that foster exceptional bonding between mothers and daughters.
Fathers are often absent; mothers become both father and mother. Renu Juneja has argued persuasively that, even within the cultural context of colonial society, stereotypes of mothering may well not accommodate black women, who recognise from their own experience a demanding knowledge that they urge upon their daughters, that independence and self-assertion are necessary for survival. She turned toward me, and was no longer my mother—she was a ball of fury, large, like a god. I wondered then, for the millionth time, how it came to be that of all the mothers in the world mine was not an ordinary human being but something from an ancient book.
This knowledge includes an acculturated instinct for cooking; it includes the tradition of oral story telling; it also includes obeah.
And, most certainly, so does the knowledge that men, no more than politicians, are to be trusted. She was a woman whose husband had betrayed her.
I wanted to say this to her: your situation is an everyday thing. Men behave in this way all the time.
The ones who do not behave in this way are the exceptions to the rule. It was expected. Everybody knew that men had no morals, that they do not know how to behave, that they do not know how to treat other people. When Lucy has looked at Mariah with love, Mariah has reminded her of her mother; when Lucy has looked at Mariah with irritation, Mariah has reminded her of her mother.
The woman has too big a voice, if you like, and this matters. Benita Parry, following Bhabha, notes that within the discourse of the colonized this practice makes visible detailed moments of subversion, when "the scenario written by colonialism is given a performance by the native that estranges and undermines the colonialist script. But she proves reluctant to grant them overmuch authority.
Her answer seems to lie in a kind of hybridity, an act of bricolage or quilting that grants to the colonial subject locally differentiated subjectivities that she refuses to rank: narratives and voices that effectively patchwork an individual world.
In this, to my mind, we find a reflex of the display Kincaid herself put on in New York:. Well, I used to dress rather strangely in those days. I would wear a lot of old clothes and sort of looked like people from different periods—someone from the s, someone from the s, and someone form the s.