Thanks to Turner Classic Movies, I got to see I'll Cry Tomorrow (1955) once again. The film is a great showcase for Susan's loveliness, charisma and unbelievable screen presence. She is simply mesmerizing every second she's on screen. I just couldn't take my eyes off her! She radiates power, sizzles with her wonderfully husky voice, and it's no wonder that she was so popular in the 1950s. There's a sequence towards the end of the movie where she's at an Alcholics Anonymous meeting where she (playing singer Lillian Roth) sings a medley of her hits (all sung for real by Hayward) to her beau and future husband, played by Eddie Albert. The two actors have a great rapport and I wonder how well they got along off screen. Susan is particularly effective when she makes the standard, "Happiness is a Thing Called Joe" her own. She owns that song. Just seeing Hayward again gets me excited about exploring her movies and life once more. She is a 1950s icon worthy of rediscovery by today's classic film lover. She worked with nearly every leading man of the 1940s and 50s, although not Burt Lancaster; that's a pairing I'd love to have seen.
I’m rushing this entry out because I Want to Live! is on Turner Classic Movies this morning, but my Susan Hayward obsession has been building for quite some time. When Jonas Nordin's great post on Lillian Roth went up last month, I knew I had to get my own entry going. Whereas Dana Andrews, the subject of this blog's previous post, was praised for his acting subtlety, Hayward is his stylistic opposite, but oh-so appealing for her brassy, over-the-top performances. Anyone looking for subtlety in a Susan Hayward performance had better look elsewhere!
Susan Hayward (1917-1975) has now entered that rarified company of my other beloved redheads: Myrna Loy and Katharine Hepburn. Loy dazzled me in the 1930s with her Nora Charles sophistication, cool elegance, and unflappable demeanor. While Hepburn’s independence, determination, and keen mind enchanted me in the 1940s (and onward!), Susan Hayward is that 1950s woman that appeals to me because of her penchant for giving her all onscreen. There was a time when I believed that the 1950s was a decade devoid of great actresses and that the Eisenhower era’s film stars could be neatly divided into the empty beauty and the dull, mousy homemaker. The era’s other notable stars, Audrey Hepburn and Elizabeth Taylor were fine actresses, but they didn’t “grab me” like my 1930s & 1940s favorites, and for years they were the exceptions to my “the 1950s were bad for women” phase. So let me officially declare my fascination for Susan Hayward. She’s obviously the right choice, as she possesses everything I like in my favorite 1930s & 1940s dames. Hayward embodied all the great attributes: tough yet vulnerable, a great beauty, at least I think so—I’m uncertain what the consensus is on her looks—her great, husky voice, and she gave her all in every movie she ever did. She toiled in Hollywood for ten years until her breakthrough year of 1947, when she received an Oscar nomination for Smash up: the Story of a Woman. Hayward was a favorite of her peers, receiving five Best Actress nominations from 1947-1958, finally winning for 1958’s I Want to Live! But it was not Hayward’s well-known movies that made me realize she was great. A little puff of fluff from 1957 called Top Secret Affair, co-starring another intensely-burning actor, Kirk Douglas. The two leads are fun to watch and seeing Hayward in a not-so intense mode opened me up to seeing her in her more familiar territory.
However, I wasn't truly sold on All Things Susan Hayward until I got the soundtrack to I’ll Cry Tomorrow. Originally, I bought the score for composer Alex North’s wonderful underscore and despite the presence of Hayward’s vocals. But what sealed the deal for me was hearing Hayward's beautiful, after-hours vocal (accompanied by Jazz quartet) on I’ll Cry Tomorrow’s title cut. (A review of the score is forthcoming). I knew then that Susan Hayward would figure prominently in my film-watching future. I've only watched a handful of her movies, so the upcoming year will find me dedicating a lot of time to her. I look forward to exploring this great actress’ filmography. 
I Want to Smile: Hayward in a photo shoot for LIFE magazine, 1949.
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