Joan Crawford | UNEDITED Interview (December 1966)

[Music] um can we as we're keeping this quite a long hair away can we have a reasonable amount of voice yes right can we go straight away yes barry thank you the only thing i can say because it's all going to go eventually onto film so if afterwards is something that you rather than stopping if there's something that you've said i'll happily cut it down no i wouldn't stop i'll just remember thank you all right okay yes uh saw a grand hotel for the first time about a month ago what did you oh ten seconds from now right thank you thank you thank you that's been going sorry thank you it's only one gets smoke across the face thank you yes miss crawford how much did your rather fraught childhood re-emerge in your playing of emotionally disturbed women well i think i still use certain qualities of it in certain phases of it it's very helpful to me do you find for instance that some of the hardship that you went through as a child strikes chords brings memories to you when you're actually formulating a characterization apart what makes you think there aren't hardships when you're grown the first job i had when i left school was a theater projectionist and i saw your film sudden fear four times a day for seven days so i had a very good chance to analyze your performance and it seemed to me the outstanding thing about you was that you believed in it so much and you were positively willing the audience to believe in it too and this is a quality i i've noticed come out many many times do do you agree with this well i think i believed in that so tremendously because it was my first as we call my first baby it was my first independent production but um actually i don't think anybody starts out to make a bad film we all hope that each one will be good or even great but that one i particularly adored thank you i'm sorry you had to look at it so many times oh it was a great pleasure was that one particular moment in your career where you suddenly said to yourself golly i'm a star no there are many times when i say golly i was just lousy in that i wish i could do the whole thing over again i'll never be a star until i can do better how easily or difficult do you find the burden of being a star sometimes it's easy to get there but it's very difficult to stay there and if you call me durable like all the english people do i'll leave the studio do you find it difficult though um certainly outside the studios obviously you are now such a worldwide name you're so immediately recognizable so many people obviously uh love you and love your work do you find it sort of difficult um as it were maintaining the the star exterior when perhaps you're tired or or you're a bit depressed or no i think my training in pictures is being so great and my growing up in front of a camera well when you're in your teens and you grow up with an industry and you grow with it which i hope i've done i think the discipline takes care of all that and uh you kind of gear yourself that no matter how tired you are or how many scenes you have to do or how many hours you have to work you can make it you tend to to play career women in a lot of your films and of course you're a very celebrated businesswoman in real life and yet i see you as essentially a very feminine person how have you reconciled these two opposites well you know something i i played career women long before i was a member of the board of uh i know i'm not allowed to say it the image will take care of itself but um i played the career women long before that that the owner of the truck drivers you remember uh that i hope we show a little bit later i think that helped me to be a good business woman you see pictures have given me all the education i ever had since i never went beyond the fifth grade uh no formal education whatsoever and i i used to have to read scripts and then look up the words in the dictionary how to pronounce them and what they meant before i could learn the lines and and that's good too and yet you you haven't it seems to me ever in all your various playing of these career women of being an expert businesswoman you're still such such a complete woman so very very feminine have you never found yourself thinking watch it you're getting tough watch it you're getting hard no no i saved that for the screen i'm sorry uh i was born a woman and i hope i will always remain one and i think women are here to stay i'd like to be part of that group what have been the hardest and nicest things that uh being rich has taught you i think rich in wisdom and i can speak that way because i'm i'm not rich financially uh somebody has said recently to me why is joan crawford over here to do a picture in england and a picture in spain immediately following why when she's so rich and i hope i'm rich in the desire to give what small talent i have i would like to share it and that's just where i feel you've played in some pretty scary pictures um and indeed you've played everything i think from psychopaths to murderouses have you ever found yourself being a little frightened by your own intensity uh to answer your first question i've played it wasn't a question really it was a statement that i played in uh as murderesses and uh so many mystery pictures uh obviously you've forgotten a few comedies i did oh sure great kind of thing like susan and god and a few others right one great george cuco and um no i harness that intensity and i i uh hold it until it's ready to go for the camera i've heard i i don't know whether this is true that when you look at yourself on the screen you you've been heard to remark oh she's good there or oh dear why did she wear that dress in other words it's a very different person up there on the screen and you can achieve complete objectivity is this true i use my body my face to project in my walk my mannerisms to project what the character is whether it be a monika in the last picture or martha in the next one or a helen or whatever she is i use this for projection only and i get very cross when i see john crawford doing something that a moniker would not have done that it's a john crawford thing instead of a moniker do you have a personal maid and a chauffeur or are you jealous of your independence and privacy oh i have a chauffeur here in london i do not in new york because i travel so much that uh so it's useless to have a car there i just hire one whenever i need it but i travel about 100 000 miles a year or more and a personal mate i do have and i have an eight room flat in new york which is quite large and my personal mate and i take care of it completely and do all the packing and i do all the cooking i haven't had a cook for 11 years a short while ago you gave a quite a long press conference and i wondered does sometimes facing prying or unfair questions uh bother you is it an ordeal it's not an ordeal i it's become now a rather comic because everyone in england says how old are you and how much money do you have and how many times have you been married so i expect it and i'm ready for it but there are other countries you go to that they don't can you say give a damn how old you are and how much money you have they like you for what you are in the power of motion pictures is so tremendous that no matter what country you go to they know you you've lost the you don't have to go through that sound the language barrier they they they know you from the screen and it's wonderful i'm sure you must get very bored by the the constant fiction that you and bet davis are positively you if she heard you say beth her name is betty she will say i'm sorry it's a it's an anglicization of the name i think i know funnily enough on this subject i've always thought that barbara stanwyck was probably your closest match on the screen have you felt this well actually i have tremendous respect for both actresses i i enjoyed doing baby jane so much and uh she's a fascinating actress betty davis um i've never had time to be friends with her because we only did the one picture but barbara stanley and i are very close she's one of my warmest dearest friends and i'm delighted that you think we are a match on the screen can i ask you it seemed to me that in the film possessed uh one of the greatest moments in that was when you finally shot van heflin it was an extremely emotion-packed scene was this a scene that was very difficult to create or or did it come fairly easily new scenes come easily you have to probe into the character and and dig and find facets um avenues for hatred avenues for love but they must all belong to that one character and as you know in that in that picture it was a difficult character and i hated the shooting because i really like him so much as a person and ann blythe mildred pierce gave you a few very nasty stormy moments where she tells you that she's going to leave you you're not good enough for her anymore and you have this tremendous confrontation on the stairs did you like her uh well obviously you must have done i'm sure you did but how difficult was it for you both to generate such hatred in that moment actually when i had to slap her and i waited and waited the director didn't say cut because he saw me sobbing so much and i i put my arms around and i said darling did i hurt you that's all i could say in sudden fear which is one of my favorite uh movies that of yours there's a terrifying moment where you're hiding from jack palance who by this time that the cards are down he's a murderer you know this and you're hiding from him in this flat in a little wardrobe with a little closet and he's put a little clockwork toy on the floor and it heads right in your direction as you hide palpitating in the shadows was this a long scene to set up it seemed to me to have a very difficult setup from both a lighting point of view and also from your facial expression i think uh actually we took two and a half days to shoot all the scenes in the wardrobe you call it we call colored closet um with that one light there was no ceiling in in the set um the door was open as you know this much and only one baby spot was on and i would move into it and out of it and and but it took an awful long time and i had to hold that whole suspenseful thing throughout nine weeks of shooting and build up because we shoot out of continuity so much that you never know what day but in that sequence we did shoot in continuity in humoresque uh i remember particularly the party sequence where you've invited john garfield who i thought played a tremendous part opposite you you invited him to your very rich flat and he's played or about to play his violin for you and your guests and you first walk over and meet him and there's a tremendously written dialogue sequence between you and him and it seems to me the sparks positively fly off the words did you enjoy that script i think i love that uh almost as much as any film i've ever made as a matter of fact uh when we were rehearsing it i said i would like to imitate tallulah banquet in this scene i've seen tallulah many times at big parties and uh she picks up a cigarette and five lights come in men who light her cigarette and she can only take one or two oh cigarette the lights i mean and uh we imitated that and it came off very well johnny was one of the most exciting young men to work with that i've ever worked with except gable but johnny i think was next uh one other sequence i must ask you about which is the dead rat sequence in baby jane which i think perhaps as much if not more than psycho really frightened me half to death uh how scared were you on that moment when you lifted up the turin cover more frightened than you really because i refused to work with anything but an empty plate and when i knew the cameras were ready then i said you may bring it on and something went wrong technically with the camera and i said don't take the lid off leave it just take it away and i still kept the emotion and ready for it and when the technicality was um when when the technical things were fixed on the camera and the lights then we went in and i was still ready no way we went take one but i i think if you rehearse too much uh with the actual rodent i almost said animal it looks so big but it is a rodent i believe the rats and of course the the dead bird too yes just awful but it's it's wonderful to do those scenes you you want to bring the audience in with you so close to you you want to put them in your lap in the palm of your hand and it's very exciting when you go to the theater and found that you've done it in a couple of scenes it makes it all works worthwhile the the long hours and the tedious work and study and i worked in the wheelchair as a matter of fact i took the wheelchair home with me at nights to learn how to get through doors and then i worked on the sets on all weekends because i had an inch on either side and with your hands there on the wheelchair if they were too far out uh i had very sore knuckles the first two three days i rehearsed yes but uh it's wonderful to be a perfectionist or to want to be on this thing of perfection uh i i get the greatest pleasure i must confess uh from watching films of the 30s where it seems to me that they were at their peak and i think of stars like carol lombard and gable and i wonder how do you compare and how do you think these stars rate up against the the actors of today people like natalie wood warren beatty do you think they they have really there is an unbroken line between these stars or is it very different well you name two people if if you had just asked me the question of the stars of today um you see we were trained with a stable of stars when i was growing up in my teens uh i used to sneak over from my set when i was playing an extra or a small bit pot and sneak over and watch the lewis stones wally berry get a gobble three barrel mores one bear more is pretty powerful but three three oh boy and uh the boloslovskis the directors uh the stanislavski method he was trained with and they don't have that anymore the studios they they don't take the time to train the stars they don't have that many under contract i think natalie wood has great talent great potential i don't think they've touched her talent yet um why did you mention warren beatty for instance it seemed to me that he he has very much the it's a horrid phrase but the current image he he has the the demeanor the expression the the looks of the 1966 young man whether or not what you mean the sirly one yes it it seems to me that that he has the the all the ingredients required by movie makers of the sixties and i i wonder whether perhaps like me you think or or doubtful whether they might conceivably have the lasting power the staying power was the angry young men now it's the surly ones um i still think we should go back to romantic pictures the world is so angry i'm no cinderella but by golly the world is so angry that if we could get romantic pictures back again and know angry young men and have the young men have their hair cut and the young ladies let it grow i think we'd get back to nice human relationship again throughout the world on romanticism you have said i play love scenes in films that elude me in reality do you do you think of yourself essentially as a romantic or are you really more of a realist it's according to what the situation is yes but a romanticist i am yes yes i think that comes out in your films um what finally made you part company with metro after a long run nearly 20 years 17 years and two lousy pictures and i asked for my release do you think the independent producer of today is in a better position to acquire talent than the front office system of the the 30s and early 40s oh yes very much so when you meet directors like john negulesko who you've often worked with all of what i suppose 15 years ago now is it a great reunion or do you find it difficult to bridge the gap of all those years i think if you really feel friendship and have warmth and have a feeling of giving and loving um and i uh exchanged christmas cards and easter cards and thanksgiving cards and birthday cards and throughout the years and and always will uh you pick it up where you where you left it the years don't matter you just say hi done let's go what what is your feeling about um a star like elizabeth taylor who started as uh well literally as a teenager in films and it seems to me now is certainly emerging as a very important actress um and she as it were has lived through a whole period in hollywood the romantic period right the way through to virginia woolf which is just about as hard-hitting and as kitchen sink as you'd likely ever to get are you glad that you and stars like elizabeth taylor have had the opportunity to work through this period this fantastic period of transition we were both born at metro golden mayor i long before miss taylor of course um i have been known to criticize miss taylor on occasion for her personal life that's none of my business i never should have done it this girl i think has developed into one of the finest actresses on the screen that i've ever seen and because she's had a good tutor mr burton uh and they've helped each other tremendously when you made daisy kenyan in 1947 i think it was for fox it was almost two years was it not before you made another movie flamingo road did you find this period a drag did you find it it was it was boring and you longed to get back to work or do you not easily get bored i can't stand not working i must be active i'm so grateful for activity uh the only reason i had two years without activity was uh i didn't like the scripts they gave me in your book you constantly say how overall you were when you met stars like garbo and barrymore have you ever met her no he'd be breathless really oh he couldn't stand it she's so beautiful yes she's so wonderful and and that's what was so great um during the metro days because they had a mystery about everyone uh there were no girls next door you know with the shiny faces but we had glamour we were dressed by adrian or irene or jean-louis or other great ones helen rose and if they were all at metro edith head is a paramount and i'm lying to work with her but um everybody knows too much about stars nowadays not enough about what our real beliefs are uh but um dreadful pictures in the newspapers if you know when we're caught off guard what they call candid cameras uh which are horrible there's no more glamour uh there should be a protectivity we protect our families we don't go out on on the street or on radio or television and say one of my daughters is this one of my daughters is that and what a problem i'm having who cares we know we all have problems but who cares except us and why put it in somebody else's lap i felt this very much myself i couldn't agree more with what you say and i felt the low water mark came at that sort of ghastly period in hollywood with uh magazines confidential and so on and so forth where the whole thing finally blew up to such a stage that um you know what one hardly dare open these magazines for fear of what what one was going to read next and i think more more illusions crashed to the ground during that period than ever before uh i was threatened by confidential magazine and by the man who finally uh killed himself in the taxi i believe didn't he uh the late mike connolly called me and he said confidential magazine is going to put an article about you because you're having a problem with your daughter i said he has three dollars doesn't he and they said yes and i said mike bring him over and the man he walked in i said how old are your daughters they told me and i said any problems he said oh my goodness so many problems with them and they're teenagers as a they one is 18 one is 15 one is 13 and i said would you like me to print it he said they wouldn't be interested in me but they're interested in your problems so what can you do about it would you now like to just take a quick look at a movie annual which i i have here in the top corner there i think you'll see that there's an article about you and what you eat for your breakfast and for your lunch and and your tea looking at yourself in that book is is it the same joan crawford as the john crawford today or again how are you able to detach yourself completely detach myself that was yesterday yes i never look in the past only to the future how amused were you though when when those sort of little books and magazines came out and you read these curious things about yourself i mean it gives you a full diet for the day you know what you had for your breakfast for your lunch and your dinner and how much you weighed and well at that time i probably did way that much and i weigh less now and eat less fine thank you um another quote i'm afraid uh the story of my life is a search for security there was none in my childhood and not in love you've said do you feel that this kind of insecurity is a widespread human condition or is it something perhaps that is personal to you you sure i said none in love perhaps because there was in my last marriage yes in your life i i think you indeed you go on to qualify it i'm sorry i should have said that you do qualify that's quite true yes gee i wrote the book six years ago uh what was it what was the question um none no no security yes you said then your life has been yes a search for security well um i think that combines uh an emotional security of course we all want financial security but i i think emotional security is almost even more necessary when you have that i think you have everything you can find everything else do you think has been luckier in life uh the audiences who have had the tremendous pleasure of watching all your splendid performances or yourself for being given the gift to give this talent to people who's the luckiest i am because they write to me and through the years i i write about ten thousand and twelve thousand letters a month to my friends i never call them fans um and what they get out of my performances whether i play uh shall i say which um it begins with b or whether i play a heroine or whether i play a mother or whether i play whatever it is what they get out of it is so fantastic and when you realize throughout the world that you reach this many people and that they feel a friendship for you and they write year after year after year then i feel i'm the lucky one to have found this many friends having made the number of films that you have i've often thought of this that it's more than likely perhaps at this very moment somewhere in the world one of your movies is playing uh of all the stars i think you have reached this stage of almost celluloid immortality that one could say that 20 years 30 years from now somewhere in the world a joan crawford movie will be playing on the moon maybe maybe even on the moon or on the on the flight to the moon fly to the moon and see a joan crawford does this ever make you feel sort of slightly spooky that the thought that something that you did all those years ago and perhaps only had 10 minutes to capture is being viewed and viewed and viewed again and again and again by countless millions of people uh no uh i'd much rather see somebody else's movie and and try and prepare for my next one i i really i never live in the past i i never think about those three those things i never reflect on them i would much rather read a good book or see some of your television shows here i'm sorry you only have two two stations that i can get things on and i keep changing them every night but it's wonderful there must be something that surely in life that you that you've either regretted not doing or some chance that you passed up uh you say you don't live in the past yet surely that there are times when everybody faces their past and thinks oh dear if only i'd have done that or if any things have been different no i'm sorry i'm living right for now for your questions and i must answer you truthfully i will never even look back to what i did yesterday that's wonderful i'm preparing right now for when i get home and to pack to go to the states for christmas for my children well how far ahead do you live in the future i mean uh i i have this thing where i permit myself for instance to get excited about something that will happen say next week but i tend not to get too excited or worried about things that are going to happen next month for instance so i i guess i live a sort of seven day hop away are you like this 70 half away uh i am booked through uh between my career professionally in the big picture business in my other career through until september of 67 a friend of mine once said i kept saying oh golly i've got to do this i've got to do that and then i go here and then i go there then after back for here then i unpack and i come back to new york she said don't do it till you get to it and you know something i don't worry about it anymore i don't go to the next city until i get there and yet isn't this strange that your likeness in life in real life and yet with your parts with the playing of your parts obviously you go into the most fantastic preparation you foresee every eventuality every possibility that could conceivably happen oh i prepare for the packing months in advance here yes uh uh i i worked all day until i came here today with the the new producer and your director uh for the next picture in spain we've completed circus of blood so i i i that that's finished but now i'm preparing and and all the time i'm flying and packing uh i'm thinking about the next character and by the time i get to it i'll be ready i hope a great loss it seems to me is that today there aren't the i was going to say heavies but it really isn't the right word but certainly aren't the kind of uh relaxed artists like melvin douglas who can play drama and who but who are great in comedy they are tremendous in comedy why do you think it can be that today this kind of playing is so much out of vogue and they just aren't that there isn't that kind of actor around anyway well you can find one that can play comedy and one who can play drama you know or very rarely can they play both as you say but i think melvin uh being born on the stage as i was in front of movies um he has that technique both for camera and both both for theater and probably uh doing repertory where they had to play something else every night which is so terribly important and know all the plays sometimes they i think they did as much as five plays in that a week and alternating on weekends and matinees for a comedy during the afternoon and a drama tonight can i ask you about john barrymore who i think personally is one of the greatest actors ever i've seen most of his films now again i i go to his work like i go to yours he constantly has surprises in store even when you've seen him act in a role 10 times uh you did you only make how many moves did you make because the one i remember particularly is grand hotel just the one was it tell me something about him because he he's a fascinating man oh he was like this then he was he he couldn't have cared less and i'm so sorry because uh being married to douglas fairbanks jr uh who imitated him quite often in his performances and in in life he did great imitations of him i had heard so much about him that that uh and and when i met him i i was as you say in awe of him and i wanted so to be friends with him and but he was rather cross most of the time in those days and and you know you know making with the faces and everything so i offered him a kleenex one day because his nose was always running and and he said thank you and dropped it like that and i thought he was very unkind but what a talent he was just wonderful i've heard it said one actress told me that people didn't like playing uh love scenes with him too close for too long because he hated taking a bath is this true or is this just one of those weird stories that gets passed down that he was remarkably lazy about his appearance and about his sort of shaving and washing and all sorts of things that he could arrive on the set looking an absolute wreck well i work alone and i smelt me only so i don't know can i ask you also um in uh grand hotel particularly the scene that you play with him on the as it were on the balcony overlooking this amazing sort of basin this hotel which is built around the hollow the scene there where you play the stenographer this young girl who's been invited to this very classy hotel and barrymore is as you say as we say these days chatting you up giving you the full barrier more bit did you feel um that you were being um exploited by him or rather by the director what i'm trying to say is he almost steals the scene but not quite in a curious sort of way i get the impression that he's he's doing his best to upstage slightly in the scene oh always well said i had to loan that dress on i fixed him well he he was famous for upstaging and theater and in pictures i must say he was fascinating though i i of course working the lion obama was one of the great joys of my life both in grand hotel and in the gorgeous hussy and by the time we did gorgeous hussy uh mr llano bear more was definitely in the wheelchair yes and we had to use that and do the performance around that but so grumpy and so dear you just walked up and wanted to hug him every minute you know you're so darling he didn't have the kind of romantic image that john barrymore had and of course they were both before my time i know a lot of people think very few things were before my time particularly in england so age conscious but um they were before my time and i learned about them through douglas fairbanks junior had grown up with that whole group and uh i mean as a child he grew up with those people being famous but um lionel was a complete opposite of jack he was gentle and kind and gruff in the later years of course because he was so ill with arthritis but uh just darling to me i loved him very much why what is the nature of your tremendous sympathy and empathy with george cook i mean i i know he directly worship this man yes there's no greater talent in the world i worship him how are you so certain about him uh and yet you've worked with so many other directors i would agree with you but it just seems strange that you're so positive that he had something that no other director had what was the key he has the magic of a director as clark gable had it as an actor uh to me cucor can do no wrong he makes you have a sense of humor about yourself which i never had until i worked with cucor um he'll say um what the hell are you trying to do you made a mistake and you're not allowed to make one you say so i goofed i'm sorry and and uh if you don't have a sense of humor about yourself uh cuco will come up when he knows how sensitive you are which he knew i uh and knows i am and and was particularly during the the early days and and woman's face and susan god my first big comedy yes um he'd come up to me and whisper quietly to me but when he knew that nate when he knew i needed something like that like a slap in the face he'd uh ball me out in front of the whole cast and crew and he saw once it didn't work because i burst into tears and left us in once in a while i got so angry with him and i said all right i'll fix you i'll do it just the way you want and i got exactly what he wanted he knows what he's doing every minute they say he's a great woman's director i i don't agree with that in in essence of being just a woman's director in philadelphia's story i think uh jimmy stewart got the award didn't he yes well and uh he's directed cary grant he's directed uh quite a few great men's stars and they've always gotten awards or nominations everybody is a lot of people have commented on the the way you you handle people like louis b mayer you must have had you must have had to have had tremendous tact in those days a great knowledge of of other people's personalities and the way people worked and their approach and everything lb mayor was like my father all i know is that uh in in later years judy garland grew up there lana turner uh right after me and rosa and russell uh at the same time there wasn't one of us that could go to lloyd b mayer's office with the problem and i never went unless i had a problem so i didn't bother him that we weren't put straight in his office if he was in the boardroom or vice versa on his office we were taken to the board there was not one time that this man ever turned any of us down to listen to a problem and he took care of it once more he followed through it was absolutely fantastic don't you believe those books written about him no this to me is uh part of the whole thing of the thirties uh this is why i again i enjoyed the film so very much that it seemed to me that although filmmaking might have been conveyor belted although uh there's some truth in the charge that um artists were manufactured and that after i i don't believe this and you know toys you don't manufacture stars you can't turn them out there were uh nowadays you see them they're all out of the same cookie cutter you know right what has gone so wrong really i feel it has gone wrong why they allowed us to be individuals we don't all have to be blonde with long hair we don't all have to be plump we don't all have to be exotic if you're thin you're thin like katherine hepburn the uh one i think it was cuco who said so she has a big jaw exaggerated adrian said about my shoulder she has big shoulders exaggerated shoulder pads came into being let us be what we are why then does this there have to be this uh constant interference uh these days not just from the directors and producers but it seems to me now that films are made it's almost a sort of committee level there are so many vested interests this there's such a lot of money to be made or lost and there are so many people who want to have their little bit who won't have their little say it seems to me that this is a sort of diluting process so much money to be made or lost you just said so much talent to be made or lost to do how do you yourself do you find yourself rebelling against the system now or can you go along with it i go along with it because i have other activities um i do what i want to do in the way of films and that's it i find uh myself uh i get a tremendous nostalgia about stars and directors who i've never even met and never will meet uh for you having worked through this period having been so close to the 30s and knowing so many people as you obviously do don't you ever feel sometimes a sadness i know i do watching it and i think you know my god these days are never ever going to come again and for you it must be worse you must sometimes feel desperately sad don't you well you've got a resilience how are you so resilient when you were so much a part of that tremendous thirties system the whole movie-making industry still talk is still i feel sad for the industry that they're not training stars today yeah for the future that's the only sad thing i feel is for the industry itself you'll always be able to make epics you know and things like that but the individual stories and the personal lines personalized stories um they'll have to come back to it but i think television is devouring most of our story um plots as you full well known yes one last question is there anything is there a part or anything uh in real life that you desperately want to really achieve that you want to create um as soon as you possibly can you still have a tremendous burning ambition to do one particular thing i have a burning ambition to keep making films and to make each one good and the next one better and better and better and whatever the pot is if i choose it it will be what i need to have at that time miss corporal thank you very much indeed thank you merry christmas thank you same to you this video is brought to you by the concluding chapter of crawford a comprehensive research guide to joan crawford www dot the concluding of join us on facebook instagram and twitter

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Views: 553,750

Keywords: Joan Crawford, Interview, 1966, Hollywood, Actress, Classic Hollywood, England, 1960s

Id: zlW5W2vtaD0

Length: 46min 34sec (2794 seconds)

Published: Mon Nov 29 2021