Ran to the library this morning and picked up my second book: "Irene Dunne: First Lady of Hollywood" by Wes D. Gehring. This guy is a film professor, and it shows. So far Irene's life is all put into perspective of her filmwork, which is great, however I would like to know more about her character...unless her character really was the one she played on the screen, which is suggested by Gehring (or at least alluded to). Now the question is...in week 3...if I should continue on the bio-pic route or take a detour and instead write a period piece of a young starlet as suggested by my wise professor -- and merely use the setting as described by Eleanor Powell and the wisdom of life bequeathed to us by Ms. Dunne. Think, think, think...and write more.
Right now the summary of my story looks something like this:
A small town girl gets the opportunity of a life-time when she is cast in a broadway show after years of training in music. As her star rises, she finds true love and must decide whether her career or her marriage is more important to her. In the end, she realizes that as long as she makes up her mind what she wants, goes after it and is prepared to pay well for it, she just may be able to have both.*
* What she realizes is what her father told her on his death bed when Dunne was eleven.
This picture has the potential for melodrama, though I would much prefer it to be a screwball comedy...what is the likelihood I could pull that off -- fiction or bio-pic?
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How about a screwball biopic? That sounds goofy, I know, but maybe there's a way to put the screwball antics of screen life in contrast with her "regular" life.
ReplyDeleteIf only I could create a screwball biopic. That would be the best.
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