208:(a man who, like Mildred, lost his family's wealth at the start of the Great Depression), and his social status and connection to bring Veda back into her life. Unfortunately for Mildred, this means buying Monty's family estate and using her earnings to pay for Veda's extravagances. Mildred and Monty marry, but things go sour as her lavish lifestyle and neglect of her businesses have dramatically affected the company's profits. Creditors line up, led by Wally, a former business associate of Bert's, with whom Mildred had a brief affair upon their separation. With no one to turn to, Mildred confesses to Bert that she has been embezzling money from her company in order to buy Veda's love.
220:
reconciles with
Mildred, but several months later, Veda reveals that her voice has healed and announces that she is moving to New York City with Monty. The "reconciliation" (which had been accompanied by reporters and photographers) was designed to defuse the negative publicity resulting from the affair with her stepfather, and it emerges the apparent loss of her voice was a ploy so that she could renege on her existing singing contract and be free to take up a more lucrative one offered by another company. As she leaves the house, a broken Mildred, encouraged by Bert, eventually says "to hell" with the monstrous Veda, and the pair agree to get "stinko" (drunk).
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the relationship, eventually seducing her stepfather. Mildred lives vicariously through her daughter's success as a coloratura opera soprano, despite Veda being âabsolutely selfish, deceitful, guileful snobbish.â And p. 65: â...the other face of Cainâs portraits of deception is mothering instinct...most terrifyingly posed in
Mildred Pierceâs love for her daughter Veda in Mildred PierceâŠâ And: p. 66: â...a brilliant and brutal depiction of the underside of domestic affection.â And p. 72-73: See here for nature of the Mildred/Veda relationship.
204:
elder daughter, Veda, will think her new job is demeaning. Mildred encounters both success and failure as she opens three successful restaurants, operates a pie-selling business, and copes with the death of her younger daughter, Ray. Veda enjoys her mother's newfound financial success but increasingly turns ungrateful, demanding more and more from her hard-working mother while openly condemning her and anyone else who must work for a living.
580:
444:, Cain urged him to avoid introducing hard-boiled themes and rather emphasize the novelâs âwider implication⊠Mildred Pierce is one womanâs struggle against a great social injusticeâwhich is the motherâs necessity to support her children even though husband and community give her not the slightest assistance.â Literary critic Paul Skenazy notes the impact that Cainâs novels had on 1940s filmmaking in America:
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in bed with her stepfather. Monty reproaches
Mildred for using him to bring Veda back and for her attitude to him as a financial dependent of hers, while Veda affects boredom but joins in to chide Mildred for embarrassing her and taking glory in her success. Mildred snaps, brutally attacking and strangling her daughter, who now appears incapable of singing and loses her singing contract.
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in 1943. Though Cain declined Waldâs request to write a film treatment, Waldâknown as a producer of films appealing to women moviegoersâcontinued to seek a suitable screenwriter. In the spring of 1944, Warners purchased the film rights for $ 15,000, When Cain received Waldâs proposed treatments, the
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I am telling it âstraightâ in the third-person, and am having plenty of trouble with itâŠprobably I am not really a novelist. If I can pretend it is somebody elseâs story, be sort of a secretary to the yarn, I do all right. When I try to step out on the stage myself, I get red behind the ears and boot
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When
Mildred discovers her daughter's plot to blackmail a wealthy family with a fake pregnancy, she kicks her out of their house. Veda, who has been training to become an opera singer, goes on to great fame, and Mildred's increasing obsession with her daughter leads her to use her former lover, Monty
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Having decided that the only course of action is to ask Veda to contribute some of her now considerable earnings to balance the books – and fearing that Wally might target the girl's assets if they are exposed – Mildred goes to her room to confront her. She finds Veda
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Skenazy, 1989 p. 66-67</ref
Mildredâs overweening âmothering instinctâ directed toward her eldest daughter Veda, almost of a sexual nature, contrasts with her ambivalence towards her husband Monty and men in general. Veda, emulating Mildred, seeks to displace her mother as the dominant female in
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The theme of the novel derives from Cainâs female protagonist, Mildred Pierce, a housewife who âuses men to gain her endsâ, in achieving financial success as a restaurateur. Mildredâs daughter Veda, in turn, manipulates her mother to advance her musical ambitions. The elements of âfood, finance and
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For Cain, the most impressive elements of the
Depression are not alterations in the job market, or class inequities, but the obsession with money that the economic crisis creates, and the way the economic collapse affects relations between the sexes. Because all of the men in the novel are out of
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to establish residency in order to get a speedy divorce from Monty. Bert visits her. Mildred ultimately is forced to resign from her business empire, leaving it to Ida, a former company assistant. Bert and
Mildred, upon the finalization of her divorce, remarry. Veda travels to Reno and apparently
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Mildred separates from Bert, her unemployed husband, and sets out to support herself and her children. After a difficult search, she finds a job as a waitress, but she worries that it is beneath her middle-class station. More than that, she worries that her ambitious and increasingly pretentious
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The miniseries aired on HBO, starting on March 27, 2011, and ending with a two-part finale on April 10, 2011. Unlike the movie version, it is almost a word-for-word dramatization of the novel, including nearly every scene and using Cain's dialogue. It features period music performed by
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is a deliberate departure from Cainâs earlier novels, yet it also culminates in his 1930s work. There is no killing, no crime, and no conflicts with the law in the storyâŠthe action is not concentrated into a narrow period of time, as in his earlier fiction, but stretches across the
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Cainâs desire to write a novel about âa grass widow with two small children to supportâ had its origins in 1932 from a suggestion by fellow writer James McGuiness, and went through numerous plot and character permutations during the years of the Great
Depression.
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follows the trajectory of a lower-middle class divorcee with two children in her tragic struggle to achieve financial and personal success. The novel is one of four major works Cain wrote featuring opera as a key component in the plot
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Cain's unsavory characterizations of
Mildred and Veda were controversial, but the novelâs plot lacked the sensational devices that many of his fans anticipated. Retail Bookseller predicted that âJames Cain fans are likely to find
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were mixed, but on the whole favorable. Never a best-seller, first editions had sold 11,000 hard-cover copies which quickly increased to 14,000 after several weeks. Hundreds of thousands of copies were sold in reprint by 1945.
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entitled âThe Boys in the Back Room.â Biographer Ray Hoopes observed that Wilsonâs measured praise âwas the first suggestion by a major
American critic that Cain had edged his way into the front ranks of American authors.â
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The social and economic hardships of the depression era are co-mingled with Cainâs âobsessive concern with power within heterosexual relationships.â Though never a âsocialâ novelist in the tradition of
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Hoopes, 1982 p. 270 p. 282, p. 323, p. 336-337: On the nature of Cainâs intimate relationship with Cummings. P, 340: End of Cummings/Cain relationship, p. 386: Influence of Cainâs drinking.
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By November 1941 Cain had completed two-thirds of the novel, but was struggling with adapting to writing in the third-person, his first effort in that narrative form. Cain wrote publisher
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producer had inserted a murder into the story, and according to Cain, had failed to emphasize the dramatic implications âof having a big coloratura soprano in the family.â When filmmaker
283:...Cain was determined to create a broad social and temporal landscape through third-person reportage, as against the narrowly defined first-person focused on erotic obsessivenessâŠâ
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when everything is suddenly taken from herâŠVeda alone holds on desperately and arrogantly to all the dreams of affluenceâŠshe is the flowering of the seed of corruption in the
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Skenazy, 1989 p. 21: â...Mildred Pierce offers a broader social landscape and a more penetrating insight into obsessionâŠâ And: p. 68: â...bitter, incisiveâ quote is from
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focused on erotic obsessivenessâŠâ This point-of-view allowed the author to more convincingly âconvey a sense of a womanâs perspective.â Biographer David Madden observes:
296:. Their relationship ended in 1943, in part due to Cainâs heavy drinking. Cummings provided Cain with insights essential to the development of his female protagonists in
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Madden, 1970 p. 74: Veda portrayed as âa through-going bitchâŠCain is a masterful creator of bitchesâ, among them Veda Pierce. See p. 74 for âabsolutely selfishâŠâ quote.
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501:: A 90-minute dramatization by John Fletcher for the Radio Noir series for Saturday Night Theatre on BBC Radio 4 was first broadcast on 26 June 1993.
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in the 1930s, the book is the story of a middle-class housewife, Mildred Pierce, and her attempts to maintain her family's social position during the
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The film was a box-office success. According to Warner Bros., it earned $ 3,483,000 in the U.S. and $ 2,155,000 in other markets.
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Monty Beragon â initially a wealthy playboy, Mildred's second lover, later her second husband and lover of her daughter Veda.
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Madden, 1970 p. 73, p.88: âWith the help of sex, housewife Mildred invades the male world and proves audacious in businessâŠâ
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Cain depicts ways in which certain aspects of the American character and the dream produce grotesque women like VedaâŠin the
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Cain signaled his intention to treat the larger social landscape of the period when he chose to write Mildred Pierce in the
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narrative form, a departure from his earlier works of the 1930s, all of them confessional narratives written in the
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Hoopes, 1982 p. 373: See here for critical response to Cainâs creation of unsavory characters, âmonster-monger.â
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Hoopes, 1982 p. 37-38: MP among the four novels that Cain applied his personal training as an opera singer.
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work and financially dependent on women, the power structure of personal relations have been inverted.
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Skenazy, 1989 p. 65-66: âThere is no killing, no crime, and no conflicts with the law in the storyâŠâ
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as Veda, in Spring 2010 (with Morgan Turner as the young Veda). Haynes wrote the script with
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and served as an executive producer with Pamela Koffler, John Wells, Ilene S. Landress, and
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In quick succession - in 1944, 1945 and 1946 - Hollywood produced successful movies Cainâs
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946:. Historical Journal of Film, Radio and Television. 15: 26. doi:10.1080/01439689508604551.
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in the 1930s that prevented the portrayal of infidelity and sexual passion on the screen.
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motheringâ appear forcefully, as they did in earlier works, especially Cainâs 1937 novel
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https://www.independent.ie/regionals/herald/entertainment/tv-radio/spoilt-27982804.html
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in the spring of 1941 and sold it to Alfred A. Knopf publishers on a $ 5000 advance.
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it. Well, I shall finish it, wind, weather and tide permitting and we shall see.
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was released in September 1941 by Alfred A. Knopf publishers, Literary critic
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Skenazy, Paul. 1989. James M. Cain. Continuum Publishing Company. New York.
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Wally Burgan â Bert's former business partner and Mildred's first lover
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A story of âsocial inequity and opportunity in America" set during the
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973:. Twayne Publishers, Inc. Library Catalog Card Number: 78-120011.
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Bert Pierce â Mildred's first and, later, her third husband
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Ida Corwin â Mildred's supervisor; later business partner
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Warner Bros Film Grosses, 1921â51: The William Schaefer Ledger
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https://www.newyorker.com/magazine/2011/03/28/this-womans-work
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Hoopes, 1982 p. 305-306 And: p. 309: â...first serious novelâŠâ
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The New Yorker. (21 March 2011). Retrieved 12 May 2022 from:
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Skenazy, 1989 p. 66-67: Minor editing of quote for clarity.
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is the third of his four novels in which Cain incorporated
936:. The Herald. (20 June 2011) Retrieved 12 May 2022 from:
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The novel required four rewrites before Cain completed
270:, for which he had trained as a baritone in his youth.
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Moire ("Ray") Pierce â Mildred's younger daughter
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Cain was first approached about a film adaptation of
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This woman's work: James M. Cain on the grass widow.
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760:Skenazy, 1989 p. 67: Letter to Blanche Knopf.
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288:Kate Cummings, mother of Hollywood actress
238:Veda Pierce â Mildred's elder daughter
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142:published by Alfred A. Knopf in 1941.
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335:introduced the novel in an essay for
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1328:Career in C Major and Other Fiction
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387:âas against the narrowly defined
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868:Hoopes, 1982 p. 339-340, p. 345
661:Hoopes, 1982 p. 305-306, p. 445
215:Weeks pass as Mildred moves to
109:Print (hardcover and paperback)
21:Mildred Pierce (disambiguation)
1655:The Postman Always Rings Twice
1647:The Postman Always Rings Twice
1622:The Postman Always Rings Twice
1355:The Postman Always Rings Twice
1033:The Postman Always Rings Twice
458:The Postman Always Rings Twice
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491:(also in the 1945 film) and
524:Mildred Pierce (miniseries)
505:played the title role with
16:1941 novel by James M. Cain
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1463:The Bridge of San Luis Rey
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40:Cover of the first edition
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1196:Love's Lovely Counterfeit
487:on 14 June 1954 starring
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1738:Novels set in California
1506:Wife, Husband and Friend
1431:Uncredited contributions
1222:The Taking of Montfaucon
170:(1948) are the others.)
1743:Hardboiled crime novels
1733:Novels by James M. Cain
877:Hoopes, 1982 p. 348-349
751:Madden, 1970 p. 133-134
440:was enlisted to direct
1229:The Baby in the Icebox
942:Glancy, Mark H. 1995.
652:Skenazy, 1989 p. 66-67
634:Skenazy, 1989 p. 67-68
540:as Monty Beragon, and
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72:psychological thriller
1708:American crime novels
1703:Alfred A. Knopf books
1264:The Girl in the Storm
1169:The Cocktail Waitress
670:Madden, 1970 p. 72-73
509:as Monte Beragon and
419:Mildred Pierce (film)
1718:Glendale, California
1698:1941 American novels
1602:Girl in the Cadillac
1455:The Shanghai Gesture
1105:The Root of His Evil
827:Skenazy, 1989 p. 69:
586:United States portal
566:Nighthawks Orchestra
194:Glendale, California
19:For other uses, see
1631:Le Dernier Tournant
1530:Money and the Woman
1522:When Tomorrow Comes
1271:Money and the Woman
1129:The Magician's Wife
886:Skenazy, 1989 p. 13
816:Stanley Edgar Hyman
796:Skenazy, 1989 p. 67
769:Hoopes, 1982 p. 310
742:Hoopes, 1982 p. 307
733:Hoopes, 1982 p. 307
554:Metro-Goldwyn-Mayer
255:Publication history
136:psychological drama
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1412:Stand Up and Fight
1347:Crashing the Gates
1243:The Birthday Party
1161:The Enchanted Isle
859:Madden, 1970 p. 74
643:Skenazy, 1989 p. 2
608:1941 in literature
413:1945 film adaption
290:Constance Cummings
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481:Lux Radio Theatre
324:Critical response
163:Career in C Major
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1486:Adaptations
1392:Screenplays
1288:Collections
950:Hoopes, Roy
930:Byrne, Paul
917:Als, Hilton
724:Bryne, 2011
546:Jon Raymond
530:Todd Haynes
462:Hays Office
408:Adaptations
268:Grand opera
166:(1938) and
1692:Categories
1663:Szenvedély
1639:Ossessione
1257:Coal Black
1250:Brush Fire
1153:Cloud Nine
932:. 2011.
538:Guy Pearce
433:Jerry Wald
397:depression
281:Depression
224:Characters
1594:Butterfly
1578:Interlude
1215:Pastorale
706:Als, 2011
614:Footnotes
528:Director
511:Ed Bishop
431:producer
307:in 1940:
78:Publisher
1671:Jerichow
1570:Serenade
1384:" (1933)
1382:Paradise
1312:Cain X 3
1273:" (1940)
1266:" (1940)
1259:" (1937)
1252:" (1936)
1245:" (1936)
1238:" (1936)
1236:Dead Man
1231:" (1932)
1224:" (1929)
1217:" (1927)
1180:Novellas
1089:The Moth
1041:Serenade
969:. 1970.
952:. 1982.
572:See also
564:and the
364:Serenade
168:The Moth
160:(1937),
157:Serenade
56:Language
1404:Algiers
1113:Galatea
919:..2011.
911:Sources
483:on the
192:Set in
122:2714770
59:English
1674:(2008)
1666:(1998)
1658:(1981)
1650:(1946)
1642:(1942)
1634:(1939)
1613:(2011)
1605:(1995)
1597:(1982)
1581:(1957)
1573:(1956)
1565:(1956)
1557:(1949)
1549:(1945)
1541:(1944)
1533:(1940)
1525:(1939)
1517:(1939)
1509:(1939)
1501:(1934)
1474:(1947)
1466:(1941)
1458:(1941)
1450:(1935)
1442:(1932)
1423:(1944)
1415:(1939)
1407:(1938)
1374:Essays
1366:(1937)
1358:(1936)
1350:(1926)
1331:(1986)
1323:(1981)
1315:(1969)
1307:(1943)
1299:(1930)
1199:(1942)
1191:(1940)
1172:(2012)
1164:(1985)
1156:(1984)
1148:(1976)
1140:(1975)
1132:(1965)
1124:(1962)
1121:Mignon
1116:(1951)
1108:(1951)
1100:(1950)
1092:(1948)
1084:(1947)
1076:(1947)
1068:(1946)
1060:(1943)
1052:(1941)
1044:(1938)
1036:(1934)
1025:Novels
980:
960:
934:Spoilt
46:Author
1339:Plays
954:Cain.
357:Theme
134:is a
64:Genre
1363:7-11
978:ISBN
958:ISBN
517:2011
499:1993
477:1954
456:and
188:Plot
116:OCLC
93:1941
427:by
403:...
138:by
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