Come and Get It

Frances Farmer in an original publicity still as Lotta Morgan and her own daughter Lotta Bostrom. in Come and Get It (1936)  Howard Hawks said she was the finest actress he worked with.  Her mistreatment in Hollywood was well documented by Jessica Lange in Frances (1982).

Come and Get It

Walter Brennan, Edward Arnold and Frances Farmer in a publicity still for Come and Get It (1936).

Come and Get It

Edward Arnold and Frances Farmer in Come and Get It (1936)

Come and Get It

Frances Farmer and Joel McCrae in an original publicity still for Come and Get It (1936)

Come and Get It

Walter Brennan, Frances Farmer and Edward Arnold dining in a scene from Come and Get It (1936)

Come and Get It

Frances Farmer and Edward Arnold in an original publicity still for Come and Get It (1936)

Come and Get It

Frances Farmer and Maddy Christians in a publicity still for Come and Get It (1936).

Come and Get It

Frances Farmer in another Hawks musical scene, in Come and Get It (1936).  Frances proved to be a terrific Hawksian woman, in easily the best film of her career.

Come and Get It

Frances Farmer in an original publicity still for Come and Get It (1936).  She is never seen in an automobile in the film.

Come and Get It

Frances Farmer in a publicity still for Come and Get It (1936).  She played a mother and in a flash forward, her  daughter, in the film.

Come and Get It

Frances Farmer grabs a cabbage out of a box in a publicity still for Come and Get It (1936)

Come and Get It

Frances Farmer wears a hat with fake cherry tomatoes in a publicity still for Come and Get It (1936)

Come and Get It

Frances Farmer and Joel McCrae in a publicity still for Come and Get It (1936).  Joel was also in Howard Hawks’ previous collaboration with producer Samuel Goldwyn, Barbary Coast (1935).

Come and Get It

Frances Farmer in a publicity still for Come and Get It (1936) in an image not seen in the film.

Come and Get It

Frances Farmer and Joel McCrae in a 1954 re-release publicity still for Come and Get It (1936).  It was Howard Hawks’ second of four films for producer Samuel Goldwyn at United Artists independent studio, after Barbary Coast (1935), also with Joel McCrae who was under contract to Sam at the time.