LYCOS RETRIEVER 
Jean Arthur: Work
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Manhattan working girl Jean Arthur bids goodbye to her three erstwhile suitors (Grant Withers, Hans Conried and Grady Sutton) to take a bus tour of the west. En route, she meets handsome rodeo-star John Wayne, whose bucking bronco hurls him directly into her lap. Stranded in a tank town with Wayne and his sidekick Charles Winninger, Arthur is introduced to the sort of frontier activities not covered by the tour books: gambling, boozing and brawling. Not surprisingly, Arthur wants to hightail it back to the East, but by now Wayne has fallen in love with her. Lady Takes a Chance was produced for RKO by Jean Arthur's then-husband, Frank Ross. ~ Hal Erickson, All Movie Guide
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Jean Arthur has been in the Entertainment business for over 10 years. She has worked on shows like The Swan, Married by America, Wife Swap, Starting Over, and Don’t forget the lyrics. She has worked with companies such as Sony, Endemol, Bunim-Murray, and RDF Media.
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Arthur Rimbaud, b. Oct. 20, 1854, the precocious boy-poet of French symbolism, wrote some of the most remarkable poetry and prose of the 19th century. His highly suggestive, subtle work drew on subconscious sources, and its form was correspondingly supple and novel. Rimbaud has been identified as one of the creators of free verse because of the rhythmic experiments in his prose poems Illuminations (1886; Eng. trans., 1932). His Sonnet of the Vowels (1871; Eng. trans., 1966), in which each vowel is assigned a color, helped popularize synesthesia (the description of one sense experience in terms of another), a device widely exploited by the symbolists. The hallucinatory images in The Drunken Boat (1871; Eng. trans., 1952) and Rimbaud's urging, in Letter from the Seer (1871; Eng. trans., 1966), that poets become seers by undergoing a complete derangement of the senses ... reveal Rimbaud as a precursor of surrealism. Following his own dictum, Rimbaud lived an inordinately intense, tortured existence that he described in A Season in Hell (1873; Eng. trans., 1932).
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When she felt uncertain, Arthur could turn cutesy and artificial, as she is in Too Many Husbands (1940) and The Lady Takes a Chance (1943). But no one made a stronger feminist impression. An Arthur heroine is a working heroine, and she’s not going to give up her job after getting a man. In Arizona (1940), an overlong western, she bristles when William Holden makes a chauvinist remark, and this angry determination to be independent was definitely Arthur’s own; it was her strongest urge. Arthur lived her life with her head in the clouds, which is why she responded so forcefully to movie romance. She always seems to be enjoying love scenes with her leading men in a way an audience member would have, and this was a big part of Arthur’s appeal.
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