Film of the Week: Light in the Piazza, 1962

Meg Johnson—the wife of a wealthy American executive—has taken her twenty-six year old daughter, Clara, on holiday to Italy. Clara, a delicate blonde seems like any other young American girl, at first. She’s delighted by the sights and smells of Italy, has a love for dogs and babies and is attracted to the dark-haired gents who find her appealing. On closer inspection, there is something a little different about Clara. He mother seems overly protective of the young woman who does, in fact, seem a little more innocent than most, a little more naive.

Meg has good reason to be protective of Clara. As a child, Clara suffered severe injuries in an accident and, as a result, is severely brain-damaged. While quite functional, Clara has the mental age of a small child. So, when a handsome Italian man named Fabrizio takes a fancy to Clara, Meg is rightfully concerned. As much as Meg tries to avoid Fabrizio, he keeps showing up with small tokens of affection for Clara and offers to show them the beauty of Italy.

Despite Meg’s concerns, Fabrizio and Clara fall in love. Soon, Meg has a difficult choice to make. Should she put a stop to the romance? Should she tell Fabrizio and his well-meaning family that her daughter is “different”? Of course, Meg’s husband has a lot to say on the subject—as does Clara herself. Eventually, Meg makes a decision, but is her choice the right one?

Based on the 1960 novella of the same name by Elizabeth Spencer, Light in the Piazzastars Olivia de Havilland as Meg Johnson, Yvette Mimieux as Clara and a young, remarkably un-leathery George Hamilton as Fabrizio. Produced by Arthur Freed and directed by Guy Green for MGM, this beautifully photographed film has long been a fan favorite as well as a source of inspiration for many people facing equally difficult romantic choices. In 2003, the novel and film were adapted into a musical which won a Tony Award in 2005. 

Weekend Viewing: In This Our Life, 1942

I know it’s hard to imagine, but every so often, if Bette Davis didn’t get her way, she could be a trifle difficult. This was certainly the case during production of the 1942 Warner Brothers film In This Our Life. In many regards, this film is quite important. It was John Huston’s second directorial project (though toward the end of shooting, the bombing of Pearl Harbor meant that Huston was called away to war and replaced with an un-credited Raoul Walsh who clashed with Davis at every turn). Similarly, it was one of the first realistic film portrayals of the horrors of racism—a fact which prevented the film from finding international release.

Davis was thrilled with the source material. She described Ellen Glasgow’s novel of the same name to be “brilliant.” The story concerned two sisters in the present (1940’s) Southern United States. The sisters—both of whom had male names, Stanley and Roy—were the daughters of a formerly wealthy man who was forced to sell part of his business to his conniving brother. Roy—the older and more sedate of the sisters—is a successful interior decorator with a seemingly good marriage. Stanley—impetuous and childish—likes to drink, drive fast and flirt with a variety of men including her fiancé, a lawyer named Craig, and, most disturbingly, her rich uncle.

Bored with her life, Stanley decides she wants Roy’s husband and seduces him away from her sister. What follows is a tale of reckless behavior with ends with the unjust use of a refined and intelligent black man as a scapegoat for murder.

Bette Davis battled to be cast as Roy—the “good girl.” She knew her fans wanted to see her in “good girl” roles and she thought that she’d be perfect for the part. Warner Brothers had other plans. They liked Bette as the “bad girl” and cast her as Stanley while placing Olivia de Havilland (true to form) in the “good girl” role. Davis showed her dissatisfaction by acting as a tyrant—insisting that she have total control over her wigs, her makeup and her wardrobe. Curiously, when the film was previewed, audiences wrote that they thought Davis’ hair, makeup and costumes were all quite atrocious.

Davis did have her helpful moments—between bouts of faux laryngitis—and helped in the casting of the African American character who takes the fall for Stanley’s crimes. Ernest Anderson—a relative unknown—gives a brilliant and educated performance as “Parry.”

Completing the cast are George Brent as Stanley’s onetime fiancé, Dennis Morgan as Roy’s onetime husband, Billie “Are you a good witch or a bad witch” Burke as the girls’ mother, Charles Coburn as the girls’ lascivious uncle and Hattie “It ain’t fittin’” McDaniel as Parry’s mother.

It’s an interesting, if not slightly overwrought, film. Davis blasted it and claimed she hated it. Quickly putting it behind her, she went to work on Now, Voyager—a film Bette enjoyed much more than this one. Nevertheless, the film is a must for any fan of Davis, de Havilland or McDaniel and is a very well produced picture. 

Film of the Week: "Hush… Hush, Sweet Charlotte," 1964

Now let me see... what is it you call your job? Oh, yes. Public relations. Sounds like something pretty dirty to me.

                                   --Charlotte Hollis

In 1964, following the wildly successful pairing of stars Bette Davis and Joan Crawford inWhatever Happened to Baby Jane, Producer/Director Robert Aldrich planned to team the duo in another film based on a another book by Henry Farrell, Whatever Happened to Cousin Charlotte. Davis insisted that the title of the film be changed. She didn’t want audiences to think that the film was a sequel to Whatever Happened to Baby Jane. She suggested, “Hush… Hush, Sweet Charlotte” which was the name of the song which had been composed as the main musical theme of the picture. Aldrich agreed.

A rare publicity shot of
Crawford and Davis

Davis would play Charlotte Hollis—an eccentric Southern recluse who hides in her family’s crumbling Louisiana mansion after being accused of murdering her lover many years earlier. Crawford would play Miriam Deering, Charlotte’s strong-willed cousin who’s come to help Charlotte vacate her home when it is ordered to be torn down.

Joseph Cotten was cast as Dr. Drew Bayliss—a long-time friend of the family. The cast was further completed with Cecil Kellaway as an insurance investigator, Anges Moorehead as Charlotte’s cranky but loyal maid, a young Bruce Dern as Charlotte’s girl-hood lover, Victor Buono as Charlotte’s father, and Mary Astor as Charlotte’s former rival. Davis had specifically asked for Astor to play the role of Jewel Mayhew. Astor was one of the few female stars that Bette Davis actually liked. They had been friends and had worked well together on The Great Lie. When Bette Davis liked you, she really liked you. When she didn’t, she really didn’t.

Shooting began with both Davis and Crawford on location at Houmas House in Darrow Louisiana which would serve as the exteriors for Charlotte’s family home. However, soon, Miss Crawford developed one of her famous “Joan Crawford Colds” and was consistently absent—only appearing for four days of filming. Rumor had it that she couldn’t face working with Bette Davis again. While relations between them had been frosty on “Baby Jane,” they did manage to maintain a somewhat professional attitude. This time, however, Crawford wasn’t cooperating and she withdrew from the picture.

Olivia de Havilland as "Miriam"

Aldrich scrambled to find a suitable star for the second leading part in the film. At one point Vivien Leigh was approached to replace Crawford. Leigh responded, “"No, thank you. I can just about stand looking at Joan Crawford's face at six o'clock in the morning, but not Bette Davis'." Katherine Hepburn didn’t return Aldrich’s calls. Barbara Stanwyck and Loretta Young were also considered for the part of Miriam, but either declined or were deemed unsuitable for the role. The only other actress of that caliber that Bette Davis wanted was her old friend and co-star Olivia de Havilland.

Davis and Moorhead

Aldrich flew to Switzerland and, after much cajoling, convinced de Havilland to accept the part. Later, de Havilland would confess that she really did it as a favor to Bette Davis. She said, “I always thought it would be fun if [Bette and I] could work together. Then, I was offered the chance to work with her on the film that became Hush...Hush, Sweet Charlotte when Joan Crawford withdrew. I knew Bette wanted badly to work, and Jane had been such a success that Bette was quite anxious. They had to find the replacement, and Bette wanted me. The problem was I wasn't as anxious to work as she was. I didn't need to. I wasn't thrilled with the script, and I definitely didn't like my part. I was reverse-typecast, being asked to be an unsympathetic villain. It wasn't what people expected of me. It wasn't really what I wanted to do. Bette wanted it so much, so I did it. I can't say I regretted it, because working with her was special, but I can't say it was a picture I am proud to put on my résumé. Given the choice, I wouldn't have deprived Joan Crawford of the honor."

Mary Astor in her final film role.

On the first day of shooting together, Bette Davis and Olivia de Havilland toasted one another with bottles of Coca Cola—a sly slap-in-the-face to Joan Crawford’s memory. Crawford’s husband, Al Steele was an executive at Pepsi Cola.

The result of their collaboration was an excellent Southern Gothic thriller with plenty of chilling moments despite the obviously fake severed body parts. The three leads deliver excellent performances which are relatively restrained given the material. And, it’s interesting to see Olivia de Havilland in a “bad girl” part. With Halloween around the corner, Hush…Hush, Sweet Charlotte should certainly be on your play-list.

Masterpiece of the Week: Gone with the Wind, 1939

I’m always shocked when someone tells me that they haven’t seen Gone with the Wind. The idea of never having seen one of the most famous, celebrated, successful, enduring and innovative films in American cinematic history, is astonishing to me. Yet, there is a contingency that has not seen this film.

Gone with the Wind was producer David O. Selznick’s great triumph, and he didn’t mind destroying myriad people in the making of it. Adapted from Margaret Mitchell’s 1936 best seller of the same name, the script was written repeatedly by an ever-changing team of people (with a lot of interference from Mr. Selznick). Of the many who worked on the script, only Sidney Howard is credited. The writers weren’t the only people suffering behind the scenes. The film had more than its fair share of directors as Selznick grew increasingly dissatisfied with what he was seeing in the “rushes.” While Victor Fleming (who also directed another film in 1939 that you may have heard of—The Wizard of Oz) is credited as director, both Sam Wood and George Cukor sat in the director’s chair for awhile.

Olivia de Havilland: Turner Entertainment

The film boasts one of the most famous casts in film history, and, one of the most famous searches for a leading lady. One of the first to be cast was the exceptional Olivia de Havilland as the gentle Melanie Wilkes (the sympathetic antithesis of the film’s lead, Scarlett). Casting the other leading roles posed some considerable debate amongst the production team. Finally, Leslie Howard was cast as the rather ethereal Ashley Wilkes (the object of Scarlett’s affections), and—another great triumph for Selznick—Clark Gable agreed to play Rhett Butler, the uber-masculine blockade runner. But, who was to play Scarlett? Many tested. Many were considered. At one point, early on, it was rumored that Warner Brothers would lend Bette Davis to Selznick for the role of Scarlett, providing Errol Flynn would play Rhett Butler. Selznick declined. Other finalists included Jean Arthur and Joan Bennett. Only two of the finalist were tested in Technicolor: Paulette Goddard and a lesser known British actress Vivien Leigh whom Selznick’s wife referred to as “The Scarlett dark horse.” The dark horse won the race.

Leigh and Howard: Turner Entertainment

Completing the cast were Hattie McDaniel as “Mammy”, Thomas Mitchell and Barbara O’Neill as Scarlett’s parents, Alicia Rhett as “India Wilkes,” Butterfly McQueen as Prissy and a host of other popular character actors of the era too numerous to list here.

This was the most highly anticipated film of the 1930’s and is part of the reason that 1939 is considered the greatest year in motion picture history. Of course, even if you’ve not seen the film, you’re aware of its plot. Gone with the Wind follows the lives of two intertwined Southern families before, during and after the Civil War. While some will argue that the film glorifies the South, it also shows much of the turmoil of that period in American history in great detail.

Leigh as Scarlett: Turner Entertainment

Technically revolutionary, the picture employs techniques that were unheard of at the time—combining layers of motion picture film with glass paintings, trick shots and even an unusual title sequence. The film swept the academy awards that year. However, the most notable Oscar win was the award for Best Supporting Actress which went to Hattie McDaniel—the first African American to win an Academy Award.

I really feel that everyone should seeGone With the Wind at least once. It’s a masterpiece—like watching a living painting set to an amazing score by the brilliant Max Steiner. However, if those of you who have not seen it still refuse, well, “frankly, my dear, I don’t give a damn.”

Leading the Way: Hattie McDaniel

Born in 1895 to parents who were former slaves, Hattie McDaniel was a creative, precocious child known for writing songs, singing and a charming, easy-going disposition. Her graciousness and comedic talent led her into show business where she would work with the best of the best: Mae West, Will Rogers, Shirley Temple, Clark Gable, Jean Harlow, Bette Davis, Joan Crawford, Henry Fonda, Olivia de Havilland, Vivien Leigh and Katherine Hepburn, among others. McDaniel was much beloved on any movie set. Her coworkers began to rely on her warmth and generosity. Other actors fought to work with her. Word of her tremendous talent began to spread.


Nevertheless, she had to audition for the role with which most people associate her, that of “Mammy” in Gone with the Wind. She arrived at her audition dressed for the role, and won the part over many other actresses despite her past experiences in mostly comedic parts. Her fine performance as “Mammy” led to a nomination for an Academy Award—a first for an African American performer. More so historic was her win that year for Best Supporting Actress.

As "Mammy": Turner Entertainment

Even with an Academy Award win to her credit, Miss McDaniel still had many battles to fight. She was no stranger to discrimination. Even for the Atlanta premier of Gone with the Wind—the film for which she received her Oscar—event planners discouraged her (or any of the other black perfomers’) attendance. If she did go, she would have had to stay at a segregated hotel. She wouldn’t even have been allowed in the theater. In fact, her photo and the photos of the other African American actors were forbidden from being printed in the program. Clark Gable was furious—refusing to attend! However, McDaniel encouraged him to go.

Hattie McDaniel didn’t stand for the oppression around her. In 1945 she organized other African American residents of their posh Hollywood neighborhood to fight an injunction that dictated that homeowners could only be white. They won their battle and set a precedent that would be the groundwork for other such fights.

A member of the African American sorority Sigma Gamma Rho, McDaniel the Chairman of the “Negro Division” of the Hollywood Victory Committee, which offered entertainment for the soldiers stationed at military bases. Her good friend Bette Davis supported McDaniel in her efforts, making Davis the only white actor to perform for the African American troops. Known to feed, to clothe, to lend money or support to anyone in need regardless of knowing them, McDaniel also devoted her efforts to helping people who had been displaced by floods and natural disasters.

Hattie McDaniel died in 1952 after a long, celebrated career. Her last wish was to be buried in Hollywood Cemetery. The owner, however, refused to have a person of color buried in his cemetery. In 1999, the cemetery (newly renamed Hollywood Forever) wanted to correct this injustice as best they could. A large monument was erected in McDaniel’s honor. A fitting tribute to a remarkable person—if not fifty years too late.

Sunday Viewing: The Heiress, 1949

Clift and de Havilland, courtesy Paramount Pictures.

Timid and unsure of herself, Catherine Sloper lives in New York in the mid Nineteenth Century. She shares a magnificent Washington Square townhouse with her domineering father, Dr. Austin Sloper, who is continually disappointed by his fragile daughter. Often comparing Catherine to her late mother—a great beauty and his true love—he cannot reconcile the fact that such a superior creature bore such a dull child. Catherine’s one great skill, as Dr. Sloper puts it, is that she “embroiders neatly.” Upon the visit of her Aunt Lavinia, the family goes to celebrate the engagement of Catherine’s cousin. At the party, Catherine is shy though she is encouraged by Lavinia to be more outgoing. There, Catherine chances to meet the brother of the groom-to-be, one Morris Townsend, a stunningly handsome and charming man who, unexpectedly, lavishes Catherine with his attentions. Catherine soon falls in love with Morris and hopes her father will consent to their marriage. Dr. Sloper, however, believes Morris to be a fortune-hunter. Why would such a worldly and attractive young man love his daughter if not for her ample inheritance? And, so, Catherine goes to great lengths to find a way to wed Morris despite her father’s wishes. However, does Dr. Sloper prove to be correct in his assumptions?

de Havilland as Catherine, Paramount Pictures

This was the plot of Henry James’ 1880 novel Washington Square(said to be based on real events) which inspired a hugely successful stage play written by Ruth and Augustus Goetz in 1947. Academy Award winning actress, Olivia de Havilland, upon seeing The Heiress on Broadway lobbied to play Catherine Sloper in the film version. She got her wish.

Augustus and Ruth Goetz wrote the screenplay for the 1949 Paramount Pictures version of the story and masterful director William Wyler (most notable for his work with Bette Davis) was set to direct. With de Havilland as Catherine, Sir Ralph Richardson reprised the role of Dr. Austin Sloper—a part he made famous in the London West End production of the play. Legendary Miriam Hopkins (notoriously difficult to work with) was cast as Aunt Lavinia. However, who was to play Morris? Enter relative newcomer, Montgomery Clift. Clift had already had considerable success on Broadway and had made a name for himself in his debut films, The Search and Red River. Clift most certainly had the physical beauty to play Morris Townsend, but would he be suitable for a period drama? He proved to be perfectly cast though he was never satisfied with his performance in the film.

Clift as Morris, Paramount Pictures

The Heiress was a critical and box-office triumph. With crisp acting from the principle cast, lavish sets and a touching musical score by Aaron Copeland, the picture was considered one of the top films of the year with Academy Award nominations for Best Picture and Best Director and winning the Academy Award for Best Actress (de Havilland), Best Scenic Design, Best Costumes, and Best Musical Score. De Havilland also took home a Golden Globe for her work as Catherine.

More suspenseful than the stage version, the picture is riveting and keeps you guessing about Morris’ intentions until the last moments of the film. For an enjoyable few hours and to learn something about the art of great picture-making, The Heiress is a must-see. As Catherine herself says, “I learned from masters…”

Film of the Week: "Hush… Hush, Sweet Charlotte," 1964

Now let me see... what is it you call your job? Oh, yes. Public relations. Sounds like something pretty dirty to me.

                                   --Charlotte Hollis

In 1964, following the wildly successful pairing of stars Bette Davis and Joan Crawford inWhatever Happened to Baby Jane, Producer/Director Robert Aldrich planned to team the duo in another film based on a another book by Henry Farrell, Whatever Happened to Cousin Charlotte. Davis insisted that the title of the film be changed. She didn’t want audiences to think that the film was a sequel to Whatever Happened to Baby Jane. She suggested, “Hush… Hush, Sweet Charlotte” which was the name of the song which had been composed as the main musical theme of the picture. Aldrich agreed.

A rare publicity shot of
Crawford and Davis

Davis would play Charlotte Hollis—an eccentric Southern recluse who hides in her family’s crumbling Louisiana mansion after being accused of murdering her lover many years earlier. Crawford would play Miriam Deering, Charlotte’s strong-willed cousin who’s come to help Charlotte vacate her home when it is ordered to be torn down.

Joseph Cotten was cast as Dr. Drew Bayliss—a long-time friend of the family. The cast was further completed with Cecil Kellaway as an insurance investigator, Anges Moorehead as Charlotte’s cranky but loyal maid, a young Bruce Dern as Charlotte’s girl-hood lover, Victor Buono as Charlotte’s father, and Mary Astor as Charlotte’s former rival. Davis had specifically asked for Astor to play the role of Jewel Mayhew. Astor was one of the few female stars that Bette Davis actually liked. They had been friends and had worked well together on The Great Lie. When Bette Davis liked you, she really liked you. When she didn’t, she really didn’t.

Shooting began with both Davis and Crawford on location at Houmas House in Darrow Louisiana which would serve as the exteriors for Charlotte’s family home. However, soon, Miss Crawford developed one of her famous “Joan Crawford Colds” and was consistently absent—only appearing for four days of filming. Rumor had it that she couldn’t face working with Bette Davis again. While relations between them had been frosty on “Baby Jane,” they did manage to maintain a somewhat professional attitude. This time, however, Crawford wasn’t cooperating and she withdrew from the picture.

Olivia de Havilland as "Miriam"

Aldrich scrambled to find a suitable star for the second leading part in the film. At one point Vivien Leigh was approached to replace Crawford. Leigh responded, “"No, thank you. I can just about stand looking at Joan Crawford's face at six o'clock in the morning, but not Bette Davis'." Katherine Hepburn didn’t return Aldrich’s calls. Barbara Stanwyck and Loretta Young were also considered for the part of Miriam, but either declined or were deemed unsuitable for the role. The only other actress of that caliber that Bette Davis wanted was her old friend and co-star Olivia de Havilland.

Davis and Moorhead

Aldrich flew to Switzerland and, after much cajoling, convinced de Havilland to accept the part. Later, de Havilland would confess that she really did it as a favor to Bette Davis. She said, “I always thought it would be fun if [Bette and I] could work together. Then, I was offered the chance to work with her on the film that became Hush...Hush, Sweet Charlotte when Joan Crawford withdrew. I knew Bette wanted badly to work, and Jane had been such a success that Bette was quite anxious. They had to find the replacement, and Bette wanted me. The problem was I wasn't as anxious to work as she was. I didn't need to. I wasn't thrilled with the script, and I definitely didn't like my part. I was reverse-typecast, being asked to be an unsympathetic villain. It wasn't what people expected of me. It wasn't really what I wanted to do. Bette wanted it so much, so I did it. I can't say I regretted it, because working with her was special, but I can't say it was a picture I am proud to put on my résumé. Given the choice, I wouldn't have deprived Joan Crawford of the honor."

Mary Astor in her final film role.

On the first day of shooting together, Bette Davis and Olivia de Havilland toasted one another with bottles of Coca Cola—a sly slap-in-the-face to Joan Crawford’s memory. Crawford’s husband, Al Steele was an executive at Pepsi Cola.

The result of their collaboration was an excellent Southern Gothic thriller with plenty of chilling moments despite the obviously fake severed body parts. The three leads deliver excellent performances which are relatively restrained given the material. And, it’s interesting to see Olivia de Havilland in a “bad girl” part. With Halloween around the corner, Hush…Hush, Sweet Charlotte should certainly be on your play-list.

Film of the Week: Light in the Piazza, 1962

Meg Johnson—the wife of a wealthy American executive—has taken her twenty-six year old daughter, Clara, on holiday to Italy. Clara, a delicate blonde seems like any other young American girl, at first. She’s delighted by the sights and smells of Italy, has a love for dogs and babies and is attracted to the dark-haired gents who find her appealing. On closer inspection, there is something a little different about Clara. He mother seems overly protective of the young woman who does, in fact, seem a little more innocent than most, a little more naive.

Meg has good reason to be protective of Clara. As a child, Clara suffered severe injuries in an accident and, as a result, is severely brain-damaged. While quite functional, Clara has the mental age of a small child. So, when a handsome Italian man named Fabrizio takes a fancy to Clara, Meg is rightfully concerned. As much as Meg tries to avoid Fabrizio, he keeps showing up with small tokens of affection for Clara and offers to show them the beauty of Italy.

Despite Meg’s concerns, Fabrizio and Clara fall in love. Soon, Meg has a difficult choice to make. Should she put a stop to the romance? Should she tell Fabrizio and his well-meaning family that her daughter is “different”? Of course, Meg’s husband has a lot to say on the subject—as does Clara herself. Eventually, Meg makes a decision, but is her choice the right one?

Based on the 1960 novella of the same name by Elizabeth Spencer, Light in the Piazza stars Olivia de Havilland as Meg Johnson, Yvette Mimieux as Clara and a young, remarkably un-leathery George Hamilton as Fabrizio. Produced by Arthur Freed and directed by Guy Green for MGM, this beautifully photographed film has long been a fan favorite as well as a source of inspiration for many people facing equally difficult romantic choices. In 2003, the novel and film were adapted into a musical which won a Tony Award in 2005.

Sunday Morning Special: Bette Davis Sings on “To Tell the Truth”

While promoting her film, Hush…Hush, Sweet Charlotte, Bette Davis made many television appearances in 1964, often accompanied by her co-star and good friend, Olivia de Havilland.  During this period, Davis fancied herself something of a singer, even going as far as recording an album.  During this appearance on “To Tell the Truth,” she not only plugs her film, but also warbles the title song. 

Film of the Week: The Private Lives of Elizabeth and Essex, 1939

Big things were happening in 1939. A couple of little films called The Wizard of Oz and Gone with the Wind were putting Technicolor to good use. Meanwhile, Warner Brothers was putting Bette Davis to good use as well. She made four films in 1939: Dark Victory, Juarez, The Old Maid, and The Private Lives of Elizabeth and Essex. The last film, shot in brilliant Technicolor, was meant to be an epic, historical production that would rival Gone with the Wind. It didn’t exactly rival the Civil War masterpiece, but it stands up as a fine film in its own right.

Michael Curtiz directed the film which was based on the successful Broadway Lunt and Fontanne production by Maxwell Anderson. With glorious costumes by Orry-Kelly, a majestic score by Erich Korngold and a supporting cast which included Olivia de Havilland (as Lady Penelope Gray), Donald Crisp (as Francis Bacon. I’m always tickled that Crisp = Bacon), Vincent Price (as Sir Walter Raleigh), Leo G. Carroll, Alan Hale, Sr., Henry Stephenson, James Stephenson and Nanette Fabray. Davis was looking forward to the role. She enjoyed parts wherein she didn’t have to be glamorous, and relished the opportunity to slather her face with white make-up and really, truly play a character. To prepare for the part, she even shaved her hairline to approximate the documented look of Queen Elizabeth I.

With all that going for it, you’d think Davis would have been thrilled with the experience of shooting this exciting film. There was, however, one little problem with The Private Lives of Elizabeth and Essex. First of all, there was “Essex.” Davis wanted Laurence Olivier to play the dashing Essex. But, Warners thought that he wasn’t big enough box office and since Errol Flynn was at the top of his career, he was cast alongside Bette. Then there was a little scuffle with who would get top billing and a debate about the title of the film. However, despite all of the backstage drama, the result is a gorgeous retelling of the history of the early reign of Elizabeth I of England.

It’s not my favorite Bette Davis film. I personally don’t care much for Flynn and find him to be a little wooden and daffy compared to the other actors in the film. But, it’s an important part of Davis’ filmography and a great example of the quality cinema that came from 1939.

Person of the Week: Olivia de Havilland

With the passing of Elizabeth Taylor last week, we can’t help but have the feeling that we’re losing our ties to the roots of American cinema. Sadly, as we lose more of these Golden Age screen idols, the contenders to fill their shoes are, at the very least, lacking.

Though living a far less high-profile life that did Miss Taylor, we’re still graced with the presence of two of the cinema’s greatest stars: sisters Joan Fontaine and Olivia de Havilland.

Olivia de Havilland was born in Tokyo, Japan to English actress Lillian Fontaine (Lillian Augusta Ruse) and Walter Augustus de Havilland, a patent attorney. From an early age, de Havilland had theatrical tendencies. Lillian encouraged her daughter’s passion for drama, and it is alleged that when her second daughter, Joan, also showed an interest in theater, Lillian placed Olivia’s wants above Joan’s.

After moving to the United States, a young Olivia de Havilland made her stage debut at the Hollywood Bowl as Hermia in A Midsummer Night’s Dream. Her performance was so well-received that in 1935, when Warner Brothers was making their film adaptation of the Shakespearean masterpiece, de Havilland was the only member of the Californian stage company who was retained in her part—the other roles being recast with contract players. With a successful screen career in the offing, de Havilland quickly found herself in a series of small, but impressive roles. She became a true leading lady alongside Errol Flynn in eight popular films. Many speculated that Flynn and de Havilland were embroiled in a private romance. However, de Havilland has stated that while the two did share a mutual attraction, they remained just friends.

1939 was a major turning-point in American cinema. The year also offered a unique opportunity to de Havilland. While David O. Selznick was searching for his “Scarlett,” he already had his “Melanie” for Gone with the Wind. Olivia de Havilland was one of the first to be cast for the world’s most famous film and her portrayal of gentle Melanie Wilkes provided her with a permanent place in the world’s collective memory.

After Gone with the Wind, de Havilland returned to her usual contract work at Warner Brothers, but became more careful about which roles she accepted. She was increasingly cast as “the good girl” and wanted to try her hand at other types of characters. Each time de Havilland rejected a part that Warner had assigned her, she was placed on suspension. When he contract was up, she discovered that she was going to be forced to stay at Warner Brothers for several more months because of her amounted suspension time. This was a common practice in the classic studio system. De Havilland was furious and took Warner Brothers to court. She finished the battle started by her good friend and frequent co-star Bette Davis a few years earlier. With her triumph over Warner Brothers, de Havilland changed the way in which actors are employed for the better. The guidelines about contract length still hold the informal name, “De Havilland’s Law.”

Warner Brothers, defeated and embarrassed, vowed never to employee de Havilland again and she quickly and happily went to Paramount where she found a renewed artistic freedom and chances to play the types of roles she had dreamed of. Her performances in films such as The Heiress and The Snake Pit proved she was more than just a pretty face and a sweet disposition.

In 1949, she won her second Academy Award (her first came in 1946 for To Each His Own) for Best Actress for her work in The Heiress. De Havilland continued to be busy will into the 1960’s. After making Hush…Hush, Sweet Charlotte with Bette Davis, her career began to slow down and she led an increasingly more private life in her home in Paris.

For her unparalleled body of work and her contributions to the arts of the last eight decades, Olivia de Havilland is our Person of the Week.

Enjoy Miss de Havilland in these scenes from The Heiress (1949) and The Snake Pit (1948).

Sunday Viewing: In This Our Life, 1942

I know it’s hard to imagine, but every so often, if Bette Davis didn’t get her way, she could be a trifle difficult. This was certainly the case during production of the 1942 Warner Brothers film In This Our Life. In many regards, this film is quite important. It was John Huston’s second directorial project (though toward the end of shooting, the bombing of Pearl Harbor meant that Huston was called away to war and replaced with an un-credited Raoul Walsh who clashed with Davis at every turn). Similarly, it was one of the first realistic film portrayals of the horrors of racism—a fact which prevented the film from finding international release.

Davis was thrilled with the source material. She described Ellen Glasgow’s novel of the same name to be “brilliant.” The story concerned two sisters in the present (1940’s) Southern United States. The sisters—both of whom had male names, Stanley and Roy—were the daughters of a formerly wealthy man who was forced to sell part of his business to his conniving brother. Roy—the older and more sedate of the sisters—is a successful interior decorator with a seemingly good marriage. Stanley—impetuous and childish—likes to drink, drive fast and flirt with a variety of men including her fiancé, a lawyer named Craig, and, most disturbingly, her rich uncle.

Bored with her life, Stanley decides she wants Roy’s husband and seduces him away from her sister. What follows is a tale of reckless behavior with ends with the unjust use of a refined and intelligent black man as a scapegoat for murder.

Bette Davis battled to be cast as Roy—the “good girl.” She knew her fans wanted to see her in “good girl” roles and she thought that she’d be perfect for the part. Warner Brothers had other plans. They liked Bette as the “bad girl” and cast her as Stanley while placing Olivia de Havilland (true to form) in the “good girl” role. Davis showed her dissatisfaction by acting as a tyrant—insisting that she have total control over her wigs, her makeup and her wardrobe. Curiously, when the film was previewed, audiences wrote that they thought Davis’ hair, makeup and costumes were all quite atrocious.

Davis did have her helpful moments—between bouts of faux laryngitis—and helped in the casting of the African American character who takes the fall for Stanley’s crimes. Ernest Anderson—a relative unknown—gives a brilliant and educated performance as “Parry.”

Completing the cast are George Brent as Stanley’s onetime fiancé, Dennis Morgan as Roy’s onetime husband, Billie “Are you a good witch or a bad witch” Burke as the girls’ mother, Charles Coburn as the girls’ lascivious uncle and Hattie “It ain’t fittin’” McDaniel as Parry’s mother.

It’s an interesting, if not slightly overwrought, film. Davis blasted it and claimed she hated it. Quickly putting it behind her, she went to work on Now, Voyager—a film Bette enjoyed much more than this one. Nevertheless, the film is a must for any fan of Davis, de Havilland or McDaniel and is a very well produced picture.