The untold want by life and land ne'er granted, Now voyager sail thou forth to seek and find.
--Walt Whitman
Regarded today as one of the finest performances given by Bette Davis in her over eighty films, Now, Voyager is a testament to Davis’ skill both in front of and behind the camera.
Based on the popular novel of the same name by Olive Higgins Prouty, Now, Voyager was directed by Irving Rapper (purposefully selected by Warner Brothers because he was considered compliant enough to work with Davis) and produced by Hal B. Wallis in his first independent production for Warner Brothers.
Warner Brothers
When Warner Brother purchased the rights to the novel about an emotionally troubled spinster’s love affair with a married man, they hadn’t considered Bette Davis for the part. Their initial choices were Irene Dune, Norma Shearer or Ginger Rogers. Davis, being the “Queen” of the lot, got wind of the production and realized that she should be playing “Charlotte Vale.” She campaigned loud and long, and got her way. Davis immediately immersed herself in the part, taking great interest in repeatedly reading the novel and trying to understand the character of Charlotte. While many stars would have rallied to make Charlotte more attractive at the beginning of the picture, Davis reveled in the chance to show her range. She didn’t fear looking ugly and worked with make-up artists and costume designer, Orry-Kelly, to ensure that Charlotte’s transformation from overweight neurotic to timeless butterfly (a theme which is quite pronounced in the costume design and dialogue) was dramatically effective.
Warner Brothers
Bette also had a hand in casting. Her favorite co-star, Claude Rains, was cast as Charlotte’s supportive and understanding psychiatrist, Dr. Jaquith. Meanwhile, she was intrigued by a newcomer to the Warner Brother’s lot—Austrian Paul Henreid who was also to star in Casablanca. Davis thought that the studio had given Henreid an unfair screen test by making him up as too much of a “gigolo.” She requested that Henreid be given another test with more subdued hair and make-up. It was a success and he was cast in what today is considered one of the greatest on-screen romantic pairings of all time.
Gladys Cooper played Charlotte’s domineering mother—the root of all of her troubles—and Ilka Chase was cast as Charlotte’s one sympathetic relative, her sister-in-law, Lisa. Rounding out the cast is a charming performance by Mary Wickes.
Warner Brothers
Irving Rapper reportedly went home angry and exhausted every night, but claimed that it didn’t matter because no matter how difficult Bette was, the rushes proved that she was giving a brilliant performance. And, brilliant, it was. One of the most romantic films ever made, with some of the most memorable dialogue, Now, Voyager is a film that everyone should see.
Queen Victoria with Prince Alfred and Princess Helena
Robert Thorburn, 1847 The Royal Collection
I imagine that part of the fun of being a monarch prior to the Twentieth Century was having the ability to say, “I’d like a family portrait painted, but I’d like you to compose it as a religious scene.” This was not uncommon. For centuries, wealthy and regal patrons of the arts commissioned portraits which incorporated their visages into epic religious scenes, and in some cases, even taking on the roles of Biblical figures. People don’t do that anymore. But, it seemed perfectly logical at the time.
In 1847, Queen Victoria commissioned celebrated miniaturist, Robert Thorburn to create a portrait in the style of Raphael. Victoria was a great fan of Italian Renaissance and Baroque art and actually amassed quite an impressive collection of it. Her wish was that Thorburn would depict her as the Madonna with Princess Helena as the infant Jesus and Prince Alfred as the child John the Baptists. Sounds like fun.
Thorburn painted the scene on a thin sheet of ivory which was mounted on board. The result is quite a stunning little portrait which manages to convey the Biblical composition but still neatly represents the sitters.
What better way to start your Sunday morning than watching Bette Davis smoke her way through an interview with Dick Cavett?In this vintage clip, she puffs, talks about Jack Warner, puffs some more, talks like Bette Davis and has very strong opinions about everything.
Last week was quite busy in Marionneaux. After a lovely Christmas morning, Mr. Punch, Robert, Adrienne and Cecil were violently interrupted by the appearances of Agnes Rittenhouse and Iolanthe Evangeline. Iolanthe arrived with the intention of making Cecil pay for having shot her. In the process, she did a good job of tearing up Adrienne’s drawing room (and almost setting fire to the house) before escaping—with Cecil in pursuit. Iolanthe sought refuge in the cabin where Marjani was caring for her ailing daughter and son-in-law, but Marjani was in no mood to protect The Elegant Ogress. Luckily for Iolanthe, one of her frequent “customers” was all too happy to welcome her into his home. Meanwhile, unbeknownst to Robert, Agnes had slipped a “suicide note” into the pocket of one of Julian’s coats. Upon being caught by Robert, she lied and managed to escape. When Cecil arrived home—without Iolanthe—he declared that they were all leaving for New Orleans earlier than expected.
And, so, next week, we follow the journey of our heroes as they travel from Marionneaux to The Crescent City. This does not thrill Ulrika Rittenhouse at all. After all, with Arthur and Barbara drugged and willing to do anything she asks, Ulrika hadn’t planned for the departure of the very man she wishes to silence. Look for Ulrika to make an impassioned plea to her mother to allow her to leave for the Masquerade Ball a few days early. Don’t think that the sudden departure of her enemies has escaped Iolanthe Evangeline. She, too, sets her sights for home. It’s a good thing, too, since she’s got to greet a special visitor from England at the docks.
While Punch’s Cousin will be taking a break on Thursday, the novel will be posted the rest of the week. Many thanks to those of you who have been reading! We have a lot of excitement to look forward to as we approach Edward Cage’s Masquerade Ball.
If you’ve got a set of “good china” that only makes appearances on holidays, you might want to take some steps to protect it during the rest of the year.Make sure that your fine china is not exposed to too much sunlight.This will ultimately damage the pattern and the integrity of the china.To make sure your good pieces don’t get chipped and to keep them free of dust, you can purchase inexpensive soft cases in a variety of sizes which will allowyou to stack and individual pieces with cushions of foam.Protecting your china now will ensure that future generations will be able to enjoy it on their special occasions.
By the 1920’s, the decorative arts were changing. The ideals of more ornate periods were maintained and reinterpreted into simpler lines and planes. This sideboard is an interesting transitional piece of furniture, leaning toward the Art Deco, but still incorporating the craftsmanship and detail of the Victorian and Edwardian.
This maple piece comes from England and features a bowed front and scalloped doors with inlays of contrasting wood patterns. While the simple curving lines of the sideboard are uninterrupted, it still features carves and raised ornaments at the centers of each door and flanking the drawers. This nod to the traditional proves that we’re always looking to our artistic roots as we explore new ways of furnishing our homes.
Sitting proudly on turned-bun feet, this sideboard features ample storage and display space. The top is not one flat plane, but rather, lowered in the center for dramatic effect. While wholly 1920’s, it also reminds us that sometimes the old ways are the best.
It’s hard to believe that Thanksgiving is this week. In light of the holiday, I’ll be taking Thursday off from my usual activities. However, the rest of the week will be filled with a variety of interesting things, and, of course, Mr. Punch.
We’ll take a visit to the home of most of our U.S. Presidents when we explore the history, art and architecture of the White House. Our journey through Britain’s Royal Collection will continue with some intimate portraits of Queen Victoria and Prince Albert and a look at the beautiful furnishings and objects which have long graced Britain’s royal residences.
An often overlooked Joan Crawford film will be hit with a cyber spotlight and we’ll revisit a sentimental favorite Music Hall song. As always, you’ll get a glance at my own collection of art and antiques as well as some of the most attractive and unusual artifacts from around the world.
Punch’s Cousin will continue with Chapter 103, taking a momentary break on Thursday. If you’ve not had a chance to read the first one hundred chapters, you can read a summary of all of the action here. You’ll still be able to read a preview of my upcoming novel, The Cages of Marionneaux, here. And, don’t forget, this week is your last opportunity to send your nominations for both Person of the Year and Humanitarian of the Year. Voting will begin in December.
On a corny note, one thing that I’m thankful for this year is all of you who’ve been reading Stalking the Belle Époque, and Punch’s Cousin. From the U.S. to England, and even all the way to Africa and all points in between, it’s all of you who have made this such a wonderful experience.
