Olivia de Havilland
| Olivia de Havilland | |
|---|---|
 Studio publicity photo in 1938 | |
| Born |
Olivia Mary de Havilland July 1, 1916 Tokyo, Japan |
| Residence | Paris, France |
| Other names | Livvie |
| Occupation | Actress |
| Years active | 1935–2009 |
| Religion | Episcopalian |
| Spouse(s) |
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| Children |
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| Parent(s) |
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| Relatives | Joan Fontaine (sister, 1917–2013) |
| Awards | See below |
| Signature | |
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Olivia Mary de Havilland (born July 1, 1916) is a British-American actress whose career spanned fifty-three years, from 1935 to 1988. She appeared in forty-nine feature films, and was one of the leading movie stars during the golden age of Classical Hollywood. She is best known for her early screen performances in The Adventures of Robin Hood (1938) and Gone with the Wind (1939), and her later award-winning performances in To Each His Own (1946), The Snake Pit (1948), and The Heiress (1949). Born in Tokyo to English parents, de Havilland and her younger sister, actress Joan Fontaine, moved to California in 1919, where they were raised by their mother Lillian, a former stage actress who taught them dramatic art, music, and elocution. She made her acting debut in amateur theatre playing the lead role in Alice in Wonderland and later appeared in a local production of Shakespeare's A Midsummer Night's Dream, which led to her landing the role of Hermia in Max Reinhardt's stage production of the same play and a movie contract with Warner Bros.
De Havilland made her screen debut in Reinhardt's film adaptation A Midsummer Night's Dream in 1935. She began her career playing demure ingénues opposite popular leading men, including Errol Flynn, with whom she made eight films, including her breakout film Captain Blood (1935). They became one of Hollywood's most popular romantic on-screen pairings. Her range of performances included roles in most major movie genres. She achieved her initial popularity in romantic comedy films, such as The Great Garrick (1937) and Hard to Get (1938), and in Westerns, such as Dodge City (1939) and Santa Fe Trail (1940). Her natural beauty and refined acting style made her particularly effective in historical period dramas, such as Anthony Adverse (1936) and My Cousin Rachel (1952), and romantic drama films, such as Hold Back the Dawn (1941). In her later career, she was most successful in drama films, such as In This Our Life (1942) and Light in the Piazza (1962), and psychological dramas playing unglamorous roles in such films as The Dark Mirror (1946) and Hush… Hush, Sweet Charlotte (1964).
In addition to her active film career, de Havilland continued her work in the theatre, appearing three times on Broadway, in Romeo and Juliet (1951), Candida (1952), and A Gift of Time (1962) with Henry Fonda. She also worked in television, appearing in two successful miniseries, Roots: The Next Generations (1979) and North and South II (1986), and television feature films, such as Anastasia: The Mystery of Anna for which she received a Primetime Emmy Award. During her film career, de Havilland won two Academy Awards, two Golden Globe Awards, two New York Film Critics Circle Awards, the National Board of Review Award for Best Actress, and the Venice Film Festival Volpi Cup. For her contributions to the motion picture industry, she received a star on the Hollywood Walk of Fame. For her lifetime contribution to the arts, she received the National Medal of Arts from President George W. Bush on behalf of the American people, and was appointed a Chevalier of the Légion d'honneur by French President Nicolas Sarkozy.
After romantic relationships with Howard Hughes, James Stewart, and film director John Huston, de Havilland married author Marcus Goodrich, with whom she had a son, Benjamin. Following their divorce in 1953, she moved to Paris and married Pierre Galante, an executive editor for the French journal Paris Match, with whom she had a daughter, Gisèle. In 1962 she published Every Frenchman Has One, a lighthearted account of her attempts to understand and adapt to French life, manners, and customs. De Havilland and her sister Joan Fontaine are the only siblings to have won Academy Awards in a lead acting category. Over the course of their careers, several well-publicized incidents underscored a lifelong rivalry between the two that resulted in an estrangement that lasted over three decades. De Havilland was raised in the Episcopal Church and has remained an Episcopalian throughout her life. Since 1956, she has lived in the same three-story house near Bois de Boulogne park in Paris. On July 1, 2016, de Havilland will celebrate her 100th birthday.
Early life
Olivia Mary de Havilland was born on July 1, 1916, in Tokyo, Japan, to parents from England.[1] Her father, Walter Augustus de Havilland (1872–1968), was educated at the University of Cambridge and served as an English professor at the Imperial University in Tokyo before becoming a patent attorney with a practice in Japan.[1] Her mother, Lillian Augusta (née Ruse; 1886–1975),[2] was educated at the Royal Academy of Dramatic Art in London and became a stage actress.[1] She also sang with the Master of the King's Music, Sir Walter Parratt, and toured England with composer Ralph Vaughan Williams, illustrating his music.[3] The de Havilland family heritage includes one ancestor who fought with William the Conqueror in the eleventh century, and another who accompanied King Richard I to Palestine in 1190 to fight in the Third Crusade.[4] Olivia's paternal cousin was Sir Geoffrey de Havilland (1882–1965), an aircraft designer, notably of the de Havilland Mosquito,[5] and founder of the de Havilland aircraft company.[6] Her paternal grandfather, the Reverend Charles Richard de Havilland, was from a family from Guernsey, in the Channel Islands.[7]
In 1913 Lillian and Walter met in Japan while she was visiting her brother; the following year the couple were married in New York City on November 30, 1914.[8] Upon their return to Japan, they moved into a large house in an exclusive residential section of Tokyo, where Lillian gave informal singing recitals for the European colony.[8] The marriage was not a happy one due in part to Walter's infidelities.[9] Olivia's younger sister Joan—later known as actress Joan Fontaine—was born on October 22, 1917.[10] In February 1919 Lillian persuaded her husband to take the family back to England to a climate better suited for their ailing daughters.[9] They sailed aboard the SS Siberia Maru to San Francisco,[10] where the family stopped to treat Olivia's bronchial condition, tonsillitis, and high temperature.[11] After Joan developed pneumonia, Lillian decided to remain with her daughters in California, where they eventually settled in the village of Saratoga, about 50 miles (80 km) south of San Francisco.[12][Note 1] Her father abandoned the family and returned to his Japanese housekeeper Yuki Matsu-Kura, who would eventually become his second wife.[12][16] Her parents' divorce was not finalized until February 1925.[12]
Olivia was raised to appreciate the arts, beginning with ballet lessons at the age of four, and piano lessons at the age of five.[17] She learned to read before she was six,[18] and her mother, who occasionally taught dramatic art, music, and elocution,[19] soon had her reciting passages from Shakespeare to strengthen her diction.[17] Olivia was named after Shakespeare's character in Twelfth Night.[20] It was during this period that her younger sister Joan first started calling her "Livvie"—a nickname that would last throughout her life.[17] Olivia's relationship with Joan, who was frequently ill as a child, became stained by their mother's expression, "Livvie can, Joan can't."[17] De Havilland entered Saratoga Grammar School in 1922 and did well in her studies.[14] She enjoyed reading, writing poetry, drawing, and spelling, and once represented her grammar school in a county spelling bee, coming in second place.[14] In 1923 Lillian had a new Tudor-style house built at 231 La Paloma Avenue (now 20250),[14][21] where the family resided until the early 1930s.[22] In April 1925, after her divorce was finalized, Lillian married George Milan Fontaine, a department store manager for O. A. Hale & Co. in San Jose.[23] Fontaine was a good provider and respectable businessman, but his strict parenting style generated animosity and later rebellion in his stepdaughters.[24][Note 2]
De Havilland continued her education at Los Gatos High School in nearby Los Gatos.[24] There she excelled in oratory and field hockey and participated in school plays and the school drama club, eventually becoming the club's secretary.[26] She also studied typing and shorthand.[27] With plans to become a schoolteacher specializing in English and speech,[24] she also attended Notre Dame Convent in Belmont.[27] In 1933 de Havilland made her debut in amateur theatre in the lead role in Alice in Wonderland, a production of the Saratoga Community Players based on the novel by Lewis Carroll.[26] She would later remember: "For the first time I had the magic experience of feeling possessed by the character I was playing. I really felt I was Alice and that when I moved across the stage, I was actually moving in Alice's enchanted wonderland. And so for the first time I felt not only pleasure in acting but love for acting as well."[26] She also appeared in several school plays, including The Merchant of Venice and Hansel and Gretel.[28] Her passion for drama eventually led to a confrontation with her stepfather, who forbade her from participating in further extracurricular activities.[29] When he learned that she won the lead role of Elizabeth Bennet in a school fund-raising production of Jane Austen's Pride and Prejudice, he gave her an ultimatum to either stay home or not return home.[29] Not wanting to let her school and classmates down, she left home forever, moving in with a family friend, Eva Leigh Harriman.[29]
After graduating high school in 1934, de Havilland was offered a scholarship to Mills College to pursue her chosen career as an English teacher.[30] She was also offered the role of Puck in the Saratoga Community Theater production of Shakespeare's A Midsummer Night's Dream.[26] That summer, Austrian director Max Reinhardt came to California for a major new production of the same play to premiere at the Hollywood Bowl.[30] After one of Reinhardt's assistants saw her perform in Saratoga, he offered her the second understudy position for the role of Hermia.[30] One week before the premiere, the understudy Jean Rouverol left to take a part in a film, and the lead actress Gloria Stuart became ill, leaving eighteen-year-old Olivia de Havilland to play Hermia.[30] Reinhardt was pleased with her performance and offered her the part in the four-week autumn tour that followed.[30] When Mills College agreed to leave their scholarship open to the end of the year, de Havilland accepted the director's offer.[30] During that tour, Reinhardt received word that he would direct the Warner Bros. film version of his stage production, and he offered her the film role of Hermia. With her mind still set on becoming a teacher, de Havilland initially wavered, but eventually Reinhardt and executive producer Henry Blanke were able to persuade her to sign a five-year contract with Warner Bros. on November 12, 1934, with a starting salary of two hundred dollars a week (equivalent to $3,538 in 2015).[31] Studio head Jack L. Warner would later remember their first meeting: "I saw a girl with big, soft eyes and a fresh, young beauty. She had a voice that was music to my ears."[32]
Career
Early films, 1935–37
Olivia de Havilland made her screen debut in Max Reinhardt's film A Midsummer Night's Dream.[33] Filmed at Warner Bros. studios in Burbank from December 19, 1934, to March 9, 1935,[34] it was the first major screen adaptation of Shakespeare since The Taming of the Shrew (1929) with Douglas Fairbanks and Mary Pickford.[35] During Reinhardt's ambitious production, de Havilland quietly picked up film acting techniques from co-director William Dieterle and camera techniques from cinematographer Hal Mohr, who was impressed with the newcomer's insightful questions about his work.[35] By the conclusion of filming, she had learned the effect of lighting and camera angles on how she appeared on screen and how to find her best lighting.[35] Following lavish premieres in New York and Beverly Hills, the film was released on October 30, 1935.[34] Despite the publicity campaign, the film generated little enthusiasm with audiences and was not commercially successful.[33] While the critical response was mixed, de Havilland's performance was singled out by The San Francisco Examiner critic who wrote, "This girl is a wonder ... when she acts Hermia she is everything."[36] In his review in the Brooklyn Daily Eagle, Winston Burdett noted that de Havilland "acts graciously and does greater justice to Shakespeare's language than anyone else in the cast".[37] Following the production of A Midsummer Night's Dream, de Havilland and her mother moved into an apartment at the Chateau des Fleurs at 6626 Franklin Avenue in Hollywood.[38]
In the first half of 1935, de Havilland made two minor comedies, Alibi Ike with Joe E. Brown and The Irish in Us with James Cagney, both of which were released before A Midsummer Night's Dream.[39] In both films, she plays a role into which she would soon be typecast: the sweet and charming love interest.[40] In Alibi Ike she plays Dolly Stevens, the beautiful girlfriend of a baseball player with a penchant for making excuses for his average playing; in The Irish in Us, she plays a police captain's daughter who is wooed by a boxing manager turned boxer.[41] After experiencing the prestige of being a Reinhardt player, de Havilland felt disappointed being assigned these routine heroine roles.[33] "Having begun my career in Shakespeare," she would later recall, "I was quite dismayed by those female leads."[41] Both films received mixed reviews and disappointing public response.[33]
In July 1935 Warner Bros. made a decision that would have a profound impact on de Havilland's career—pairing her with an unknown Tasmanian actor named Errol Flynn in the swashbuckler film Captain Blood (1935).[42] Warner and producer Hal B. Wallis noticed the chemistry immediately.[42] According to film historian Tony Thomas, both actors had "classic good looks, cultured speaking voices, and a sense of distant aristocracy about them".[43] Filmed between August 5 and October 29, 1935,[44] Captain Blood gave de Havilland the opportunity to appear in her first costumed historical romance and adventure epic—a genre to which she was well suited, given her beauty and elegance.[45] In the film, she plays Arabella Bishop, the daughter of a Jamaica plantation owner, who purchases at auction an Irish physician wrongly condemned to servitude for treating a wounded rebel officer back in England. The on-screen chemistry between de Havilland and Flynn was evident from their first scenes together,[45] where clashes between her character's spirited hauteur and his character's playful braggadocio did not mask their mutual attraction to each other.[46] That on-screen attraction reflected their actual feelings at the time.[45] She would later admit that she had a crush on him through the entire production, and he would later acknowledge the same.[45] Unlike her two previous roles, Arabella is a feisty young woman who knows what she wants and is willing to fight for it.[47] The bantering tone of their exchanges in the film—the healthy give-and-take and mutual respect—became the basis for their on-screen relationship in subsequent films.[46] Captain Blood was released on December 28, 1935,[44] and received good reviews and wide public appeal.[48] Andre Sennwald in The New York Times called de Havilland's Arabella "a lady of rapturous loveliness and well worth fighting for".[49] The Variety critic thought her performance was "romantically beautious".[50] The film was nominated for four Academy Awards, including Best Director for Michael Curtiz and Best Picture.[51] The popular success of the film, as well as the critical response to the on-screen couple, led to seven additional collaborations.[45]
In 1936 de Havilland appeared in Mervyn LeRoy's lavish historical period drama Anthony Adverse with Fredric March.[52] Based on the popular novel by Hervey Allen, the film follows the adventures of an orphan raised by a Scottish merchant, whose pursuit of fortune separates him from the innocent peasant girl he loves, marries, and eventually loses.[53] De Havilland plays the peasant girl Angela who, after being separated from her slave trader husband, later becomes opera star Mademoiselle Georges, the mistress of Napoleon.[54] While the film was neither a critical nor commercial success, it did earn six Academy Award nominations, including Best Picture.[55] It also gave de Havilland good exposure and the opportunity to portray a character as she develops over time.[56] Howard Barnes of the New York Herald Tribune found her later scenes as Mademoiselle Georges "not very credible",[57] but Frank S. Nugent of The New York Times called her "an attractive addition to any cast" and "a winsome Angela".[58] That same year, she was reunited with Errol Flynn in Michael Curtiz's period action film The Charge of the Light Brigade, a fictional story set against the backdrop of the failed British military action during the Crimean War.[59] In the undeveloped and mostly decorative role of Elsa Campbell, de Havilland is given minimal screen time in this action-oriented picture,[60] which became a box office success.[61] During the film's production, de Havilland renegotiated her contract with Warner Bros. and signed a seven-year contract on April 14, 1936, with a starting weekly salary of five hundred dollars (equivalent to $8,526 in 2015).[62][Note 3] Toward the end of the year, twenty-year-old de Havilland and her mother moved to 2337 Nella Vista Avenue in the Los Feliz section of Los Angeles.[64]
In 1937 de Havilland transitioned from period pieces to contemporary comedies, beginning with her first top billing in Archie Mayo's Call It a Day with Ian Hunter and Anita Louise.[65] The story follows a middle class English family through the course of a single day as they struggle with the romantic effects of spring fever.[66] De Havilland plays daughter Catherine Hilton, who falls in love with the handsome artist hired to paint her portrait.[66] The film did not do well at the box office and did little to advance her career.[67] That year she also appeared in Mayo's screwball comedy It's Love I'm After with Leslie Howard and Bette Davis.[68] In the role of Marcia West, de Havilland plays a young debutante and theater fan enamored with a Barrymore-like matinee idol who decides to help the girl's fiancé by pretending to be an abominable cad.[69] The film received good reviews, with Variety calling it "fresh, clever, excellently directed and produced, and acted by an ensemble that clicks from start to finish", noting that de Havilland played her straight part "excellently".[70]
That same year, de Havilland made two additional period films, beginning with James Whale's The Great Garrick, a fictional romantic comedy film about the famous eighteenth-century English actor's encounter with jealous players from the Comédie-Française who plot to embarrass him at an inn on his way to Paris.[71] Wise to their prank, Garrick, played by Brian Aherne, plays along with the ruse determined to get the last laugh—even on a lovely young aristocrat, de Havilland's Germaine Dupont, the Countess de la Corbe, whom he mistakenly believes to be one of the players.[72] With her refined demeanor and beautiful diction,[67] de Havilland delivers a performance that is "lighthearted and thoroughly believable", according to author Judith M. Kass.[73] Variety praised the film, calling it "a production of superlative workmanship" with "acting by a fine cast in the flamboyant manner demanded by the script".[74][75] In spite of these positive reviews, the film did not do as well at the box office.[75][Note 4] Her final film that year was Michael Curtiz's romantic drama Gold Is Where You Find It with George Brent and Claude Rains.[78] The film, which marks her first appearance in three-strip Technicolor,[78] is about the late nineteenth century conflict in the Sacramento Valley between gold miners and their advanced engineering techniques and farmers whose land is being flooded by their hydraulic equipment.[79] De Havilland plays the daughter of a prominent farmer, Serena Ferris, who falls in love with the mining engineer largely responsible for the flooding.[80] The film was released in February 1938,[81] and while the New York Herald Tribune critic found de Havilland unconvincing as a farmer's daughter, many critics noted the brilliance of the Technicolor presentation.[82]
Movie stardom, 1938–40
In September 1937 de Havilland was selected by Warner Bros. studio head Jack L. Warner to play Maid Marian opposite Errol Flynn in The Adventures of Robin Hood (1938).[83] The ambitious Technicolor production was filmed on location between September 26, 1937, and January 14, 1938, at Bidwell Park, Busch Gardens, and Lake Sherwood in California.[84] Directed by William Keighley and Michael Curtiz, the film is about the legendary Robin Hood, a Saxon knight who opposes the corrupt and brutal Prince John and his Norman lords while good King Richard is away fighting in the Holy Land during the Third Crusade.[85] De Havilland plays the King's ward, Maid Marian, who initially opposes Robin but later supports him after learning his true intentions of helping his oppressed people.[86] De Havilland creates a character who looks as if she had emerged from a storybook—a naive, virginal ingénue whose love for Robin and his cause transform her into a substantial person of quiet dignity and firm loyalty.[87] No mere bystander to events, Marian risks her life to save Robin by providing his men a plan for his escape,[88] and when she is caught by Prince John, she defiantly declares, "I'd do it again if you killed me for it!"[89] As defined by de Havilland, Marian is both a beautiful fairy-tale heroine and a spirited, intelligent, woman of action "whose actions are governed by her mind as well as her heart", according to author Judith Kass.[89] The Adventures of Robin Hood was released on May 14, 1938,[84] and was an immediate critical and commercial success, earning an Academy Award nomination for Best Picture.[90] It went on to become one of the most popular adventure films of the Classical Hollywood era.[90][91]
The popularity of The Adventures of Robin Hood brought de Havilland a new level of fame as a movie star, but this new status was not reflected in the films to which she was assigned by Warner Bros.[67] If anything, her next several roles were even more routine and less challenging.[67] In Michael Curtiz's romantic comedy Four's a Crowd (1938) with Errol Flynn, de Havilland plays Lorri Dillingwell, a dizzy rich girl being romanced by a conniving PR man looking to land an account with her eccentric father, one of the wealthiest and most hated men in the country.[92] In Ray Enright's romantic comedy Hard to Get (1938) with Dick Powell, de Havilland plays another dizzy, spoiled rich girl, Margaret Richards, whose selfish desire to exact revenge on a gas station attendant leads to her own comeuppance.[93] While de Havilland was certainly capable of playing these kinds of characters, her personality was better suited to stronger and more dramatic roles, and tended to betray "an intelligence too obviously superior to her material", according to Kass.[94] Her last film that year was Lloyd Bacon's drama Wings of the Navy (1939) with George Brent—a project supported by the United States Navy intended to showcase America's military might as Europe was preparing for World War II.[95] De Havilland's character, Irene Dale, is relegated to an incidental love story in a film otherwise focused on two naval aviators.[96] By the end of the year, de Havilland was having serious doubts about her career at Warner Bros.[95][96]
Some film scholars point to 1939 as the greatest year of the Classical Hollywood era,[97] producing an unprecedented number of classics in many genres, including the Western.[98] Following the success of Cecil B. DeMille's epic adventure The Plainsman (1937) with Gary Cooper, studios began investing their top talent and budgets to produce films such as Stagecoach, Union Pacific, and Destry Rides Again—all released in 1939.[98] Warner Bros. made its worthy contribution with Michael Curtiz's sprawling Technicolor adventure Dodge City, reuniting Flynn and de Havilland in their first Western film.[98] Set during the American Civil War, the film is about a Texas trailblazer who witnesses the brutal lawlessness of Dodge City, Kansas, and becomes sheriff to clean up the town. De Havilland plays pioneer turned newspaperwoman Abbie Irving, whose initial hostility towards Flynn's character Wade Hatton is overcome by events, and the two fall in love—by now a proven formula for their on-screen relationships.[99] Curtiz's fast-paced action sequences, Sol Polito's grand cinematography, Max Steiner's expansive film score, and perhaps the "definitive saloon brawl in movie history"[98] all contributed to the film's success.[100] Variety described the film as "a lusty western, packed with action" and that Curtiz's direction "lifts this into the big league division".[101] Frank S. Nugent of The New York Times wrote that de Havilland was "as pretty as ever—prettier in fact, since she is in Technicolor".[102] Ironically for de Havilland, the making of Dodge City—playing yet one more supporting love interest in a limited role—represented the emotional low point of her career to that point.[103] She would later recall, "I was in such a depressed state that I could hardly remember my lines."[99]
In a letter to a colleague dated November 18, 1938, film producer David O. Selznick wrote, "I would give anything if we had Olivia de Havilland under contract to us so that we could cast her as Melanie."[104] The film he was preparing to shoot was Gone with the Wind, and Jack L. Warner was not willing to loan her out for the project.[105] De Havilland had read the novel and, unlike most actresses who wanted the Scarlett O'Hara role, she knew she had to play Melanie Hamilton—a character of quiet dignity and inner strength that she understood and could bring to life on the screen.[106] De Havilland turned to Warner's wife Anne for help.[105] Warner later recalled, "Olivia, who had a brain like a computer concealed behind those fawn-like eyes, simply went to my wife and they joined forces to change my mind."[107] Warner relented, and de Havilland was signed to the project a few weeks before the start of principal photography on January 26, 1939.[108] Set in the American South during the nineteenth century, the film is about the strong-willed daughter of a Georgia plantation owner in love with the husband of her sister-in-law, Melanie, whose kindness stands in sharp contrast with those around her. In her role as Melanie, de Havilland brings to life a character whose selfless love and quiet strength help her loved ones survive the horrors of war.[109] At one point, Clark Gable's character Rhett Butler describes her as "the only completely kind person I ever knew".[110] Gone with the Wind had its world premiere in Atlanta, Georgia, on December 15, 1939, and was well received.[108] Frank S. Nugent of The Times wrote that de Havilland's Melanie "is a gracious, dignified, tender gem of characterization",[111] and John C. Flinn, Sr., in Variety called her "a standout".[112] The film won ten Academy Awards, including Best Picture, and de Havilland received her first nomination for Best Supporting Actress for playing "the woman I wish I could be".[113][114]
Melanie was someone different. She had very, deeply feminine qualities … that I felt were very endangered at that time, and they are from generation to generation, and that somehow they should be kept alive, and … that's why I wanted to interpret her role. … The main thing is that she was always thinking of the other person, and the interesting thing to me is that she was a happy person … loving, compassionate.[14]— Olivia de Havilland
Within days of completing her work in Gone with the Wind in June 1939, de Havilland returned to Warner Bros. and began filming Michael Curtiz's historical drama The Private Lives of Elizabeth and Essex with Bette Davis and Errol Flynn.[115] She had hoped her work on Selznick's prestige picture would lead to first-rate roles at Warner Bros., but instead she received third billing below the title in the relatively minor role of Lady Penelope Gray, the Queen's lady-in-waiting whose love for Essex is unrequited.[116] Given her previous co-starring roles opposite Flynn, de Havilland was not pleased with the assignment, but she kept her promise to Warner—that she would not cause any more trouble if she were allowed to appear in Gone with the Wind.[117] In early September she was loaned out to Samuel Goldwyn Productions for Sam Wood's romantic caper film Raffles with David Niven—a remake of the successful 1930 version with Ronald Colman.[118] Based on E. W. Hornung's 1899 novel The Amateur Cracksman,[118] the film is about a high society cricketer and jewel thief who agrees to give up his life of crime for the love of his friend's sister, Gwen, played by de Havilland.[119] She would later complain, "I had nothing to do with that English scene, I had nothing to do with that style of film and I was nothing to that part the way it was written".[120]
In early 1940 de Havilland refused to appear in a number of lesser films assigned to her, initiating the first of several suspensions at the studio.[120] She finally agreed to Curtis Bernhardt's musical comedy drama My Love Came Back with Jeffrey Lynn and a young Eddie Albert playing a classical music student turned swing jazz bandleader.[120] De Havilland plays talented classical violinist Amelia Cullen, whose life becomes complicated by the secret support from an elderly wealthy sponsor.[120] The performance sequences were accomplished by having a professional female violinist hide behind de Havilland and reach around her with her left hand to perform the complicated fingering while the actress played the bow with her right hand.[121] In his review in The New York Times, Bosley Crowther described the film as "a featherlight frolic, a rollicking roundelay of deliciously pointed nonsense", noting that de Havilland "plays the part with pace and wit".[122]
That same year, de Havilland was reunited with Flynn in their seventh film together, Michael Curtiz's Western adventure Santa Fe Trail, set against the backdrop of abolitionist John Brown's fanatical attacks on slavery in the days leading up to the American Civil War.[123] The mostly fictional story follows West Point cadets J. E. B. Stuart, played by Flynn, and George Armstrong Custer, played by Ronald Reagan, as they make their way west—both vying for the affection of de Havilland's Kit Carson Halliday.[123] Unlike some of her previous adventure film roles, Kit is a vital, interesting, and confident character who knows her mind and plays a pivotal role in the story.[124] Playing Kit in a provocative, tongue-in-cheek manner, de Havilland creates a character of real substance and dimension, according to film historian Tony Thomas.[125] Following a gala world premier on December 13, 1940, at the Lensic Theatre in Santa Fe, New Mexico, attended by cast members, reporters, the governor, and over 60,000 fans,[126] Santa Fe Trail went on to become one of the top grossing films of 1940.[127] De Havilland, who accompanied Flynn on the well-publicized train ride to Santa Fe, did not attend the premiere, having been diagnosed with appendicitis that morning and rushed into surgery.[126]
War years, 1941–44
Following her emergency surgery, de Havilland began a long period of convalescence in a Los Angeles hospital during which time she rejected several scripts offered to her by Warner Bros., leading to another suspension.[128] In 1941 she appeared in three commercially successful films, beginning with Raoul Walsh's romantic comedy The Strawberry Blonde with James Cagney.[129] Filmed toward the end of 1940 and set during the Gay Nineties, the story involves a man who marries a modern-thinking woman after a rival steals his glamorous "strawberry blonde" girlfriend, and later discovers that he ended up with a fine and understanding wife.[130] De Havilland's performance revealed a growing confidence playing comedic roles, and a real talent for combining the qualities of kindness and love with a refined sense of naughtiness, according to film historian Tony Thomas.[131] The film was a critical and commercial success, with Time magazine praising de Havilland's performance "with her electric winks, each followed by a galvanizing 'Exactly!'"[131] In Mitchell Leisen's romantic drama Hold Back the Dawn with Charles Boyer for Paramount Pictures, de Havilland transitioned to a different type of role for her—an ordinary, decent, and innocent small-town teacher whose life and sexuality are awakened by a sophisticated European gigolo, whose own life is positively affected by her love.[132] Leisen's careful and artistic direction and guidance appealed to de Havilland—much more than the workmanlike approach of her Warner Bros. directors.[133] Bosley Crowther of The New York Times wrote, "Olivia de Havilland plays the school teacher as a woman with romantic fancies whose honesty and pride are her own—and the film's—chief support. Incidentally, she is excellent."[134] Her performance earned de Havilland her second Academy Award nomination—this time for Best Actress.[135]
In July 1941 de Havilland was reunited with Errol Flynn for their eighth and final movie together, Raoul Walsh's Western adventure epic They Died with Their Boots On, a film loosely based on the courtship and marriage of George Armstrong Custer and Elizabeth "Libbie" Bacon.[136] Flynn and de Havilland had a falling out the previous year during the making of Santa Fe Trail—mainly over the kinds of roles she was being given—and she did not intend to work with him again.[137] Even Flynn acknowledged, "She was sick to death of playing 'the girl' and badly wanted a few good roles to show herself and the world that she was a fine actress."[138] After she learned from Warner that Flynn had come to his office saying he wanted her to play the role of Libbie, de Havilland accepted.[128] Screenwriter Lenore Coffee was brought in to add several romantic scenes, and improve the overall dialogue.[128] The result is a film that includes some of their finest work together.[139] Their last appearance on screen is Custer's farewell to his wife.[140] "Errol was quite sensitive," de Havilland would later remember, "I think he knew it would be the last time we worked together."[140] Flynn's final line in that scene would hold special meaning for de Havilland: "Walking through life with you, ma'am, has been a very gracious thing."[141] They Died with Their Boots On was released on November 21, 1941, and while some reviewers criticized the film's historical inaccuracies, most applauded the action sequences, cinematography, and acting.[142] Thomas M. Pryor of The New York Times found de Havilland "altogether captivating".[143] The film went on to earn $2,550,000 (equivalent to $41,025,000 in 2015), Warner Bros.'s second biggest money-maker of that year.[144]
In 1942 de Havilland appeared in Elliott Nugent's romantic comedy The Male Animal with Henry Fonda. Based on the play by Nugent and James Thurber, the film is about an idealistic professor fighting for academic freedom while trying to hold onto his job and his wife Ellen, played by de Havilland. While her role was not particularly challenging, de Havilland's delineation of an intelligent, good-natured woman seeking to resolve the unsettling circumstances of her life played a major part in the film's success, according to Tony Thomas,[145] who called it a "glowing performance".[146] The film was a critical and commercial success, with Bosley Crowther of The Times noting that de Havilland "concocts a delightfully pliant and saucy character as the wife".[147] That year she also appeared in John Huston's drama In This Our Life with Bette Davis.[148] Based on the Pulitzer Prize-winning novel of the same name by Ellen Glasgow, the story is about two sisters—one bad and one good—whose lives are destroyed by the anger and jealousy of the bad sister, Stanley.[148] In contrast to Davis' selfish character, de Havilland plays the loving and generous sister, Roy.[149] The film was not well received.[150] Crowther of The Times found the story "commonplace", the movement "stiff", and Davis' performance "much too obviously mannered",[151] but he took note of de Havilland's "warm and easy performance as the good sister".[151] During production, de Havilland and Huston began a romantic relationship that would last for several years.[152]
Despite de Havilland's having proved herself capable of playing serious, substantial roles, Jack Warner continued to regard her as an ingénue.[153] According to de Havilland, one of the few truly satisfying roles she played for Warner Bros. was the title character in Norman Krasna's romantic comedy Princess O'Rourke (1943) with Robert Cummings.[154] Filmed in July and August 1942,[155] the story is about a European princess in Washington, D.C., visiting her diplomat uncle, who is trying to find her an American husband. Intent on marrying a man of her own choosing, she boards a plane heading west and ends up falling in love with an American pilot who is unaware of her true identity.[156] The plot and several story devices—including the princess waking up in the bed of an honorable bachelor—would be resurrected a decade later in Roman Holiday with Audrey Hepburn.[157] While the comedy is light, it is also intelligent, and gives de Havilland the chance to balance the dignity of a princess with the warmth of a woman in love.[156] The film was released on October 23, 1943,[155] and did well at the box office.[158] Bosley Crowther called it "a film which is in the best tradition of American screen comedy", and found de Havilland "charming as the princess—so modest, yet so eagerly thrilled".[159] Krasna won an Academy Award for his screenplay.[160]
I wanted to do complex roles, like Melanie for example, and Jack Warner saw me as an ingénue. I was really restless to portray more developed human beings. Jack never understood this, and … he would give me roles that really had no character or quality in them. I knew I wouldn't even be effective.[160]— Olivia de Havilland
After fulfilling her seven-year Warner Bros. contract with Devotion—completed in 1943 and released in 1946—and Government Girl, de Havilland was informed that six months had been added to her contract for times she had been on suspension.[161] The law then allowed studios to suspend contract players for rejecting a role, and the period of suspension could be added to the contract period.[162] Most contract players accepted this, but a few tried to change the system, including Bette Davis, who mounted an unsuccessful lawsuit against Warner Bros. in the 1930s.[163] On August 23, 1943, on the advice of her lawyer, Martin Gang, de Havilland took Warner Bros. to court.[164][165] They cited an existing California labor law that forbade an employer from enforcing a contract against an employee for longer than seven years.[166] In November 1943 the California Superior Court found in de Havilland's favor, and Warner Bros. immediately appealed.[167] On December 8, 1944, the California Court of Appeals for the Second District ruled in her favor.[165] Two months later, the Supreme Court of California refused to review the case.[168] The decision was one of the most significant and far-reaching legal rulings in Hollywood, reducing the power of the studios and extending greater creative freedom to performers.[169] California's resulting "seven-year rule", also known as Labor Code Section 2855, is still known today as the De Havilland Law.[169] Her legal victory, which cost her $13,000 in legal fees (equal to $174,750 today), won de Havilland the respect and admiration of her peers, among them her own sister Joan Fontaine, who later commented, "Hollywood owes Olivia a great deal."[170] Warner Bros. reacted to de Havilland's lawsuit by circulating a letter to other studios that had the effect of a "virtual blacklisting".[164] As a consequence, de Havilland did not work at a film studio for nearly two years.[164]
De Havilland became a naturalized citizen of the United States on November 28, 1941.[171][172] During the war years, she actively sought out ways to express her patriotism and contribute to the war effort. In May 1942 she joined the Hollywood Victory Caravan, a three-week train tour of the country that raised money through the sale of war bonds.[173] Later that year she began attending events at the Hollywood Canteen, meeting and dancing with the troops.[174] In 1943 she appeared at a bond rally at Madison Square Garden.[162] In December 1943 de Havilland joined a USO tour that traveled throughout the United States, Alaska, and the South Pacific, visiting wounded soldiers in military hospitals.[162][14] She earned the respect and admiration of the troops for visiting the isolated islands and battlefronts in the Pacific.[175] She survived flights in damaged aircraft and a bout with viral pneumonia requiring several days' stay in one of the island barrack hospitals.[175][14][Note 5] She would later remember, "I loved doing the tours because it was a way I could serve my country and contribute to the war effort."[176]
Redemption and recognition, 1945–52
After the California Court of Appeals ruling freed her from her Warner Bros. contract, de Havilland signed a two-picture deal with Paramount Pictures.[177] In June 1945 she began filming Mitchell Leisen's drama To Each His Own with John Lund.[178] De Havilland insisted on bringing in Leisen as director, trusting his eye for detail, his empathy for actors, and the way he controlled sentiment in their previous collaboration, Hold Back the Dawn.[179] The film is about an unwed mother who gives up her child for adoption and then spends the rest of her life trying to undo that decision.[179] The role required de Havilland to age nearly thirty years over the course of the film—from an innocent small town girl to a shrewd, ruthless businesswoman who devotes herself to her cosmetics company. While de Havilland never formally studied acting, she did read Stanislavsky's autobiography My Life in Art—a gift she received when she was nineteen from Joan Crawford—and applied one of his "methods" in her work.[180] To help her define her character during the four periods of the story, she used a different perfume for each period.[181] She also lowered the pitch of her voice incrementally in each period until it became a mature woman's voice.[181] Mitchell Leisen later recalled, "Olivia was so wonderful in that part. Nobody else could have played it as well as she did."[182] Her performance earned her the Academy Award for Best Actress in 1946—her first Oscar.[183] According to film historian Tony Thomas, the award represented a vindication of her long struggle with Warner Bros. and confirmation of her abilities as an actress.[181]
De Havilland's next two roles were even more challenging. In Robert Siodmak's psychological thriller The Dark Mirror (1946), de Havilland plays twin sisters Ruth and Terry Collins—one loving and normal, the other psychotic and deeply disturbed.[184] In addition to the technical problems of showing her as two characters interacting with each other on the screen at the same time, de Havilland needed to portray two separate and psychologically opposite people.[185] While the film was not well received by critics—Variety said the film "gets lost in a maze of psychological gadgets and speculation"[186]—de Havilland's performance was praised as a "tour-de-force" by Tony Thomas, who called her final scene in the film "an almost frighteningly convincing piece of acting".[187] De Havilland would later state that playing the evil sister "haunts me to this day".[187] In his review in The Nation, James Agee wrote that "her playing is thoughtful, quiet, detailed, and well sustained, and since it is founded, as some more talented playing is not, in an unusually healthful-seeming and likable temperament, it is an undivided pleasure to see."[188][189] While appearing in a summer stock production of What Every Woman Knows in Westport, Connecticut—her second professional stage appearance—de Havilland began dating Marcus Goodrich, a Navy veteran, journalist, and author of the 1941 novel Delilah.[190] They were married on August 26, 1946.[190]
I met a young woman who was very much like Virginia, about the same age and physical description, as well as being a schizophrenic with guilt problems. … What struck me most of all was the fact that she was rather likable and appealing. It hadn't occurred to me before that a mental patient could be appealing, and it was that that gave me the key to the performance.[191]— Olivia de Havilland
De Havilland was also widely praised for her performance in Anatole Litvak's drama The Snake Pit (1948), one of the first films to attempt a realistic portrayal of mental illness and an "historically important Hollywood exposé" of the harsh conditions in state mental hospitals, according to film critic Philip French.[192] Based on a novel by Mary Jane Ward and produced by Darryl F. Zanuck, the film is about a woman placed in a mental institution by her husband to help her recover from a nervous breakdown.[193] Virginia Cunningham was the most difficult of all her film roles, requiring significant preparation both mentally and physically—she deliberately lost weight to help create her gaunt appearance on screen.[194] She consulted regularly with two psychiatrists hired as consultants for the film, and visited Camarillo State Mental Hospital three times to research her role and observe the patients.[191] The extreme physical discomfort of the hydrotherapy and simulated electric shock therapy scenes were especially challenging for the slight 5-foot-3-inch (160 cm) actress.[191] While she physically transforms her face with furrowed brow, wild staring eyes, and a mouth grimaced in disgust, she does not go too far and lose credibility.[195] According to author Judith Kass, de Havilland delivers a performance that is both "restrained and electric", portraying varied and extreme aspects of her character—from a shy young woman to a tormented animal to a disoriented woman.[196] For her performance in The Snake Pit, de Havilland received an Academy Award nomination for Best Actress, the New York Film Critics Circle Award for Best Actress, and the Venice Film Festival Volpi Cup.[197]
According to author Robert Matzen, de Havilland gave her best film performance in William Wyler's period drama The Heiress (1949) with Montgomery Clift and Ralph Richardson—the fourth in a string of critically acclaimed performances.[198] After seeing the play on Broadway, de Havilland called Wyler, whom she knew socially, and urged him to fly to New York to see what she felt would be a perfect role for her. Wyler obliged, loved the play, and with de Havilland's help arranged for Paramount to secure the film rights.[199] Adapted for the screen by Ruth and Augustus Goetz from their 1947 play of the same name and the 1880 novel Washington Square by Henry James, the film is about a young naïve woman who falls in love with a handsome young man, over the objections of her emotionally abusive father who suspects the man of being a gold digger.[195] As she had done in Hold Back the Dawn, de Havilland portrays a character's transformation from a shy trusting innocent to a guarded mature woman over a period of years.[200] Her delineation of Catherine Sloper is developed through carefully crafted movements, gestures, and facial expressions that convey a submissive and inhibited young woman.[195] Her timid voice, nervous hands, downcast eyes, and careful movements all communicate what the character is too shy to verbalize.[195] Throughout the production, Wyler pressed de Havilland hard to elicit the requisite visual points of the character.[201] In the staircase scene, for example, when Catherine returns home after being jilted, the director had the actress carry a suitcase filled with heavy books to convey the weight of Catherine's trauma physically instead of using a planned speech in the original script.[201] The Heiress was released in October 1949 and was well received by critics.[202] For her performance, de Havilland received the New York Film Critics Award, the Golden Globe Award, and the Academy Award for Best Actress—her second Oscar.[202]
After giving birth to her first child, Benjamin, on September 27, 1949, de Havilland took time off from making films to be with her infant.[203] She turned down the role of Blanche DuBois in A Streetcar Named Desire, later explaining, "I had just given birth to my son. That was a transforming experience, and when the script was presented to me, I couldn't relate to it."[204] In 1950 her family moved to New York City, where she began rehearsals for a major new stage production of Shakespeare's tragedy Romeo and Juliet; it was her lifelong ambition to play Juliet on the stage.[203] The play opened at the Broadhurst Theatre on March 11, 1951, to mixed reviews, with some critics believing the thirty-five year old actress was too old for the role.[203] The play closed after forty-five performances.[203] Undaunted, de Havilland accepted the title role in the stage production of George Bernard Shaw's comedy Candida, which opened at the National Theatre on Broadway in April 1952.[203] While reviews of the play were mixed, de Havilland's performance was well received, and following the scheduled thirty-two performances, she went on tour with the company and delivered 323 additional performances, many to sold-out audiences.[203]
In July 1952, prior to touring with Candida, de Havilland returned to Hollywood to make Henry Koster's Gothic romance film My Cousin Rachel (1952) with Richard Burton in his American film debut—her first film in three years.[205] Based on the 1951 novel of the same name by Daphne du Maurier, the film is about a man who suspects that his cousin was murdered by his wife, but ends up falling in love with her, despite his lingering doubts.[206] For her character, de Havilland affected a slight Italian accent to underscore Rachel's air of mystery.[207] The role also allowed de Havilland to return to her natural beauty in period costume following her less glamorous roles in her previous three films—a change welcomed by Bosley Crowther, who praised the actress's "soft and gracious Rachel".[208][209] While de Havilland achieved major accomplishments during this period of her career, her marriage to Goodrich—eighteen years her senior—had grown strained due to his sometimes violent and unstable temperament.[210] In August 1952 de Havilland filed for divorce, which became final the following year.[211]
New life in Paris, 1953–62
Of course the thing that staggers you when you first come to France is the fact that all the French speak French—even the children. Many Americans and Britishers who visit the country never quite adjust to this, and the idea persists that the natives speak the language just to show off or be difficult.[212]
Olivia de Havilland in Every Frenchman Has One
In April 1953, at the invitation of the French government, de Havilland traveled to the Cannes Film Festival, where she met Pierre Galante, an executive editor for the French journal Paris Match.[213] Following a long-distance courtship and the requisite nine-month residency requirement, de Havilland and Galante married on April 2, 1955, in the small village of Yvoy-le-Marron, and settled together in a three-story house near Bois de Boulogne park in the Rive Droite section of Paris.[214][215] That same year, de Havilland returned to the screen in Terence Young's period drama That Lady (1955) with Gilbert Roland and Paul Scofield in his film debut.[216] Based on a novel by Kate O'Brien, the film is about a Spanish princess and her unrequited love for King Philip II of Spain, whose respect she earned in her youth after losing an eye in a sword fight defending his honor.[217] While the film remains true to the story's basic historical facts and uses authentic Spanish locations to good effect, the film suffers from a convoluted plot and too much dialogue, according to film historian Tony Thomas.[217] Playing the princess Ana de Mendoza, de Havilland appears elegant in period costumes and delivers a warm performance in an otherwise disappointing film.[217]
In 1955 de Havilland also appeared in Stanley Kramer's romantic melodrama Not as a Stranger (1955) with Robert Mitchum and Frank Sinatra.[218] Based on the best-selling novel by Morton Thompson, the film follows a group of dedicated medical students doing their hospital internships on their way to becoming doctors.[219] De Havilland plays the saintly Swedish-born nurse Kristina Hedvigson—complete with blonde hair and an accent—who marries one of the interns.[219] To prepare for the role, de Havilland spent days observing the staff at various Los Angeles hospitals and studied books on nursing to learn the terminology.[220] Bosley Crowther of The Times found de Havilland's performance "warm and appealing",[221] and while the film received mixed reviews, many critics admired first-time director Kramer's singular dedication to his subject and the authenticity of his depiction of hospital life.[222]
After appearing exclusively in dramatic roles for the previous ten years, de Havilland decided to return to the romantic comedy genre in Norman Krasna's The Ambassador's Daughter (1956) with John Forsythe.[223] De Havilland had enjoyed working with Krasna thirteen years prior in Princess O'Rourke, and the prospect of filming in her new hometown of Paris was an additional attraction.[223] The film is about the daughter of the American ambassador in Paris who makes a bet with a visiting U.S. senator that American servicemen can be well behaved and civilized around Parisian women, and in the process falls in love with a soldier who mistakes her for a Dior model.[224] The film was well received as a lightweight comedy, and at the age of thirty-nine, de Havilland still appeared youthful and lovely enough to be credible as a young model, according to writer Margarita Landazuri.[225] Seven months after the end of production, de Havilland gave birth to her second child, Gisèle Galante, on July 18, 1956.[215]
De Havilland returned to the screen in 1958 in Michael Curtiz's Western drama The Proud Rebel with Alan Ladd.[226] Based on a story by James Edward Grant, the film is about a former Confederate soldier whose wife was killed in the war and whose son lost the ability to speak after witnessing the tragedy. De Havilland plays Linnett Moore, a tough yet feminine frontier woman who cares for the boy and comes to love his father.[227] The movie was filmed on location in Utah, where de Havilland learned to hitch and drive a team of horses, perform farming activities, and handle a gun for her role.[228] The Proud Rebel was released May 28, 1958, and was well received by audiences and critics. In his review for The New York Times, A. H. Weiler called the film a "truly sensitive effort" and an "honestly heartwarming drama", and found de Havilland "the picture of hardy womanhood" and that "the warmth, affection and sturdiness needed in the role come across to an observer with telling effect".[229] She was not as successful in her next film, Anthony Asquith's drama Libel (1959) with Dirk Bogarde,[230] about a distinguished baronet who is forced to defend himself in a libel suit after being falsely accused of a wartime murder.[231] Playing his wife, the glamorous grande dame Lady Maggie Loddon, de Havilland projects an aura of perfection that renders her characterization cold and ineffective, "as if she were balancing Big Ben on her hat", according to Bosley Crowther.[232]
One of de Havilland's best performances during this period of her career was in Guy Green's romantic drama Light in the Piazza (1962), which was filmed in Florence and Rome.[233] Based on Elizabeth Spencer's novel of the same name, the film is about a middle-class American tourist on extended vacation in Italy with her beautiful twenty-six-year-old daughter, who is mentally disabled as a result of a childhood accident.[233] Faced with the prospect of her daughter falling in love with a young Italian, the mother struggles with conflicting emotions that are further complicated by the man's father who is falling in love with her.[234] De Havilland projects a calm maternal serenity throughout most of the film, only showing glimpses of the worried mother anxious for her child's happiness.[235] The film was released on February 9, 1961, and was well received, with a Hollywood Reporter reviewer calling it "an uncommon love story ... told with rare delicacy and force", and Variety noting that the film "achieves the rare and delicate balance of artistic beauty, romantic substance, dramatic novelty and commercial appeal". Variety singled out de Havilland’s performance as "one of great consistency and subtle projection".[236]
In early 1962 de Havilland traveled to New York and began rehearsals for Garson Kanin's stage play The Gift of Time. Adapted from the autobiographical book Death of a Man by Lael Tucker Wertenbaker, the play explores the emotionally painful struggle of a housewife forced to deal with the slow death of her husband, played by Henry Fonda. The play opened at the Ethel Barrymore Theatre on Broadway to positive notices, with de Havilland receiving her best reviews as a stage actress.[215] Theater critic Walter Kerr praised her final scene, writing, "As darkness gathers, the actress gains in stature, taking on the simple and resolute willingness to understand that does not blink at ugliness or at the disaster of watching a mind give way."[237] The New York World Telegram and Sun reviewer concluded, "For all the virtuosity of Fonda's performance, it is Miss de Havilland who gives the play its unbroken continuity. This distinguished actress reveals Lael as a special and admirable woman."[237] She stayed with the production for ninety performances.[215] The year 1962 also saw the publication of de Havilland's first book, Every Frenchman Has One, a lighthearted account of her often amusing attempts to understand and adapt to French life, manners, and customs.[215] The book sold out its first printing prior to the publication date and went on to become a bestseller.[231][214]
Later films and television, 1963–88
Hush...Hush, Sweet Charlotte was full of traps, it was a delicate tight-rope walking assignment. I found that very interesting. Aldrich gave it a very special style, a kind of dark glittering style which fascinated me. It's always the charming ones of evil intent who are the dangerous ones; the others you can see coming. But you can't see Miriam coming, and she's really dangerous.[238]— Olivia de Havilland
In 1964 de Havilland appeared in her last two leading roles in feature films—both psychological thrillers. In Walter Grauman's Lady in a Cage she plays a wealthy poet who gets trapped in her mansion's elevator and faces the threat of three hooligans who terrorize her in her own home.[239] This was the only controversial film in her career—it was banned in England—and critics responded negatively to the graphic violence and cruelty shown on screen.[237] A. H. Weiler of The New York Times called it a "sordid, if suspenseful, exercise in aimless brutality".[240] That same year, de Havilland appeared in Robert Aldrich's Hush… Hush, Sweet Charlotte with her close friend Bette Davis whom she once referred to as "the only true genius that we have had among the motion-picture actresses.[241] After Joan Crawford left the picture due to illness, Davis had Alrich fly to Switzerland to persuade a reluctant de Havilland to accept the role of Miriam Deering, a cruel, conniving character hidden behind the charming façade of a polite and cultured lady.[242] De Havilland's quiet, restrained performance provides the perfect counterbalance to Davis's ranting performance.[238] According to film historian Tony Thomas, "It is a subtle piece of acting, with only a hint here and there of Miriam's motives beneath the polished, cultured surface. As such it is a vital contribution to the effectiveness of the film."[238] The film was well received and earned seven Academy Award nominations.[243]
As film roles became more difficult to find—a common problem shared by many Hollywood veterans from her era—de Havilland began considering work in television dramas, despite her dislike of the networks' practice of breaking up story lines with commercials.[244] Her first venture into the medium was a teleplay directed by Sam Peckinpah called Noon Wine (1966) on ABC Stage 67 with Jason Robards.[244] Based on Katherine Anne Porter's novel of the same name and set in turn of the century West Texas, the story is a dark tragedy about a farmer's act of futile murder which leads to his suicide.[244] The production and her performance as the farmer's wife Ellie were well received.[245] In 1972 she starred in her first television feature film, The Screaming Woman, about a wealthy woman recovering from a nervous breakdown who is unable to convince anyone that she's discovered the body of woman who was buried alive on her property. It was first shown on ABC on January 29, 1972.[246] In 1979 de Havilland appeared in the ABC miniseries Roots: The Next Generations in the role of Mrs. Warner, the wife of a former Confederate officer played by Henry Fonda. The miniseries was seen by an estimated 110 million people—nearly one-third of American homes with television sets.[247] Throughout the 1970s, de Havilland's film work was limited to smaller supporting roles and cameo appearances in The Adventurers (1970), Pope Joan (1972), Airport '77 (1977), The Swarm (1978), and The Fifth Musketeer (1979), her last feature film appearance.[248]
During this period in her career, de Havilland began doing speaking engagements in cities across the United States with a talk entitled "From the City of the Stars to the City of Light", a program of personal reminiscences about her life and career.[249] She also attended tributes to the film Gone with the Wind.[249] In the 1980s, her television work included an episode of The Love Boat (1981), the Agatha Christie television film Murder Is Easy (1982), the television drama The Royal Romance of Charles and Diana (1982) in which she played Queen Elizabeth The Queen Mother, and the 1986 ABC miniseries North and South, Book II.[250][251] Her most notable performance of the decade was in the television film Anastasia: The Mystery of Anna (1986) as Dowager Empress Maria, which earned her a Golden Globe Award for Best Supporting Actress in a Series, Miniseries or Television Film.[252] In 1988 de Havilland appeared in the HTV romantic television drama The Woman He Loved about the abdication of Edward VIII. It was her final screen performance.[250]
Retirement and remembrance, 1989–present
Olivia de Havilland's retirement has been an active one, filled with activities and events celebrating a career than spanned over half a century. In 1998 she traveled to New York to help promote a special showing of Gone with the Wind.[253] In 2003 she appeared as a presenter at the 75th Academy Awards, receiving a four-minute standing ovation upon her entrance. In 2004 Turner Classic Movies produced a retrospective piece called Melanie Remembers in which she was interviewed for the sixty-fifth anniversary of the original release of Gone with the Wind, remembering details of her casting and filming. The forty-minute documentary is included in the film's four-disc special collector's edition. In June 2006 she made appearances at tributes commemorating her 90th birthday at the Academy of Motion Picture Arts and Sciences and the Los Angeles County Museum of Art.
On November 17, 2008, at the age of 92, de Havilland received the National Medal of Arts, the highest honor conferred to an individual artist on behalf of the people of the United States. The medal was presented to her by President George W. Bush, who commended her "for her persuasive and compelling skill as an actress in roles from Shakespeare's Hermia to Margaret Mitchell's Melanie. Her independence, integrity, and grace won creative freedom for herself and her fellow film actors."[254][255] The following year, de Havilland narrated the documentary I Remember Better When I Paint (2009),[256] a film about the importance of art in the treatment of Alzheimer's disease.[256] She presented the film at a special screening in Paris on March 22, 2011.[257]
On September 9, 2010, de Havilland was appointed a Chevalier (knight) of the Légion d'honneur, the highest decoration in France, awarded by French President Nicolas Sarkozy, who told the 94-year-old actress, "You honor France for having chosen us."[258] In February 2011 she appeared at the César Awards in France, where she was greeted with a standing ovation.[259] In an interview from January 2015, de Havilland stated that she is working on her autobiography.[260] In February 2016 de Havilland was named "Oldie of the Year" by the satirical magazine The Oldie. The 99-year-old was unable to travel from her home in Paris to receive the award in person at a ceremony in London, but in a recorded message she said she was "utterly delighted" the judges deemed there was "sufficient snap in my celery" to win the accolade.[261] On July 1, 2016, de Havilland will celebrate her 100th birthday.[261]
Personal life
Relationships
Although known as one of Hollywood's most exciting on-screen couples,[252] de Havilland and Errol Flynn were never involved in a romantic relationship, despite their strong feelings for each other.[262][263] Upon first meeting her at Warner Bros. in August 1935, Flynn was drawn to the nineteen-year-old actress with "warm brown eyes, a soft manner" and "extraordinary charm".[264] In turn, de Havilland fell in love with him,[262][Note 6] but kept her feelings inside, later recalling, "He never guessed I had a crush on him … it never occurred to me that he was smitten with me, too."[263] Flynn would later write, "During the making of Captain Blood I had grown very fond of Olivia de Havilland. By the time we made The Charge of the Light Brigade, I was sure that I was in love with her."[264] Flynn finally professed his love to her on March 12, 1937, at the Coronation Ball for King George VI at the Ambassador Hotel in Los Angeles, where they slow danced together to "Sweet Leilani" at the hotel's Cocoanut Grove nightclub.[265] "I was deeply affected by him," she would later remember, "It was impossible for me not to be."[266] The evening ended on a sobering note, however, with de Havilland insisting that despite his separation from his wife Lili Damita, he needed to divorce her before their relationship could proceed.[266] Flynn reunited with his wife later that year,[267] and de Havilland never acted on her feelings for Flynn.[262][Note 7]
In July 1938 de Havilland began dating thirty-two-year-old business tycoon, aviator, and filmmaker Howard Hughes,[268] who had just completed his record-setting flight around the world in 91 hours.[14] In addition to escorting her about town, he gave the twenty-two-year-old actress her first flying lessons.[268] She would later remember, "He was a rather shy man … and yet, in a whole community where the men every day played heroes on the screen and didn't do anything heroic in life, here was this man who was a real hero. And that impressed me very much."[14] In December 1939 de Havilland began a romantic relationship with single actor James Stewart. At the request of Irene Mayer Selznick, the actor's agent asked Stewart to escort de Havilland to the New York premiere of Gone with the Wind at the Astor Theater on December 19, 1939.[269] Over the next few days, Stewart took her to the theater several times and to the 21 Club.[269] They continued to see each other back in Los Angeles, where Stewart provided occasional flying lessons and romance.[270] According to de Havilland, Stewart in fact proposed marriage to her in 1940, but she felt that he was not ready to settle down.[270] Their relationship ended in late 1941 when de Havilland began a romantic relationship with film director John Huston while making In This Our Life.[271] Their relationship lasted several years, with de Havilland acknowledging that "he was a guest in my house, off and on, for more than two years".[272] She would later admit, "John was a very great love of mine … He was a man I wanted to marry, and knowing him was a powerful experience, one I would never get over … Maybe he was the love of my life."[273][Note 8]
Marriages and children
De Havilland was married twice. On August 26, 1946, she married Marcus Goodrich, a Navy veteran, journalist, and author of the 1941 novel Delilah.[190] The marriage ended in divorce in 1953.[211] They had one child, Benjamin Goodrich, who was born on December 1, 1949.[203] He was diagnosed with Hodgkin's lymphoma at the age of nineteen,[252] but was able to graduate from the University of Texas. He worked as a statistical analyst for Lockheed Missiles and Space Company in Sunnyvale, California, and as an international banking representative for the Texas Commerce Bank in Houston.[252] He died on October 1, 1991, in Paris at the age of forty-one of heart disease brought on by treatments for Hodgkin's disease, three weeks before the death of his father.[276][277]
On April 2, 1955, de Havilland married Pierre Galante, an executive editor for the French journal Paris Match.[213] Her marriage to Galante prompted de Havilland to move to Paris.[215] The couple separated in 1962 but continued to live in the same house for another six years to raise their children together.[215][278][253] Galante moved across the street and the two remained close, even after their divorce was finalized in 1979.[253] She looked after him during his final bout with lung cancer prior to his death in 1998. They had one child, Gisèle Galante, who was born on July 18, 1956.[215] After studying law at the Université de Droit de Nanterre School of Law, she worked as a journalist in France and the United States.[252] Since 1956, de Havilland has lived in the same three-story house near Bois de Boulogne park in the Rive Droite section of Paris.[214]
Religion and politics
De Havilland was raised in the Episcopal Church and has remained an Episcopalian throughout her life.[279] After moving to France, she became one of the first women lectors at the American Cathedral in Paris, where she was on the regular rota for Scripture readings.[279] As recently as 2012, she was still doing readings on major feast days,[279] including Christmas and Easter. "It's a task I love," she once said.[204] In describing her preparation for her readings, de Havilland once observed, "You have to convey the deep meaning, you see, and it has to start with your own faith. But first I always pray. I pray before I start to prepare, as well. In fact, I would always say a prayer before shooting a scene, so this is not so different, in a way."[279] De Havilland prefers to use the Revised English Bible for its poetic style.[279] She raised her son Benjamin in the Episcopal Church and her daughter Gisèle in the Roman Catholic Church, the faith of the child's father.[280]
As a United States citizen,[172] de Havilland became involved in politics as a way of exercising her civic responsibilities.[204] She campaigned for Franklin D. Roosevelt's re-election in 1944.[204] After the war, she joined the Independent Citizens' Committee of the Arts, Sciences and Professions, a national public policy advocacy group that included Bette Davis, Gregory Peck, and Humphrey Bogart in its Hollywood chapter.[204] In June 1946 she was asked to deliver speeches for the committee that reflected the Communist Party line—the group was later identified as a Communist front organization.[281] Disturbed at seeing a small group of Communist members manipulating the committee, de Havilland removed the pro-Communist material from her speeches and rewrote them to reflect Harry S. Truman's anti-Communist platform.[204] She later recalled, "I realized a nucleus of people was controlling the organization without a majority of the members of the board being aware of it. And I knew they had to be Communists."[204] She organized a fight to regain control of the committee from its pro-Soviet leadership, but her reform efforts failed. Her resignation from the committee triggered a wave of resignations from eleven other Hollywood figures, including future President Ronald Reagan.[204][Note 9] In 1958 she was secretly called before the House Un-American Activities Committee and recounted her experiences with the Independent Citizens' Committee.[204]
Sibling rivalry
Olivia de Havilland and her sister Joan Fontaine are the only siblings to have won Academy Awards in a lead acting category.[285] Over the course of their careers, several well-publicized incidents point to a lifelong rivalry between the two.[285][286] According to biographer Charles Higham, the sisters always had an uneasy relationship, starting in early childhood when Olivia had trouble accepting the idea of having a younger sister, and Joan resenting what she saw as her mother's favoritism for her older sister.[286] This tension was exacerbated by Joan's frequent childhood illnesses, which led to her mother's overly protective expression, "Livvie can, Joan can't."[17] In her 1978 autobiography No Bed of Roses, Fontaine wrote, "From birth we were not encouraged by our parents or nurses to be anything but rivals, and our careers only emphasized the situation."[287] Of the two sisters, de Havilland was the first to become an actress, and for several years Fontaine was overshadowed by her older sister's accomplishments.[288] When Mervyn LeRoy offered Joan a personal contract, her mother told her that Warner Bros. was "Olivia's studio" and that she could not use the name "de Havilland" for her career.[288] After several years at RKO Pictures appearing in minor roles, Fontaine landed the lead role in Alfred Hitchcock's psychological thriller Rebecca opposite Laurence Olivier.[289]
In 1942 de Havilland and Fontaine were both nominated for an Academy Award for Best Actress—de Havilland for Hold Back the Dawn, and Fontaine for Suspicion. When Fontaine's name was announced as winner, de Havilland reacted graciously and reached for her hand and said, "We've got it!"[290] According to biographer Charles Higham, Fontaine rejected de Havilland's attempts to congratulate her, and de Havilland was both offended and embarrassed by her sister's behavior.[291] Their relationship was further strained in 1946 when Fontaine made negative comments to an interviewer about de Havilland's new husband, novelist Marcus Goodrich, telling a reporter, "It's too bad that Olivia's husband has had so many wives and only one book."[292] When she read her sister's remark, de Havilland was deeply hurt and would not speak with her sister until she apologized—an apology was never offered.[292] The following year after accepting her first Academy Award for To Each His Own, de Havilland was approached backstage by Fontaine who wanted to congratulate her, but in a moment captured by photographer Hymie Fink of Photoplay magazine, de Havilland turned away from her sister muttering, "I don't know why she does that when she knows how I feel."[292] They did not speak to each other for the next five years,[Note 10] and their silence may have caused the estrangement between Fontaine and her own daughters, who secretly maintained a relationship with de Havilland.[291]
Following her divorce from Goodrich, de Havilland resumed contact with her sister,[292] coming to her apartment in New York often and spending Christmas together there in 1961.[292] They were photographed together at Marlene Dietrich's Opening Party at the Rainbow Room in New York City in 1967,[292][293] and Fontaine later visited her sister in Paris.[294] The final break between the sisters occurred in 1975 from a disagreement over their mother's cancer treatment—de Havilland wanted to consult other doctors and supported exploratory surgery, while Fontaine opposed surgery due to their mother's advanced age.[295] Fontaine also claimed that de Havilland did not notify her of their mother's death while she was touring with a play—de Havilland in fact sent a telegram, which took two weeks to reach her sister.[286] Fontaine once remarked, "I married first, won the Oscar before Olivia did, and if I die first, she'll undoubtedly be livid because I beat her to it!"[296] The sibling feud ended with Fontaine's death on December 15, 2013.[292] The following day, de Havilland released a statement saying she was "shocked and saddened" by the news.[297]
Career assessment and legacy
De Havilland's career spanned fifty-three years, from 1935 to 1988.[251] During that time, she appeared in forty-nine feature films, and was one of the leading movie stars during the golden age of Classical Hollywood.[252] She began her career playing demure ingénues opposite popular male stars of that time, including Errol Flynn, with whom she made her breakout film Captain Blood in 1935.[252] They would go on to make seven more feature films together, and became one of Hollywood's most popular romantic on-screen pairings.[252] Her range of performances included roles in most major movie genres. Following her film debut in a Shakespeare adaptation (A Midsummer Night's Dream), de Havilland achieved her initial popularity in romantic comedy films (The Great Garrick and Hard to Get) and Western adventure films (Dodge City, Santa Fe Trail, and They Died with Their Boots On).[251] Her natural beauty and refined acting style made her particularly effective in historical period dramas (Anthony Adverse, The Adventures of Robin Hood, Gone with the Wind, and The Heiress), and romantic drama films (Hold Back the Dawn and To Each His Own). In her later career, she was most popular in drama films (In This Our Life and Light in the Piazza), and psychological dramas playing flawed, unglamorous characters (The Dark Mirror, The Snake Pit, Hush… Hush, Sweet Charlotte, and Lady in a Cage).[252]
During her career, de Havilland won two Academy Awards (To Each His Own and The Heiress), two Golden Globe Awards (The Heiress and Anastasia: The Mystery of Anna), two New York Film Critics Circle Awards (The Snake Pit and The Heiress), the National Board of Review Award and the Venice Film Festival Volpi Cup (The Snake Pit), and a Primetime Emmy Award (Anastasia: The Mystery of Anna).[299] For her contributions to the motion picture industry, she received a star on the Hollywood Walk of Fame at 6762 Hollywood Boulevard on February 8, 1960.[298] Since her retirement in 1988, her lifetime contribution to the arts has been honored on two continents. In 1998 she received an honorary doctorate from the University of Hertfordshire in England.[300] In 2006, she was inducted into the Online Film & Television Association Award Film Hall of Fame.[301] On November 17, 2008, President George W. Bush presented de Havilland the National Medal of Arts, the highest honor given for achievement in the arts conferred to an individual artist on behalf of the American people.[254] On September 9, 2010, de Havilland was appointed a Chevalier (knight) of the Légion d'honneur, the highest decoration in France, awarded by French President Nicolas Sarkozy.[258]
Honors and awards
| Year | Award | Category | Film | Result | Ref |
|---|---|---|---|---|---|
| 1939 | Academy Award | Best Actress in a Supporting Role | Gone with the Wind | Nominated | [299] |
| 1941 | Academy Award | Best Actress in a Leading Role | Hold Back the Dawn | Nominated | [299] |
| 1946 | Academy Award | Best Actress in a Leading Role | To Each His Own | Won | [299] |
| 1948 | Academy Award | Best Actress in a Leading Role | The Snake Pit | Nominated | [299] |
| 1948 | National Board of Review Award | Best Actress | The Snake Pit | Won | [197] |
| 1948 | New York Film Critics Circle Award | Best Actress | The Snake Pit | Won | [197] |
| 1949 | Academy Award | Best Actress in a Leading Role | The Heiress | Won | [299] |
| 1949 | Golden Globe Award | Best Motion Picture Actress | The Heiress | Won | [302] |
| 1949 | New York Film Critics Circle Award | Best Actress | The Heiress | Won | [197] |
| 1949 | Venice Film Festival Volpi Cup | Best Actress | The Snake Pit | Won | [197] |
| 1952 | Grauman's Chinese Theatre | Hand prints and footprints | — | Honored | [303] |
| 1953 | Golden Globe Award | Best Motion Picture Actress | My Cousin Rachel | Nominated | [302] |
| 1960 | Hollywood Walk of Fame Star | Motion Picture at 6762 Hollywood Blvd, February 8, 1960 | — | Honored | [298] |
| 1986 | Golden Globe Award | Best Performance by an Actress in a Supporting Role | Anastasia: The Mystery of Anna | Won | [302] |
| 1986 | Primetime Emmy Award | Outstanding Supporting Actress in a Miniseries | Anastasia: The Mystery of Anna | Won | [299] |
| 1998 | Honorary Doctorate | University of Hertfordshire | — | Honored | [300] |
| 2006 | Online Film & Television Association | Film Hall of Fame | — | Honored | [301] |
| 2008 | National Medal of Arts | — | — | Honored | [254] |
| 2010 | Chevalier of the Légion d'honneur | — | — | Honored | [258] |
| 2016 | Oldie of the Year | — | — | Honored | [261] |
Filmography
The following is a list of feature films in which de Havilland appeared.[304]
- Alibi Ike (1935)
- The Irish in Us (1935)
- A Midsummer Night's Dream (1935)
- Captain Blood (1935)
- Anthony Adverse (1936)
- The Charge of the Light Brigade (1936)
- Call It a Day (1937)
- The Great Garrick (1937)
- It's Love I'm After (1937)
- Gold Is Where You Find It (1938)
- The Adventures of Robin Hood (1938)
- Four's a Crowd (1938)
- Hard to Get (1938)
- Wings of the Navy (1939)
- Dodge City (1939)
- The Private Lives of Elizabeth and Essex (1939)
- Gone with the Wind (1939)
- Raffles (1939)
- My Love Came Back (1940)
- Santa Fe Trail (1940)
- The Strawberry Blonde (1941)
- Hold Back the Dawn (1941)
- They Died with Their Boots On (1941)
- The Male Animal (1942)
- In This Our Life (1942)
- Thank Your Lucky Stars (1943)
- Princess O'Rourke (1943)
- Government Girl (1944)
- To Each His Own (1946)
- Devotion (1946)
- The Well-Groomed Bride (1946)
- The Dark Mirror (1946)
- The Snake Pit (1948)
- The Heiress (1949)
- My Cousin Rachel (1952)
- That Lady (1955)
- Not as a Stranger (1955)
- The Ambassador's Daughter (1956)
- The Proud Rebel (1958)
- Libel (1959)
- Light in the Piazza (1962)
- Lady in a Cage (1964)
- Hush… Hush, Sweet Charlotte (1964)
- The Adventurers (1970)
- Pope Joan (1972)
- Airport '77 (1977)
- The Swarm (1978)
- The Fifth Musketeer (1979)
- I Remember Better When I Paint (2009)
References
Notes
- ↑ After living in an apartment near Golden Gate Park while the sisters were being treated, the family moved to San Jose and stayed at the Hotel Vendome.[13] Soon after, they moved to Saratogo at the foothills of the Santa Cruz Mountains, where they stayed at Lundblad's Lodge,[14] a boarding house on Oak Street owned by a Swedish family.[15]
- ↑ Lillian and George were introduced to each other in 1920 by four-year-old Olivia who noticed him sitting on a park bench and referred to him in Japanese as "Daddy".[25]
- ↑ On the advice of Joe E. Brown, de Havilland hired the Ivan Kahn Agency to represent her in the contract negotiations with Warner Bros.[63] The contract she signed provided for yearly increases in her weekly salary, starting at $500, and then increasing to $750, $1000, $1250, $1500, $2000, and $2500 in her last year (equivalent to $44,223 in 2015).[62]
- ↑ During the production, Aherne found de Havilland "young and entrancing" and organized her twenty-first birthday party on the set.[75] They also dated during the making of the picture.[76] He would later write, "I little thought that I would one day marry her younger sister, Joan Fontaine."[75] Aherne and Fontaine married two years later, on August 19, 1939.[77]
- ↑ In 1957, in appreciation of her support of the troops during World War II and the Korean War, de Havilland was made an honorary member of the 11th Airborne Division and was presented with a United States Army jacket bearing the 11th's patch on one sleeve and the name patch "de Havilland" across the chest.[175]
- ↑ In a 2009 interview, de Havilland acknowledged, "Yes, we did fall in love and I believe that this is evident in the screen chemistry between us. But his circumstances at the time prevented the relationship going further. I have not talked about it a great deal but the relationship was not consummated. Chemistry was there though. It was there."[262]
- ↑ During the making of Robin Hood in November 1937, de Havilland playfully decided to tease Flynn who was being watched closely on the set by his wife. In a 2005 interview, de Havilland said, "And so we had one kissing scene, which I looked forward to with great delight. I remember I blew every take, at least six in a row, maybe seven, maybe eight, and we had to kiss all over again. And Errol Flynn got really rather uncomfortable, and he had, if I may say so, a little trouble with his tights."[268]
- ↑ On April 29, 1945, at the home of producer David O. Selznick, Huston, who knew about de Havilland's three-year crush on Flynn, confronted the Tasmanian actor—who suffered from tuberculosis—about his not serving in the military during the war.[274] When Flynn responded by alluding to his former "relationship" with de Havilland, Huston initiated an extended fistfight with the expert amateur boxer that landed them both in the hospital—Huston with a cut eye and broken nose, and Flynn with two broken ribs.[274] Neither man held a grudge and later became friends, with Flynn offering Huston his own documentary whaling footage for the director's Moby Dick.[275]
- ↑ Reagan was a relatively new board member when he was invited to join ten other film industry colleagues, including MGM studio head Dore Schary, for a meeting at de Havilland's house where he first learned that Communists were trying to gain control of the committee.[282] During the meeting, he turned to de Havilland, who was on the executive committee, and whispered, "You know, Olivia, I always thought you might be one of them." Laughing, she responded, "That's funny. I thought you were one of them." Reagan suggested that they propose a resolution at the next meeting that included language reaffirmed the committee's "belief in free enterprise and the Democratic system" and repudiated "Communism as desirable for the United States"—the executive committee voted it down the following week.[283] Shortly afterwards, the committee disbanded, only to resurface as a newly-named front organization.[282] Ironically, after organizing Hollywood resistance to Soviet influence, de Havilland was denounced later that year as a "swimming-pool pink" in Time magazine for her involvement in the committee.[284]
- ↑ In 1957, in the only interview in which she ever commented on her relationship with her sister, de Havilland told the Associated Press, "Joan is very bright and sharp and has a wit that can be cutting. She said some things about Marcus that hurt me deeply. She was aware there was an estrangement between us."[292]
Citations
- 1 2 3 Thomas 1983, p. 20.
- ↑ "Olivia Mary de Havilland". The Peerage. Retrieved January 21, 2016.
- ↑ Fontaine 1978, pp. 16–17.
- ↑ Fontaine 1978, pp. 12–13.
- ↑ French, Philip (2009). "Screen Legends No.73". The Observer.
- ↑ Thomas 1983, p. 32.
- ↑ Fontaine 1978, p. 13; Beeman 1994, p. 24.
- 1 2 Fontaine 1978, p. 16.
- 1 2 Thomas 1983, p. 22.
- 1 2 Fontaine 1978, p. 18.
- ↑ Thomas 1983, pp. 22–23; Matzen 2010, p. 2.
- 1 2 3 Thomas 1983, p. 23.
- ↑ Fontaine 1978, pp. 18, 23.
- 1 2 3 4 5 6 7 8 9 "Interview: Olivia de Havilland". American Academy of Achievement. October 5, 2006. Retrieved February 7, 2016.
- ↑ Fontaine 1978, p. 25.
- ↑ "Walter Augustus de Havilland". The Peerage. Retrieved February 7, 2016.
- 1 2 3 4 5 Thomas 1983, p. 24.
- ↑ Fontaine 1978, p. 27.
- ↑ Thomas 1983, pp. 21–22.
- ↑ Kass 1976, p. 17.
- ↑ "Saratoga History" (PDF). Saratoga Historical Foundation. Retrieved February 7, 2016.
- ↑ Fontaine 1978, pp. 23, 32; Thomas 1983, p. 23.
- ↑ Fontaine 1978, pp. 23–24.
- 1 2 3 Thomas 1983, p. 25.
- ↑ Fontaine 1978, p. 23; Thomas 1983, p. 25.
- 1 2 3 4 Thomas 1983, p. 26.
- 1 2 Jensen 1942, p. 91.
- ↑ Fontaine 1978, pp. 47-48.
- 1 2 3 Fontaine 1978, p. 48.
- 1 2 3 4 5 6 Thomas 1983, p. 27.
- ↑ Thomas 1983, p. 28; Matzen 2010, p. 11.
- ↑ Kass 1976, p. 19.
- 1 2 3 4 Thomas 1983, p. 28.
- 1 2 "A Midsummer Night's Dream (1935): Original Print Information". Turner Classic Movis. Retrieved February 21, 2016.
- 1 2 3 Miller, Frank. "A Midsummer Night's Dream (1935)". Turner Classic Movis. Retrieved February 21, 2016.
- ↑ Thomas 1983, p. 58.
- ↑ Burdett, Winston (October 5, 1936). "A Midsummer Night's Dream Returns". Brooklyn Daily Eagle. p. 6. Retrieved February 23, 2016.
- ↑ Matzen 2010, p. 13.
- ↑ Thomas 1983, p. 28; Brown 1995, p. 125.
- ↑ Kass 1976, p. 22.
- 1 2 Kass 1976, p. 24.
- 1 2 Matzen 2010, p. 19.
- ↑ Thomas 1983, p. 68.
- 1 2 "Captain Blood (1935): Original Print Information". Turner Classic Movies. Retrieved March 2, 2016.
- 1 2 3 4 5 Thomas 1983, p. 29.
- 1 2 Kass 1976, p. 27.
- ↑ Thomas 1983, p. 72.
- ↑ Thomas 1983, pp. 71–72.
- ↑ Sennwald, Andre (December 27, 1935). "A Newcomer Named Errol Flynn in a Handsome Film Version of 'Captain Blood'". The New York Times. Retrieved March 2, 2016.
- ↑ "Review: Captain Blood". Variety. December 31, 1935. Retrieved March 2, 2016.
- ↑ "Captain Blood (1935): Awards". Turner Classic Movies. Retrieved March 2, 2016.
- ↑ Thomas 1983, p. 75.
- ↑ Thomas 1983, pp. 75–76.
- ↑ Thomas 1983, pp. 77–78.
- ↑ Steinberg, Jay S. "Anthony Adverse (1936)". Turner Classic Movies. Retrieved March 5, 2016.
- ↑ Thomas 1983, p. 78.
- ↑ Kass 1976, p. 43.
- ↑ Nugent, Frank S. (August 27, 1936). "The Film Version of 'Anthony Adverse' Opens at the Strand". The New York Times. Retrieved March 5, 2016.
- ↑ Kass 1976, p. 81.
- ↑ Kass 1976, pp. 27, 29; Thomas 1983, p. 82.
- ↑ Thomas 1983, p. 85.
- 1 2 Matzen 2010, p. 33.
- ↑ Matzen 2010, p. 32.
- ↑ Matzen 2010, p. 50.
- ↑ Thomas 1983, pp. 30, 89.
- 1 2 Thomas 1983, p. 89.
- 1 2 3 4 Thomas 1983, p. 30.
- ↑ Thomas 1983, p. 99.
- ↑ Thomas 1983, pp. 99–100.
- ↑ "Review: It's Love I'm After". Variety. November 11, 1937. p. 13. Retrieved March 6, 2016.
- ↑ Thomas 1983, pp. 93–94.
- ↑ Thomas 1983, p. 94.
- ↑ Kass 1976, p. 45.
- ↑ "Review: The Great Garrick". Variety. October 30, 1937. Retrieved March 6, 2016.
- 1 2 3 4 Arnold, Jeremy. "The Great Garrick (1937)". Turner Classic Movies. Retrieved March 6, 2016.
- ↑ Thomas 1983, p. 96.
- ↑ Fontaine 1978, p. 104.
- 1 2 Thomas 1983, p. 103.
- ↑ Thomas 1983, pp. 103–104.
- ↑ Thomas 1983, p. 104.
- ↑ "Gold Is Where You Find It (1938): Original Print Information". Turner Classic Movies. Retrieved March 6, 2016.
- ↑ Kass 1976, pp. 45–46.
- ↑ Matzen 2010, p. 56.
- 1 2 "The Adventures of Robin Hood (1938): Original Print Information". Turner Classic Movies. Retrieved March 9, 2016.
- ↑ Thomas 1983, p. 110.
- ↑ Thomas 1983, pp. 110, 112.
- ↑ Kass 1976, p. 32; Thomas 1983, p. 114; Matzen 2010, p. 65.
- ↑ Thomas 1983, pp. 109, 114.
- 1 2 Kass 1976, p. 34.
- 1 2 Nixon, Rob. "The Adventures of Robin Hood (1938)". Turner Classic Movies. Retrieved March 9, 2016.
- ↑ Thomas 1983, p. 109.
- ↑ Thomas 1983, pp. 117–118.
- ↑ Thomas 1983, pp. 121–122.
- ↑ Kass 1976, p. 56.
- 1 2 Landazuri, Margarita. "Wings of the Navy (1939)". Turner Classic Movies. Retrieved March 10, 2016.
- 1 2 Thomas 1983, p. 128.
- ↑ Mathews, Jack (January 1, 1989). "1939: It was the greatest year in Hollywood history". Los Angeles Times. Retrieved March 11, 2016.
- 1 2 3 4 Steinberg, Jay. "Dodge City (1939)". Turner Classic Movies. Retrieved March 11, 2016.
- 1 2 Kass 1976, p. 36.
- ↑ Kass 1976, p. 34; Thomas 1983, p. 132.
- ↑ "Dodge City is a lusty western, packed with action". Variety. December 31, 1938. Retrieved March 11, 2016.
- ↑ Nugent, Frank S. (April 8, 1939). "Errol Flynn Restores Law and Order ...". The New York Times. Retrieved March 11, 2016.
- ↑ Thomas 1983, p. 131.
- ↑ Selznick 1972, pp. 171–172.
- 1 2 Thomas 1983, p. 138.
- ↑ Thomas 1983, p. 137.
- ↑ Kass 1976, p. 49.
- 1 2 "Gone with the Wind (1939): Notes". Turner Classic Movies. Retrieved March 14, 2016.
- ↑ Thomas 1983, pp. 141–143.
- ↑ Kass 1976, p. 51.
- ↑ Nugent, Frank S. (December 20, 1939). "David Selznick's 'Gone With the Wind' Has Its Long-Awaited Premiere ...". The New York Times. Retrieved March 14, 2016.
- ↑ Flinn, Sr., John C. (December 19, 1939). "Review: 'Gone With the Wind'". Variety. Retrieved March 14, 2016.
- ↑ Kass 1976, p. 54.
- ↑ "12th Academy Awards". Academy of Motion Picture Arts and Sciences. Retrieved January 21, 2016.
- ↑ Thomas 1983, p. 147.
- ↑ Thomas 1983, pp. 147, 149.
- ↑ Thomas 1983, p. 150.
- 1 2 Miller, Frank. "Raffles (1939)". Turner Classic Movies. Retrieved March 15, 2016.
- ↑ Thomas 1983, pp. 154–155.
- 1 2 3 4 Kass 1976, p. 63.
- ↑ "My Love Came Back (1940): Notes". Turner Classic Movies. Retrieved March 15, 2016.
- ↑ Crowther, Bosley (July 13, 1940). "My Love Came Back at Strand". The New York Times. Retrieved March 15, 2016.
- 1 2 Thomas 1983, p. 161.
- ↑ Thomas 1983, pp. 163, 165.
- ↑ Thomas 1983, p. 165.
- 1 2 Matzen 2010, p. 147–149.
- ↑ Taylor, Lon (February 26, 2015). "Getting History Wrong on the Silver Screen". Big Bend Now. Retrieved March 16, 2016.
- 1 2 3 Matzen 2010, p. 154.
- ↑ Thomas 1983, p. 167.
- ↑ Kass 1976, pp. 64–65.
- 1 2 Thomas 1983, p. 171.
- ↑ Thomas 1983, p. 173.
- ↑ Thomas 1983, pp. 175, 179.
- ↑ Crowther, Bosley (October 2, 1941). "Hold Back the Dawn, a Poignant Romance, at the Paramount". The New York Times. Retrieved March 17, 2016.
- ↑ Kass 1976, p. 67.
- ↑ Thomas 1983, p. 181.
- ↑ Matzen 2010, p. 143.
- ↑ Flynn 2002, p. 211.
- ↑ Kass 1976, p. 40; Thomas 1983, p. 185.
- 1 2 Thomas 1983, p. 185.
- ↑ Thomas 1983, p. 186.
- ↑ Thomas 1983, pp. 184–185.
- ↑ Pryor, Thomas M. (November 21, 1941). "They Died With Their Boots On, At the Strand". The New York Times. Retrieved March 20, 2016.
- ↑ "101 Pix gross in Millions". Variety. January 6, 1943. p. 58. Retrieved March 20, 2016.
- ↑ Thomas 1983, p. 189.
- ↑ Thomas 1983, p. 191.
- ↑ Crowther, Bosley (March 28, 1942). "The Male Animal, With Henry Fonda, Olivia De Havilland, at Strand". The New York Times. Retrieved March 25, 2016.
- 1 2 Thomas 1983, p. 193.
- ↑ Thomas 1983, pp. 193, 195.
- ↑ Kass 1976, p. 73.
- 1 2 Crowther, Bosley (May 9, 1942). "In This Our Life, Film Version of Ellen Glasgow Prize Novel". The New York Times. Retrieved March 25, 2016.
- ↑ Thomas 1983, p. 195.
- ↑ Thomas 1983, p. 199.
- ↑ Thomas 1983, p. 34.
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- 1 2 3 Kass 1976, p. 78.
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- 1 2 3 Thomas 1983, p. 36.
- 1 2 Shinn, J. (December 8, 1944). "De Havilland v. Warner Bros. Pictures, Inc. 67 Cal. App. 2d 225, 153 P.2d 983". California: Google Scholar. Retrieved January 29, 2015.
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- 1 2 Belloni, Matthew (August 23, 2007). "De Havilland lawsuit resonates through Hollywood". Reuters. Retrieved January 21, 2016.
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- 1 2 "Olivia de Havilland Fast Facts". CNN. Retrieved January 21, 2016.
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- 1 2 3 Walter, Don (July 12, 1958). "Olivia de Havilland recalls wartime shows". Stars and Stripes. Retrieved March 26, 2016.
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- ↑ Shipman 1970, p. 151.
- 1 2 3 Thomas 1983, p. 38.
- 1 2 3 Thomas 1983, p. 218.
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- ↑ Thomas 1983, p. 214.
- 1 2 3 4 Kass 1976, p. 97.
- ↑ Kass 1976, pp. 96–97.
- 1 2 3 4 5 "Olivia de Havilland: Awards". AllMovie. Retrieved January 23, 2016.
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- 1 2 Herman 1995, pp. 310–311.
- 1 2 Miller, Frank. "The Heiress (1949)". Turner Classic Movies. Retrieved April 2, 2016.
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- 1 2 3 4 5 6 7 8 9 Meroney, John (September 7, 2006). "Olivia de Havilland Recalls Her Role -- in the Cold War". The Wall Street Journal. Retrieved March 27, 2016.
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- ↑ Kass 1976, p. 104.
- ↑ Crowther, Bosley (December 26, 1952). "My Love Came Back at Strand". The New York Times. Retrieved April 4, 2016.
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- ↑ Kass 1976, p. 83.
- 1 2 Thomas 1983, p. 41.
- ↑ De Havilland 1962, p. 31.
- 1 2 Thomas 1983, pp. 41–42.
- 1 2 3 Tartaglione, Nancy (March 23, 2003). "Olivia and Oscar". Los Angeles Times. Retrieved April 9, 2016.
- 1 2 3 4 5 6 7 8 Thomas 1983, p. 42.
- ↑ Thomas 1983, p. 225.
- 1 2 3 Thomas 1983, pp. 225–226.
- ↑ Thomas 1983, p. 227.
- 1 2 Thomas 1983, pp. 227–228.
- ↑ Thomas 1983, p. 228.
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- 1 2 Thomas 1983, p. 229.
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- ↑ Thomas 1983, p. 232.
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- 1 2 Kass 1976, p. 120.
- ↑ Crowther, Bosley (October 24, 1959). "Drama in Court; Dirk Bogarde Heads 'Libel' Cast at Roxy". The New York Times. Retrieved April 8, 2016.
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- 1 2 3 Kass 1976, p. 127.
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- ↑ Thomas 1983, p. 237.
- ↑ Weiler, A. H. (June 11, 1964). "Aimless Brutality". The New York Times. Retrieved April 13, 2016.
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- 1 2 3 Thomas 1983, p. 44.
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- ↑ Thomas 1983, pp. 45–46.
- ↑ "ABC Soars in Ratings with Roots Sequel". Schenectady Gazette. February 28, 1979. Retrieved April 15, 2016.
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- 1 2 Kass 1976, p. 142.
- 1 2 "Olivia de Havilland". Film Reference. Retrieved April 15, 2016.
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- 1 2 3 Rickey, Carrie (June 25, 1998). "Here with the Wind ...". Philadelphia Daily News. Retrieved April 12, 2016.
- 1 2 3 "President and Mrs. Bush Attend Presentation of the 2008 National Medals of Arts". The White House Archives. November 17, 2008. Retrieved January 21, 2016.
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- 1 2 Gitau, Rosalia (May 11, 2010). "Art Therapy for Alzheimer’s: I Remember Better When I Paint". The Huffington Post. Retrieved March 28, 2016.
- ↑ "Screening on March 22 in Paris". I Remember Better When I Paint. February 10, 2011. Retrieved April 19, 2016.
- 1 2 3 Corbet, Sylvie (September 9, 2010). "Olivia de Havilland honored by French president". Associated Press Online. Retrieved January 21, 2016.
- ↑ "Jodie Foster Interview Coulisses après les Cesars 2011". YouTube. Retrieved January 21, 2016.
- ↑ Schwartz, Missy (January 29, 2015). "The Last Star: An evening with Olivia de Havilland". Entertainment Weekly. Retrieved January 21, 2016.
- 1 2 3 "Olivia de Havilland wins Oldie accolade". BBC News. February 2, 2016. Retrieved February 3, 2016.
- 1 2 3 4 Leach, Ben (June 17, 2009). "Gone with the Wind Star Confirms One of Hollywood's Most Talked-about Romances". The Telegraph. Retrieved April 17, 2016.
- 1 2 Andrews, Emily (June 17, 2009). "Errol Flynn? He never had his wicked way with me". Daily Mail. Retrieved January 21, 2016.
- 1 2 Flynn 2002, p. 208.
- ↑ Matzen 2010, pp. 52–53.
- 1 2 Matzen 2010, p. 55.
- ↑ Matzen 2010, pp. 65–66.
- 1 2 3 Matzen 2010, p. 72.
- 1 2 Fishgall 1997, p. 137.
- 1 2 Fishgall 1997, p. 138.
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- ↑ Meyers 2011, p. 86.
- ↑ Meyers 2011, p. 87.
- 1 2 Meyers 2011, p. 89.
- ↑ Meyers 2011, p. 90.
- ↑ Honan, William H. (October 22, 1991). "Marcus Aurelius Goodrich, 93, Writer Known for Naval Stories". The New York Times. Retrieved January 21, 2016.
- ↑ "Olivia de Havilland: Biography". Reel Classics. Retrieved January 21, 2016.
- ↑ Vespa, Mary (March 5, 1979). "Olivia De Havilland Finds Solace Serving Her Church". People 11 (9). Retrieved April 12, 2016.
- 1 2 3 4 5 Whalon, Pierre W. (February 12, 2012). "Reading the Bible as a statement of faith". Anglicans Online. Retrieved April 11, 2016.
- ↑ De Havilland 1962, pp. 103–104.
- ↑ Billingsley 1998, pp. 123–124.
- 1 2 Reagan 1990, p. 112.
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- ↑ Gottfried 2002, p. 146.
- 1 2 Berman, Eliza (April 10, 2015). "Hollywood’s Most Famous Sibling Rivalry". Time. Retrieved April 18, 2016.
- 1 2 3 Cornwell, Rupert (May 15, 2008). "Sibling rivalry: Hollywood's oldest feud". The Independent. Retrieved January 21, 2016.
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- 1 2 Fontaine 1978, p. 72.
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- ↑ Kass 1976, p. 69.
- 1 2 Higham 1984, p. 257.
- 1 2 3 4 5 6 7 8 Feinberg, Scott (December 17, 2013). "Joan Fontaine-Olivia de Havilland Feud: New Details Revealed". The Hollywood Reporter. Retrieved January 21, 2016.
- ↑ Galella, Ron (September 9, 1967). "Marlene Dietrich's Opening Party". Getty Images. Retrieved January 21, 2016.
- ↑ Fontaine 1978, p. 283.
- ↑ Fontaine 1978, p. 298.
- ↑ Bernstein, Adam (December 15, 2013). "Joan Fontaine, Academy Award-winning actress from the 1940s, dies at 96". The Washington Post. Retrieved January 21, 2016.
- ↑ Djansezian, Kevork (December 16, 2013). "Olivia de Havilland 'shocked and saddened' by sister Joan Fontaine's death". CBS News. Retrieved January 21, 2016.
- 1 2 3 "Olivia de Havilland". Hollywood Walk of Fame. Retrieved January 23, 2016.
- 1 2 3 4 5 6 7 "Olivia de Havilland: Milestones". Turner Classic Movies. Retrieved January 23, 2016.
- 1 2 "Olivia de Havilland: Notes". Turner Classic Movies. Retrieved January 23, 2016.
- 1 2 "Film Hall of Fame Inductees: Actors". Online Film & Television Association. Retrieved April 15, 2016.
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- ↑ "Olivia de Havilland at Grauman's Theater". Associated Press Images. Retrieved January 24, 2016.
- ↑ Thomas 1983, p. 7.
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External links
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Wikimedia Commons has media related to Olivia de Havilland. |
- Olivia de Havilland at AllMovie
- Olivia de Havilland at the Internet Broadway Database
- Olivia de Havilland at the Internet Movie Database
- Olivia de Havilland at the TCM Movie Database
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