Olivia Goes to Sherwood Forest

This week, our discussion looks at the ever wonderful The Adventures of Robin Hood.  I have to admit that it is hard to add anything worthwhile to a discussion of this movie.  Oh, I'm willing to admit to some flaws - perhaps Errol's tights are a little to green and shiny; perhaps Sherwood Forest is a TAD too perfect, but still - has ANYONE ever approached a role with a more appropriate swagger than Flynn.  His introduction to our Ms. de Havilland is perfect: "Welcome to Sherwood, my Lady", issued with aplomb from a tree limb! And then there is Olivia - so beautiful, radiant even, as Maid Marian.  She is spunky, in all the best senses of the word, brave, and daring.  Here, she is put on trial for helping Robin's cause:



And then, there is the perfect character castings - the ever wonderful Claude Rains as Prince John. He is unctuous, supercilious, and all-together bad to the bone.  His perfect match in evil is provided by Basil Rathbone as Sir Guy of Gisbourne. His fencing scene with Flynn is magical - and it so delightful to remember that Rathbone was himself an excellent fencer; easily the match of anyone to whom he (almost always) lost to.  

Eugene Pallette as Friar Tuck is delightful (though I always seem to see him in The Mark of Zorro, bopping the enemy on the head as he mutters, in his gravel voice, "God forgive me"). And of course, let us not forget Alan Hale as Little John, and Una O'Connor as Marian's maid Bess.  This is an exceptional cast - a representation of the brilliant character casts available at Warner Brothers.

Tune in next time for another Olivia de Havilland movie. 

Olivia Sings

Our discussion this week focused on 1936's Anthony Adverse.  Fredric March plays the titular orphan who loves the young peasant girl Angela Guisseppi, who grows up to be Olivia de Havilland AND a great opera singer.  Interestingly, we learned from Robert Osborne that Kitty Carlisle auditioned for the role of Angela (which makes a certain amount of sense. While she is not the actress that our Olivia is, she is certainly an opera singer. That being said, Ms. de Havilland is lovely in the role of a young woman who grows to be a widely renowned opera star AND the courtesan of Napoleon Bonaparte. 

This is another of those films with an amazing cast.  Let's start with the prologue - Louis Hayward and Anita Louise as Anthony's parents. And the always wonderful Claude Rains as the dastardly Don Luis.  We did have one question, which might have been answered in the book (which none of us have read) - why on earth would the wonderful John Bonnyfeather (Edmund Gwenn) convince his adored daughter to marry such a horrible man?  Short of reading the book, I guess we'll never know.  And then, as Anthony grows, there is Gail Sondergaard as Faith Paleologus, Mr. Bonnyfeather's housekeeper.  She is just so wonderfully bitchy. She and Rains make the perfect pair in this movie (maybe even MORE perfect than Anthony and Angela!!)  And Billy Mauch as the 10-year-old Anthony, who is quite good (and rather adorable, without being sugary).  

The one performance we found totally laughable was that of Steffi Duna as Neleta, Anthony's tropical mistress. Someone seems to have told Ms. Duna that they way to express evil was to continuously narrow and widen her eyes.  We were in stitches (luckily, she is not on the screen for too long).  A quick check of her film history revealed that she did, in fact, appear in 22 films - until she married Dennis O'Keefe in 1940. Then she seems to have retired.  

This is one of those impressive epic adventures, whose reputation seems to have not survived as well as it should.  It has a lot of excellent performances (Gale Sondergaard won the first Best Supporting Actress award that year - the first year it was awarded.  She won against such notables as Maria Ouspenskaya and Beulah Bondi). If you get a chance to see it, it is certainly worth your time.  And while our Ms. de Havilland doesn't have much screen time, she makes good use of what she has (especially the early scenes with March).

Here's the trailer:


Next time, join us for one of Ms. de Havilland's more serious performances.

Olivia Rides the Wagon Train

This week, we're discussing Errol Flynn's first western, 1939's Dodge City. In it, Olivia plays Abbie Irving, a young woman who is forced to move to the godless Dodge City after the death of her father.  Unfortunately, she has to get there with her drunken brat of a brother (William Lundigan), who starts a cattle stampede with his gun-play, and ends up getting himself killed.  Of course, Abbie blames wagon master Wade Hatton (Flynn).  Wade meanwhile, enters Dodge City to find it being run by former adversary Jeff Surrett (Bruce Cabot), and after a horrible incident decides he is the one to bring law and order to Dodge.

This movie is full to the brim with wonderful character performances. We have the usual Flynn sidekick, Alan Hale as well as Guinn "Big Boy" Williams.  We have a rare character visit from the gorgeous Ann Sheridan (one wonders if Jack Warner was angry at her that week to give her such a small part), as well as the ever-wonderful Frank McHugh as newspaper publisher Joe Clemens. And the adorable Bobs Watson as Harry Cole, the reason that law comes to Dodge.  With a cast like this, (and these names are just the tip of the iceberg) can you really lose?

I have major problems with seeing Bruce Cabot in pretty much anything since I heard about his horrible actions to Errol Flynn later in their careers.  But one must admit he is truly loathsome here. Olivia is spunky, in all the best senses of the word, especially in the later portions of the movie (it is as though we get to watch Abbie grow up).  Here is one of their love scenes:

It is truly funny to see the screenwriters making an excuse for Flynn's presence in a Western (Wade is from Ireland, and has traveled the world).  Finally, we all adored Frank McHugh - he is funny and touching in this small, but important role. His performance in the film is well worth emphasizing.

Join us next week for another Olivia epic.

Olivia Marries a Doctor

This week, our movie is 1955's Not as a Stranger, wherein Olivia plays a superior OR nurse named Kristina Hedvigson, who falls in love with medical student Lucas Marsh (Robert Mitchum).  Marsh wants to be a doctor, and will do anything to get there, including marry Kristina (whom he does not love), in order to pay his way through medical school.  The big problem with Marsh, though, is not that he doesn't love Kristina - he doesn't love ANYONE.  He does love medicine, wants desperately to be an excellent doctor, but will not brook any kind of medical mistakes.  As a result, he is cold and unforgiving, with no patience for his colleagues.

Olivia's Kristina is a good woman. Somewhat unsophisticated, but an excellent nurse and a caring human being.  But she is plain.  It is interesting the way this is accomplished.  The blonde wig and very white makeup that Olivia wears makes her looked washed out. Her usual vibrancy is replaced by a ghostly, almost surreal invisibility; a symbol, perhaps, of the fact that Lucas never really sees her.  In this scene, the young doctors learn about the human spirit:
This movie is also chock-full of supporting performances by actors one doesn't always see in supporting roles.  Frank Sinatra, for example as Alfred Boone, another medical student who is just not up to Lucas' standards, but is a good, caring man, is just wonderful here.  His sympathetic nature radiates.  He is the perfect foil to Mitchum's uptight perfectionist.  Broderick Crawford, as one the medical school's key instructors and Charles Bickford, as the doctor who gives Lucas his first job, are also excellent, again providing a glimpse of the humanity that is necessary to a successful medical career.  Bickford especially shows us medicine as a caring profession; he knows every one of his patients, and treats them with understanding and love.

Finally, there is our only other major female role, the always fascinating Gloria Grahame as Harriet Lang, a wealthy widow who is looking for excitement. And of course, the rather studdily Mitchum is quickly within her sights.

A big thumbs up for this so often overlooked movie. If you've never seen it, by all means, give it a try.

Next week, we again venture west.

Olivia Plays the Violin

There is something to be said for delightful little pieces of froth, which is exactly what this week's movie is.  We're talking about My Love Came Back (1940), wherein Ms. de Havilland plays Amelia Cornell, a music student who is having quite a hard time financially.  Her family is having problems back home, so Amelia is forced to take on teaching assignments in order to continue her training at the prestigious Brissac Academy of Music.  Only problem is, her meager scholarship forbids her to teach.  Enter Julius Malette (Charles Winninger), a wealthy man (he manufactures musical equipment) who is captivated by her, and begins to anonymously send her another "scholarship", and not so anonymously take her to concerts, theater, and even the circus.  However, things get complicated when he sends his Vice-President, Tony Baldwin (Jeffrey Lynn), to break a date for him.  Baldwin is delighted with her, but also suspects that Amelia and Malette are MUCH more than friends.  Things get even MORE complicated when her friends Joy O'Keefe and Dusty Rhodes (Jane Wyman and Eddie Albert) cash another of Malette's check, further intensifying Baldwin's belief that Amelia is seeing Malette for money.

We really enjoyed this movie.  Olivia is just lovely in in. Her Amelia is sweet and unassuming.  And the filming of her violin sequences is quite well done. You will believe she is playing the violin.  We also have some great supporting performances here. 

Spring Byington as Mrs. Malette is delightful.  She knows quite well that her husband is not just working late, but it is also clear that she trusts him.  She seems to understand that he needs to be a little "naughty" and she is able to give him the freedom he needs to work out his mid-life crisis. We loved her interaction with Amelia; her ability to gently put the girl at ease just makes you like Mrs. Malette all the more. 

We also enjoyed Paul Malette (as played by William Orr).  Originally convinced that Amelia is a disreputable person, he meets her and falls immediately in love.  And though he thinks badly of his father for his "relationship" with Amelia, he bravely tries to protect both him and Amelia when he believes his mother is about to find out "the truth".

Finally, there is the teaming of Jane Wyman and Eddie Albert.  You really want to kill them when the steal Amelia's check, but it is hard to not like them.  And it is good to see Jane Wyman in almost anything. She is always a bright light in any film.  We found a rather unusual trailer (with George Reeves in it - he is NOT in the picture!):

Next time, we'll be venturing back to more serious Olivia territory.  We hope to see you then.

Olivia Meets Myrna

This week, we look at the 1956 comedy The Ambassador's Daughter, wherein Olvia plays the title role.  Joan Fiske lives in Paris with her ambassador father (Edward Arnold).  She is engaged to Prince Nicholas Obelski (Francis Lederer) and happily serves as her father's hostess.  Into their lives comes crusading Senator Jonathan Cartwright (Adolphe Menjou) and his wife (Myrna Loy).  He has decided that Paris has a terrible influence on their naive servicemen, and wants to ban it as a destination for the military.  The Ambassador, of course, needs to prevent this - the soldiers are a huge source of income for the nation still recovering from the war, and he does not share the conservative senator's fears.  Thus, Joan enters into a bet that she will woo a soldier (John Forsythe), and prove beyond a shadow of a doubt that American soldiers are gentlemen.

This is not a great movie, but it has its moments.  The scene in which Myrna Loy tries to convince John Forsythe that Olivia is actually a good girl (he has come to believe that she is the Senator's mistress) is hilarious, and Olivia doing her best French accent is delightful.  But the movie has one little problem - the romantic leads are just a tad too old for the subject matter.  Forsythe, who was 38 when the film was released, is far too mature to be so ignorant.  And Olivia, at 40 is just too adult to be mistaken for any kind of an innocent.  The other problem is the timing of the movie - why is Forsythe still in the armed services? Korea is three years over, and it is 10 years since the Second World War (which of course would have been the impact factor in France). Why are all these soldiers still in France? And why isn't Forsythe back in the states working as an engineer? Tis a puzzlement!

But if you have a chance, give it a look see. Just suspend you disbelief at the door, and let Myrna and Olivia whisk you away to a more innocent time.  

Next time, another comedy, but from a much earlier time.

Olivia Goes South

Our discussion this time centered on the role that Olivia de Havilland is perhaps best remembered for: Melanie Hamilton Wilkes in Gone With the Wind.  Perhaps there is nothing that can be added to the volumes that have already been devoted to this film, but when has that stopped us? First off, Olivia is positively radiant as Melanie.  And it is more than just Melanie's goodness ("the only truly kind person I have ever known", as Rhett Butler so aptly puts it).  It is her iron will and strength of purpose.  Watch her come down the staircase with a sword she can barely carry; then look at the steely determination in her eyes when her husband's safety depends on her.  As Scarlett so aptly puts it "What a cool liar you are, Melly!"  Could another actress have so effortlessly merged two such apparently divergent characteristics so beautifully? It is hard to imagine!

We also spent some time discussing the other characters, primarily Scarlett and Mammy.  Of course, the wonderful Hattie McDaniel is dynamic here.  Her eyes tell us everything we need to know about her attitude to Scarlett.  And did you ever notice that, though she is quick to correct Scarlett on every other thing, when Scarlett goes after sister Sue-Ellen's beau, Frank Kennedy, Mammy says nothing? Could it be she knows that Scarlett will support her entire family on Frank's money, whereas Sue-Ellen will high-tail it out of Tara faster than scat, and leave them all to fend for themselves?

Finally, there is Scarlett.  I personally like Scarlett.  The film's Scarlett is no way as hard as Scarlett in the book (that Scarlett is so clearly a collaborator after the war; the film's Scarlett is just selling to them), but she is basically a responsible person.  Even though she believes that Ashley is dead (more evident in the book than here), she still supports his wife and child because she made a promise to do so. And her vow to "never be hungry again. No, nor any of my folk." And she means it.  Everything she does supports the family, not just herself.  A brat? You bet.  But if I had to have someone in my corner, it would be Scarlett.  And Melanie, more than anyone else, with her clear picture of all those she loves, knows it.

Just for fun, here's a deleted scene that we found:

 

Next time, we jump to the 1950s for our next film.

Olivia Goes to Court

This week, our movie is from 1959.  It is Libel, starring Dirk Bogarde and Olivia de Havilland, as Sir Mark and Lady Margaret Lodden, a well-to-do couple living happily in England (he is English nobility; she is an American who wed him after he returned from World War II.  Their life is happy, until the day a former war colleague of Mark's who recognizes him, not as Mark Lodden, but as the fairly heinous Frank Welney, another soldier who was a dead ringer for Sir Mark.  When Mark will not acknowledge that he is Welney, the colleague, Jeffrey Buckenham (Paul Massie) goes to the newspapers and provides an interview accusing "Sir Mark" of killing and replacing the real Mark Lodden.  In turn, Mark and Margaret sue the newspaper and Buckenham for libel.

If this is  not the best movie ever made, it is certainly suspenseful.  Is Mark Frank? Does Margaret believe Mark? And who is Number 15 (to find out, watch the movie!) You won't be quite sure until the last scene.  And both actors are wonderful at keeping you guessing.  Dirk Bogarde's hesitation throughout the movie keeps you wondering just WHAT his problem is - is it amnesia, as he claims, or is he really NOT the person he claims to be.  And Ms. De Havilland goes from loving wife to doubter as the court case progresses. And you understand why.  It is a lovely symmetry between the two actors that you are sucked into the mystery.

The movie, interestingly, is based on a play from 1935-1936, starring Colin Clive (of Frankenstein fame), and directed by Otto Preminger. In the scene below, Margaret sees the toll that that accusations are having on her husband:



Next  time, we'll spend a few minutes with an Olivia performance that is one of her most famous, and perhaps one of her best.

Olivia and Errol Get Married

This week, another Olivia/Errol adventure flick, and again we get history via Warner Brothers.  It's They Died with Their Boots On (1942), wherein Errol Flynn plays an unrecognizable (but wonderfully heroic) George Armstrong Custer, and Olivia plays his devoted wife, Elizabeth "Libby" Bacon.  The film starts with Custer's arrival at West Point (we are told he scored lower at the Point than did U. S. Grant), and where he meets his future wife.  He also meets his nemesis Ned Sharp (played with mustache-twirling nastiness by Arthur Kennedy).  During Custer's tenure at West Point, the Civil War erupts, and he is graduated early to serve in the active army.  Finally, he is able to get back to Olivia (having become a hero in the war) and wed her (despite her father's dislike of the Custer, who has a tendency to drink too much).  

There is an excellent documentary on the DVD, and if  you have a chance to get your hands on the DVD, do take the time to watch it.  There is a bit of discussion about the actual history of Custer (and of course, he was no way near as dashing as Errol. Nor was he anywhere near as pleasant as the character created by the talented Mr. Flynn).  Olivia's Libby is just lovely, and she gets to do a bit more here than in (say) The Charge of the Light Brigade.  Of course, her parting scene with Flynn (much cited when her performances are discussed) is gut-wrenching.  But also lovely are her scenes with Hattie McDaniel (as her servant Callie).  Finally, there is the scene in which Libby delivers Custer's "deathbed" statement.  Her quiet power is obvious.

Some other people to look out for here are Regis Toomey as Fitzhugh Lee, who leaves his position at West Point to join the Confederate Army (very nicely done) and Errol Flynn's scenes with Sydney Greenstreet (as Lt. General Winfield Scott) are quite funny, with Scott portrayed as a gourmand with a taste for onions.  And I must not omit Anthony Quinn as Crazy Horse; his Chief is Custer's military equal - a nobleman who is in the right, pretty much throughout the picture.

We'll be back soon with a much later Olivia film. We'll leave you with the trailer to the film:
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Olivia Doesn't Love Errol

This week, we looked at The Charge of the Light Brigade, another Warner Brothers attempt at rewriting history.  Errol Flynn plays Major Geoffrey Vickers, a military officer in India who is engaged to Elsa Campbell (Olivia de Havilland).  Only problem is, Elsa had fallen in love with Geoffrey's younger brother Captain Perry Vickers (Patric Knowles) while both were in Calcutta (and Geoffrey was off on a mission).  Naturally, this causes a falling-out between the brothers, and some antagonism from Elsa's father (Donald Crisp), who MUCH prefers the gallant Major Vickers to his office-bound sibling.

When all the inhabitants of Chukoti are massacred by Surat Khan (who spares Geoffrey and Elsa because of a debt he owes to Geoffrey), revenge becomes the goal of the Light Brigade.  And Geoffrey, who has nothing to live for without Elsa, is the leader in the Light Brigade's charge to kill Surat Khan (who has escaped to the Crimea!)

What any of this has to do with the actual Charge is a mystery.  They use a few lines from Tennyson, and the costuming is pretty much on target, but any other relation to history is purely coincidental.  The appeal of the film though, lies not in its plot; the movie is all Flynn.  If there is a problem with it, it's just that it is hard to understand why Olivia would prefer Patric Knowles to Flynn (No offence to Knowles, but he has NOTHING on Flynn.  An attractive man, Patric Knowles just does not have the electricity that Flynn brings to all his roles.)

The ending scene is glorious. So what if it is totally wrong? Only the Warner Brothers could make you think that the British actually WON the Charge of the Light Brigade! Here's a trailer:

Next week, we'll join Olivia and Errol again as the rewrite history.