George Brent made his screen debut in “Under Suspicion” (1930). Initially a slightly tough talking New York type, Brent proved an effective romantic foil to a wide variety of dominant female stars of the 1930s and 40s, most notably at Warner Brothers, where he was tenured from 1932 to 1942. Capable of playing the strong but silent type, or the urbane and cynical, Brent often spent his screen time desiring his leading lady or being pursued by her. His playing was invariably professional and amiable if not dynamic or idiosyncratic, and so he proved a natural in “women’s films” in which the focus was securely on a more galvanizing female actor who was a bigger star. Among his female paramours over the years were Bebe Daniels (“42nd Street,” 1933), Greta Garbo (“The Painted Veil,” 1934), Ginger Rogers (“In Person,” 1935), Myrna Loy (“The Rains Came,” 1939), Barbara Stanwyck (“My Reputation,” 1946), and Claudette Colbert (“Bride for Sale,” 1949).
Brent most often appeared as romantic lead in deferential support to three of Warners’ classiest star actresses: Kay Francis (“Living on Velvet,” 1935, “Give Me Your Heart,” 1936, “Secrets of an Actress,” 1938); Ruth Chatterton (“The Crash,” 1932, “Female,” 1933), to whom he was married from 1932 to 1934; and, particularly, Bette Davis (“Front Page Woman,” 1935, “Jezebel,” 1938, “Dark Victory,” 1939, “The Great Lie,” 1941). He also occasionally enjoyed a role off the beaten path, as in Robert Siodmak’s memorable Gothic melodrama, “The Spiral Staircase” (1946).
Brent sustained his prolific output after he and Warners parted company, but his films gradually diminished in importance in the later 40s. Very much a leading man type, he never made the transition to character roles, and so left the cinema in 1953 after appearing in a series of minor efforts. Two of his other four wives were actresses Constance Worth and Ann Sheridan (opposite whom he made “Honeymoon for Three,” 1941). Brent came out of retirement for 1978’s “Born Again”. The above TCM overview can also be accessed online here.
For an article on George Brewnt please click here.
Angel On The Amazon, poster, US poster art, George Brent (left), Constance Bennett (second left), Vera Ralston (center), 1948. (Photo by LMPC via Getty Images)Submarine D-1, poster, Wayne Morris, Pat O’Brien, George Brent on window card, 1937. (Photo by LMPC via Getty Images)TWIN BEDS, US poster, top from left: George Brent, Joan Bennett, bottom: Mischa Auer, 1942 Courtesy Everett Collection ACHTUNG AUFNAHMEDATUM GESCHÄTZT PUBLICATIONxINxGERxSUIxAUTxONLY Copyright: xCourtesyxEverettxCollectionx MCDTWBE EC002The Purchase Price, poster, from left: George Brent, Barbara Stanwyck, 1932. (Photo by LMPC via Getty Images)The Great Lie, poster, George Brent, Bette Davis, 1941. (Photo by LMPC via Getty Images)
Dictionary of Irish biography:
Brent, George (1904–79), actor, was born George Nolan 15 March 1904 at Main St., Ballinasloe, Co. Galway, son of John Nolan, shopkeeper, and Mary Nolan (née McGuinness). Orphaned in 1915, he moved briefly to New York where he was cared for by an aunt, returning later to Dublin to finish his education. He took up acting at the Abbey Theatre, where he had already played some minor roles but, suspected by the British authorities of IRAinvolvement, he fled to Canada, where he continued to act, working in stock companies for two years. He again travelled to New York, finding work with stock companies and founding three of his own. His appearances on Broadway in the late 1920s were noticed in Hollywood. He was talented, but his good looks and reliability were as important in ensuring that he achieved over a hundred screen credits during his career. Most of these were in Warner Brothers productions (1930–53).
Never a powerful box-office draw, he was employed by the studio to carry middle-ranking projects while providing support to A-list stars in larger undertakings. Unambitious and without pretensions, he was happy to take the money while performing quietly and professionally. This led unkind reviewers to describe his performances as having ‘all the animation of a penguin’ and as varying between those in which he was with or without a moustache. Once he abandoned the ‘rugged hero’ roles in which he was initially cast, he provided competent but understated portrayals, making him an ideal foil for the domineering leading ladies of this period. In 1934 he delivered just such a performance opposite Greta Garbo in the screen adaptation of Somerset Maugham’s ‘The painted veil’. He was also a good foil for Merle Oberon, Olivia de Havilland, Joan Fontaine, Mary Astor, Barbara Stanwyck (four times), Ruth Chatterton (four times), and Bette Davis (eleven times). Davis was one of the many leading ladies with whom he had affairs and Ruth Chatterton was the second (1932–4) of his six wives. He married two other actresses, Constance Worth (1937) and Ann Sheridan (1942–3).
His best performances were probably in Jezebel (1938), for which Davis won an Oscar; Dark victory (1939) with Davis, Humphrey Bogart, and Ronald Reagan; The rains came (1939), a disaster movie with Tyrone Power; and The spiral staircase (1945), a horror-thriller set in England. He never filmed in Ireland, but starred with James Cagney in a movie about an Irish-American regiment, The fighting 69th (1940). His career entered a terminal slide in the late 1940s when he appeared in dross such as The corpse came C.O.D. (1947), a severe decline for someone who had acted in 42nd Street (1933). When the movie offers dried up he starred in a TV series, Wire service (1956–9), before retiring to run his horse-breeding ranch in California. He made one more brief cameo in the movies playing a judge in the dire Born again (1978), the story of Nixon aide George Colson’s discovery of Christianity when jailed after Watergate. He died of emphysema 27 May 1979 in California
Born to a Catholic nationalist family in Belfast, Ireland. Although her mother died when she was two, her father was a landowner farmer, insuring that the family always had income from family land. He soon left for Australia and McGlade was brought up by an aunt, studying at St. Dominic’s School, Belfast, convent schools and inParis. Thinking she would pursue teaching, she enrolled in the South Kensington School of Art.
Before taking up teaching duties, she enrolled in the Abbey School of Acting (affiliated with Dublin‘s Abbey Theatre). She changed her name when she began her acting career with the Abbey Theatre. One her earliest appearances was in George Bernard Shaw‘s The Shewing-Up of Blanco Posnet in which she played the part of a swaggering American ranch girl. The production played in Dublin as well as in New York, opening 20 November 1911 at the Maxine Elliott Theatre, marking O’Connor’s American debut. By 1913 she was based inLondon where she appeared in The Magic Jug, Starlight Express (1915-16 at the Kingsway Theatre), and Paddy the Next Best Thing. In the early 1920s she appeared as a cockey maid in Plus Fours followed in 1924 by her portrayal of a cockney waitress in Frederick Lonsdale‘s The Fake. In a single paragraph review, an unnamed reviewer noted “Una O’Connor’s low comedy hotel maid was effectively handled.” The latter show also played in New York (with O’Connor in the cast), opening 6 October 1924 at the Hudson Theatre. A review of the New York performances of The Fake recounts details of the plot, but then mentions
…two players of more than ordinary excellence. In the third act of The Fake occurs a scene between Una O’Connor and Godfrey Tearle, with Miss O’Connor as a waitress trying a crude sort of flirtation with Mr. Tearle. He does not respond at all and the longing, the pathos of this servant girl when she has exhausted her charms and receives no encouragement, is the very epitome of what careful character portrayal should be. Miss O’Connor is on the stage for only this single act, but in that short space of time she registers an indelible impression. Rightly, she scored one of the best hits of the performance.
These two plays in which she portrayed servants and waitresses appear to have portended her future career. Returning to London, she played in The Ring o’ Bells (November 1925), Autumn Fire (March 1926), Distinguished Villa (May 1926), and Quicksands of Youth (July 1926). When Autumn Fire toured the U.S., opening first in Providence, Rhode Island, a critic wrote: “Una O’Connor, who plays Ellen Keegan, the poor drudge of a daughter, bitter against life and love, does fine work. Her excellence will undoubtedly win her the love of an American public.”
She made her first appearance on film in the 1929 Dark Red Roses, followed by Murder! (1930) directed by Alfred Hitchcock, and an uncredited part in To Oblige a Lady (1931).
Distinguished Villa, a play by Kate O\’Brien, Little Theatre, London, starring Una O\’Connor and Ivor Barnard.
1926
Despite her lengthy apprenticeship she had not attracted much attention. British critic Eric Johns recalled meeting her in 1931 in which she confessed “I don’t know what I’m going to do if I don’t get work…The end of my savings is in sight and unless something happens soon, I’ll not be able to pay the rent.”[Her luck changed when she was chosen by Noël Coward to appear in Cavalcade at the Theatre Royal, Drury Lane in 1933. Expressing surprise that Coward noticed her, Coward responded that he had watched her for years and wrote the part with her in mind. She portrayed an Edwardian servant who transforms herself into a self-made woman. When the curtain came down after a performance attended by Hollywood executives, they exclaimed to each other “We must have that Irish woman. That is obvious.” Her success led her to to reprise her role in the film version of Cavalcade, and with its success, O’Connor decided to remain in the United States.
Among O’Connor’s most successful and best remembered roles are her comic performances in Whale’s The Invisible Man (1933) as the publican’s wife and in Bride of Frankenstein (1935) as the Baron’s housekeeper. She appeared in such films as The Informer (1935). Feeling homesick, in 1937 she went back to London for twelve months in the hope of finding a good part but found nothing that interested her. While in England she appeared in three television films. After her return to America, the storage facility that housed her furniture and car was destroyed in one of The Blitz strikes, which she took as a sign to remain in America.
Her film career continued notably with The Bells of St. Mary’s (1944). She also appeared in supporting roles in various stage productions and achieved an outstanding success in the role of “Janet McKenzie”, the nearly deaf housemaid, in Agatha Christie‘s Witness for the Prosecution at Henry Miller’s Theatre on Broadway from 1954–56; she also appeared in the film version in 1957, directed by Billy Wilder. As one of the witnesses, in what was essentially a serious drama, O’Connor’s character was intended to provide comic relief. It was her final film performance.
After a break from her initial forays in television, she took up the medium again by 1950. In 1952 she was able to state that she had been in 38 production that year alone. In a rare article that she authored, O’Connor called working in television “the most exacting and nerve-racking experience that has ever come my way. It is an attempt to do two things at once, a combination of stage and screen techniques with the compensations of neither…” Noting that many actors dislike television work, O’Connor said that she liked it because it allowed her to play many parts. She lamented that preparation for television work was too short a period for an actor to fully realize the depths of role characterization, but that it showed an actor’s mettle by the enormous amount of work needed. “Acting talent alone is not enough for the job. It requires intense concentration, an alert-quickmindedness that can take changes in direction at the last minute…” O’Connor concluded presciently: “It sounds fantastic and that is just exactly what it is, but it also an expanding field of employment that has come to stay. As such it is more than welcome here, where the living theatre seems determinedly headed the opposite way.”
Reportedly she was “happily resigned” to being typecast as a servant. “There’s no such thing as design in an acting career. You just go along with the tide. Nine times out of ten one successful part will set you in a rut from which only a miracle can pry you.”
Her weak heart was detected as early as 1932, when her arrival in America began with detention at Ellis Island because of a “congenital heart condition.” By the time of her appearance in the stage version of Witness for the Prosecution she had to stay in bed all day, emerging only to get to the theater and then leaving curtain calls early to return to her bed. Her appearance in the film version was intended to be her last.
Eric Johns described O’Connor as
…a frail little woman, with enormous eyes that reminded one of a hunted animal. She could move one to tears with the greatest of ease, and just as easily reduce an audience to helpless laughter in comedies of situation. She was mistress of the art of making bricks without straw. She could take a very small part, but out of the paltry lines at her disposal, create a real flesh-and-blood creature, with a complete and credible life of its own.
She admired John Galsworthy and claimed to have read all his works. She once said “Acting is a gift from God. It is like a singer’s voice. I might quite easily wake up one morning to find that it has been taken from me.”
Barry Coe was an Americanactor who appeared in film and on television from 1956-1978. Many of his motion pictures parts were minor, but he co-starred in one series, Follow the Sun, which aired on ABC during the 1961-1962 season, and also played the recognizable “Mr. Goodwrench” on TV commercials in the 1970s and 1980s.
Born Barry Clark Heacock, his name was changed to Joseph Spalding Coe when his mother Jean Elizabeth Shea married Joseph Spalding Coe Sr. in 1940 in Los Angeles. His father Francis Elmer “Frank” Heacock, a writer and publicist for Warner Brothers, was killed in an auto accident in North Hollywood, CA, April 5, 1940.
Coe attended the University of Southern California and was discovered by a talent scout during a trip with his fraternity to Palm Springs in the mid-1950s. He was signed under contract for 20th Century Fox as an actor.
In 1961 Coe and Brett Halsey played magazinewriters Paul Templin and Ben Gregory, respectively, with Gary Lockwood as their researcher, Eric Jason on the ABC television network series Follow the Sun from September 17, 1961, through April 8, 1962. The program was set in Honolulu, Hawaii, and the writers often ventured into private detective work. Despite some memorable episodes, Follow the Sun was cancelled after twenty-nine segments.
After Follow the Sun folded, Coe appeared in a support role in Fox’s The 300 Spartans (1962)[6] then guest starred in 1962 on the first episode of the fourth season of NBC‘s Western series Bonanza. He portrayed ranch hand Clay Stafford, who reveals himself to be the “fifth” Cartwright, a half brother to Little Joe (Michael Landon) via their mother Marie. Although stepfather Ben Cartwright (Lorne Greene) and Joe take Clay at his word, the other Cartwright brothers, Hoss (Dan Blocker) and Adam (Pernell Roberts) are skeptical and intend to investigate Clay’s claim. The episode called “The First Born” could have introduced Coe as a new cast member. Entertainment writer Hal Ericson reported that friction (i.e. job security) on the set caused Bonanza producers to stick with the three brothers.
From the late 1970s into the early 1980s, Coe was “Mr. Goodwrench” in television advertising for a chain of national auto parts stores under General Motors.[4]
Until his death, Coe was married to the former Jorunn Kristiansen, who was a Norwegian beauty queen in the 1950s and now a painter (born 1940). Their son is William Shea Coe (born 1966). In the 1980s, Barry Coe’s daughter attended the University of Southern California in Los Angeles. Barry Coe had a side business in nutritional supplements—Adventures in Nutrition; labels for the containers were printed by Joe Faust. He lived in Brentwood, Los Angeles, California for several years.
CNN Obituary in 2019.
CNN —
Golden Globe-winning actor Barry Coe, who had roles in “Bonanza” and films like 1957’s “Petyon Place” and “Jaws 2,” died last month after a battle with with myelodysplastic syndrome, according to an obituary. He was 84.
Coe died in Palm Desert, California, on July 16, the obituary says.
Coe, whose real name was Barry Clark Heacock, co-starred in the 1957 movie “Peyton Place,” about the sordid doings in a small New England town, which starred Lana Turner and was later turned into a primetime soap opera on ABC. Actor Ryan O’Neal would go on to play Coe’s role from the film, a character named Rodney Harrigton, in the TV series.
Three years later, Coe picked up a Golden Globe award for most promising male newcomer for his role in “A Private Affair.” The Globes stopped giving out the award in the 80s.
His other credits include roles in films like Elvis Presley’s “Love Me Tender” and “One Foot in Hell” and a TV series called “Follow the Sun,” which aired for one season.
His family has asked that donations be made in his name to Habitat for Humanity
Guy Madison obituary in “The Independent” in 1996.
Guy Madison made his film debut in “Since You Went Away” a 1944 U.S. film about life on the home front during World War Two. Madison had only a few minutes screen times with the stars Jennifer Jones and Robert Walker, but he made sufficent impact with the general audience that he was awarded a studio contract. He is perhaps best known for his 1950’s television series “Wild Bill Hickcock”, Guy Madison died in 1996.
David Shipman’s obituary on Guy Madison in “The Independent”:Guy Madison was described by his studio’s publicists as “a dreamboat” – one of the several non-threatening leading men of the post-war period, fresh-faced and just on the right side of rugged. He didn’t make it in that capacity, but was to have a prolific 40-year career in westerns. Tallulah Bankhead said, “He made all the other cowboys look like fugitives from Abercrombie and Fitch” (the New York gentlemen’s outfitters).He was a linesman before the Second World War, in which he served as a marine. A picture in a naval magazine (so the story went) caught the attention of a Hollywood talent scout, Helen Ainsworth, who recommended him to David O. Selznick. Selznick gave him a small role in his Home Front morale-booster Since You Went Away (1944), as a marine who heckles Jennifer Jones and Robert Walker in a bowling-alley.
He was only on the screen for three minutes, but the studio received 43,000 fan letters. Selznick’s talent agent, Henry B. Willson, had already seen his potential and had changed the actor’s name, from Robert Moseley to Guy Madison, for his new career – as he would do later for such other handsome movie hulks as Rock Hudson and Tab Hunter. Selznick himself was making few movies, so he loaned Madison and Dorothy McGuire to RKC for Till the End of Time (1946), in which she was a war widow, uncertain whether she should or could make a second start with Madison. The New York Times found itself “quite exasperated by their juvenile behaviour” and added that Madison “is a personable youngster, but he has much to learn about the art of acting”.
Most reviewers felt similarly about Honeymoon (1947), which was situated in Mexico City. Selznick loaned Madison and Shirley Temple to RKO for this, to little benefit for all concerned. After Texas, Brooklyn and Heaven (1948), again on loan-out, Selznick dropped Madison – as he did most of his contract-players, all of whom were straining at the bit because he charged far more for their services than he paid them. Madison went on to play Wild Bill Hickok on radio from 1951 to 1956 and also, from 1952, on television. He was one of the first names from the big screen to enter the new medium.
It revived his career at a time when ironically Hollywood was trying to combat it with new techniques, 3-D and CinemaScope. Warner Bros put Madison in the 3-D western The Charge at Feather River (1953), and 20th Century-Fox into its wide-screen The Command (1954). He never stopped working thereafter, though there were no other major credits. In the 1960s he was one of the several names to go to Italy to make costume spectaculars and spaghetti westerns. In the 1970s and 1980s he worked mainly in television, following a series, Bullwhip, in the 1950s, which was not one of the more memorable of all the television westerns of that time. He joined some other grizzled veterans of the era – James Arness, Ty Hardin, Robert Horton – for an ill-advised telemovie, Red River (1988), which didn’t compare with the Howard Hawks classic on which it was based.
His first wife was the beautiful and haunted Gail Russell, who was already an alcoholic when they married; but for that, her career might have been much more successful than his.
David Shipman
Robert Ozell Moseley (Guy Madison), actor: born Bakersfield, California 19 January 1922; married 1949 Gail Russell (marriage dissolved), 1954 Sheilah Connolly (one son, three daughters; marriage dissolved); died Palm Springs 6 February 1996.
“The Independent” obituary can also be accessed on-line
Though she shared the screen with such stars as Elvis Presley, Montgomery Clift and Anna Magnani in the course of her brief acting career, Dolores Hart received more notice in Hollywood history books for her decision to abandon stardom for life as a nun in 1963
. A pert, intelligent and confident performer, Hart proved equally capable at both high drama like “Wild is the Wind” (1957) and lightweight fare like “Loving You” (1957), the first of two films opposite Presley, and “Where the Boys Are” (1960).
A retreat to the Benedictine Abbey of Regina Laudis in 1959 left Hart feeling a void in her life that could not be filled by acting, and in 1963, she left Hollywood to take her vows as a nun. For the next four decades, Hart led the monastic life of a Benedictine nun, returning occasionally to the spotlight to recall her religious calling, most notably for a 2012 documentary short, “God is the Bigger Elvis,” which received an Oscar nomination. Though her film career was an admirable footnote in her life, Hartâ¿¿s dedication to her religious order was proof positive that some things held greater resonance than Hollywood stardom.
She was born Dolores Hicks in Chicago, IL on Oct. 20, 1938. The daughter of actor Bert Hicks and his wife, Harriet, she was also related by marriage, through an aunt, to singer Mario Lanza. Her fatherâ¿¿s career immediately enamored Hart to such an extent that she planned to become an actress at an early age. But her parentsâ¿¿ divorce halted her chances of being a child performer, and she escaped the chaos of their split by relocating to Chicago to live with her grandparents. There, she received an education in Hollywood films from her grandfather, a projectionist at a local movie theater. Hart eventually returned to Los Angeles, where she earned the lead role in a school production of Saint Joan. A friend with connections to Paramount sent word to producer Hal Wallis about Hart, and he brokered a screen test and contract with the studio for her while she was still in her teens.
GOD IS THE BIGGER ELVIS, US poster art, Dolores Hart, 2012. HBO Films/Courtesy Everett Collection HBO/Courtesy Everett Collection ACHTUNG AUFNAHMEDATUM GESCHÄTZT PUBLICATIONxINxGERxSUIxAUTxONLY Copyright: xHBO/CourtesyxEverettxCollectionx MCDGOIS EC010
Hart made a considerable splash with her first film role as Elvis Presleyslove interest in the 1957 musical drama “Loving You” (1957). The success of the film made Hart an in-demand supporting performer, and she was soon cast in major productions like George Cukor’s Wild is the Wind” (1957) with Anthony Quinn and Anna Magnani, and “Lonelyhearts” (1958), a sanitized take on Nathaneal Wests novel Miss Lonelyhearts, with Montgomery Clift, Myrna Loy and Maureen Stapleton.
That same year, she reteamed with Presley for one of his best features, Michael Curtizâ¿¿s “King Creole” (1958). Such a string of prestigious projects seemed to indicate that Hart was destined for stardom.
But while filming the Western “The Plunderers” (1959), Hart began to feel pangs of doubt about the life of a professional actor. She experienced a career triumph that year with her Broadway debut in “The Pleasure of His Company” (1959), which earned her a Tony Award nomination and a Theatre World Award. She was later approached to reprise her performance in a 1961 film version, but soon discovered that Debbie Reynolds had been cast in the role.
Disillusioned and weary from the play’s schedule, she was advised by a friend to take a retreat at the Benedictine Abbey of Regina Laudis in Bethlehem, CT. Hart found the experience physically and, more important, spiritually rejuvenating, and would return to the abbey several times over the next two years.
Hart worked steadily throughout 1960, scoring a hit with the then-controversial “Where the Boys Are” (1960) as one of four college girls exploring their sexuality while on spring break.
Her turn in “Francis of Assisi” (1961) as a young aristocrat who gave up her worldly possessions to follow the 13th century saint (Bradford Dillman) by becoming a nun proved remarkably prescient; after completing “The Inspector” (1962), an emotionally taxing film in which she played a Holocaust survivor, and the lightweight comedy “Come Fly With Me” (1963), Hart realized that she was in spiritual crisis. She broke off her engagement to Los Angeles businessman Don Robinson and returned to the Regina Laudis abbey, where she turned her back on the motion picture industry and began taking vows to become a nun.
Hart became Sister Dolores Hart after completing her vows in 1970. She embraced the monastic life of the order, which included several hours of prayer a day and maintaining the farm and property at the abbey.
Hart also spearheaded a project to further develop the abbey’s connection to the community around them through yearly theater productions, some of which were co-funded through her relationship with Hollywood talent like Paul Newman and Patricia Neal. In 1999, Hart suffered a crippling bout of peripheral idiopathic neuropathy disorder, a neurological disorder that left her wheelchair-bound for months.
After her recovery, Hart, who became Prioress of the Abbey in 2001, returned to Hollywood for the first time in 43 years to help raise awareness about the disorder, and later testified before a Congressional hearing on her ordeal. In 2012, Hart made headlines for her appearance on the red carpet at the 2012 Academy Awards. She was promoting the documentary short subject “God is the Bigger Elvis” (2012), which chronicled her journey from Hollywood to the abbey. It was her first appearance at a Hollywood event since 1959.
By Paul Gaita
The TCM Overview can also be accessed online here.
Dame Olivia de Havilland, who has died aged 104, was one of the last surviving cast members of Gone With the Wind (1939). Her portrayal of the saintly Melanie Hamilton earned her an Oscar nomination for best supporting actress and, to the modern eye, while Vivien Leigh’s Scarlett now seems mannered, de Havilland’s precocious maturity is still touching.
She was four times nominated for a best actress Academy Award, and won twice, for To Each His Own (1946) and The Heiress (1949). But her impact on her industry extended far beyond her acting ability. Her sufferings under the restrictions of the notorious Hollywood studio system pushed her to take her employers, Warner Brothers, to court. It cost her several years of her career, but her victory – still referred to as the “De Havilland decision” – changed irrevocably the way that actors would be treated by studios.
De Havilland had originally been signed to a seven-year contract at Warner Brothers just as the studio, also home to the director Michael Curtiz and leading man Errol Flynn, was exploring a new physical freedom on sound stages and locations to create a series of swashbucklers.
Her sweetness, and evident crush on Flynn (“You’d have been in trouble, too,” she once said about how overwhelming it was to partner him on screen, at the age of 19) made her the perfect damsel, in Captain Blood (1935), The Charge of the Light Brigade (1936), The Private Lives of Elizabeth and Essex (1939), Dodge City (1939), Santa Fe Trail (1940), They Died With Their Boots On (1941), and, best of all, as Maid Marian in the 1938 Adventures of Robin Hood, in which she was sparky enough not to seem soppy.
She began to build a quiet strength and was loaned out to David O Selznick at his request to play the virtuous Melanie in Gone With the Wind. Then, determined not to go back to being “the girl” at Warners, playing ingenues, she rebelled, refusing to take the parts offered to her, and found herself suspended for six months.
She returned to work in The Strawberry Blonde (1941), cast as a plain woman (no prosthetics – plainness was implied in the script and by severity of hair-do) alongside Rita Hayworth, and in Hold Back the Dawn (1941), as a schoolmarm who is a suave con artist’s ticket to a US visa. She was nominated for an Oscar for that.
When her seven years at Warners ended after Princess O’Rourke (1943), the company would not release her, adding her periods of suspension to her contract. “You were a great celebrity but also a slave,” she said, so she read the small print and sued Warners under old Californian laws that prohibited employers from treating workers as serfs. She won and the De Havilland decision, along with a judicial ruling fought for Bette Davis, ended the old studio system by limiting contracts to a total of seven years, suspensions included.
The battles lasted for three years, and, kept off-screen throughout, De Havilland toured US military hospitals in the Pacific where she talked to and comforted wounded service personnel. After her court win Warners warned other studios off her, although she eventually found work at Paramount.
She returned in 1946 in To Each His Own, as the mother of an illegitimate child whose father had been killed in war, and who had turned over the baby for adoption. De Havilland’s good sense tempered the drama’s weepiness, and she won her Oscar at last.
In The Dark Mirror, the same year, she played rivalrous twin sisters; a Hollywood in-joke, for De Havilland’s younger sister, Joan Fontaine, had made a slower professional start, but had beaten her to an Oscar. (The sisters were estranged for most of their adult lives.)
De Havilland went on taking risks: she played a psychiatric patient in Anatole Litvak’s The Snake Pit (1948): meant as a plea for humane treatment in asylums, it now looks as crude as the shock treatment it advocated.
She won her second Oscar in 1949, for William Wyler’s The Heiress, an adaptation of Henry James’s novella Washington Square. Near the end of the film, De Havilland, bundled up in knitted mittens and tippets to conceal her natural glamour, addresses Montgomery Clift, playing a fortune-hunter who years earlier failed to elope with her.
She refuses him another chance. She can be cruel, she says: “I’ve been taught by masters.” You don’t quite believe the cruelty, but you do believe the strength behind the delivery. De Havilland was accused of being unsympathetic, but it took nerve to play a woman who achieves a solitary dignity only after being derided and rejected by father and would-be lover, and it was one of her finest roles.
De Havilland was just into her 30s, yet her career was petering out: her hard-won savvy was not overtly sexual enough. She was offered Blanche DuBois in A Streetcar Named Desire, but felt uncomfortable with the lewdness in the role, which went to Leigh. Fontaine had broken through in Daphne du Maurier’s Rebecca; De Havilland’s du Maurier film, My Cousin Rachel (1952), was more like a valediction.
She appeared on Broadway as Juliet in 1951, more plausibly as the Shavian wife Candida in 1952, and returned, alongside Henry Fonda, in A Gift of Time, in 1962.
Like other ageing female stars in the 1960s, she was tormented viciously onscreen, beside Davis in Hush…Hush, Sweet Charlotte (1964), and in Sam Peckinpah’s television movie Noon Wine (1966). In the 70s and 80s, retreating to small TV roles, she won a Golden Globe in Anastasia: The Mystery of Anna (1986).
Born in Tokyo, Olivia was the daughter of British parents, Lillian (nee Ruse), an actor, and Walter de Havilland, a patent lawyer related to the family of aviators. After separating from Walter, Lillian took the three-year-old Olivia and the infant Joan to California. Her paternal family originated in the Channel Islands; her cousin Geoffrey was the aircraft designer responsible for producing the famous second world war plane, the Mosquito.
Olivia went to a convent school and, at 17, was spotted in a college production of A Midsummer Night’s Dream. The director Max Reinhardt, on the lookout for girls with appearances classier than the local cheerleader norm, cast her as Hermia in the same play, first live in the Hollywood Bowl and then in the Warner Brothers film of 1935: “You are my discovering!” he boasted.
De Havilland had early been a member of the screen actors’ union and was a staunch liberal, campaigning for Franklin D Roosevelt and Harry Truman; in 1958 she was called before the House Un-American Activities Committee, then in its dying throes. The US gave her the National Medal of Arts in 2008, France made her a chevalier of the Légion d’honneur in 2010, and in 2017 she was made a DBE.
In the docudrama series Feud: Bette and Joan (2017), chronicling the rivalry between Davis and Joan Crawford, De Havilland was portrayed by Catherine Zeta-Jones. The real-life De Havilland objected to how its creators “used my identity without my consent and put false words in my mouth, including having me publicly calling my sister, Joan Fontaine, a ‘bitch’.” But in March 2018 a California appeals court dismissed her lawsuit on grounds of free speech.
There were romances with James Stewart and John Huston before she married, in 1946, and divorced, in 1952, the novelist Marcus Goodrich, with whom she had a son, Benjamin, who died in 1991.
She met Pierre Galante, then editor of the magazine Paris-Match, at the 1955 Cannes film festival, and moved to France after their marriage. They divorced in 1979, but she cared for him in his last illness in 1998; their daughter, Gisèle, survives her.
• Olivia Mary de Havilland, actor, born 1 July 1916; died 26 July 2020
Cathleen Nesbitt hailed from Belfast where she attended Queen’s University. In 1911 she joined the Irish Players and performed with them in the U.S. in Synge’s “The Well of the Saints” and “The Playboy of the Western World”. She was the love of the poet Rupert Brooke who was to die in World War One. An interesting article on their releationship can be sourced on the Telegraph website here.
Over the next thirty years she made many British theatre and film appearances. In 1951 she was on Broadway with Audrey Hepburn in “Gigi” and made her first American film in 1953 which was “Three Coins in the Fountain”. In 1956 she was back on Broadway again in “My Fair Lady”.Her last film was in 1980 when she made “The Never Never Land” at the age of 92. She died two years later.
IMDB entry:
The Calendar by Edgar Wallace (1875-1932), 1929. Lady Panniford, played by Cathleen Nesbitt (1888-1982), left, and Garry Anson, played bu Owen Nares (1888-1943), right. The Play, vol. 55, no. 331, (Photo by Culture Club/Getty Images) *** Local Caption ***Family Plot, lobbycard, (aka LA TRAMA), left top to bottom: Karen Black, Bruce Dern, Barbara Harris, Alfred Hitchcock, center from left: Cathleen Nesbitt, Barbara Harris, 1976. (Photo by LMPC via Getty Images)
Diminutive, genteel Cathleen Nesbitt was a grand dame of the theatre on both sides of the Atlantic in a career spanning seven decades. Among almost 300 roles on stage, she excelled at comic portrayals of sophisticated socialites and elegant mothers. Hollywood used her, whenever a gentler, sweeter version of Gladys Cooper was needed, yet someone still possessed of a subtly sarcastic wit and turn of phrase. Cathleen attended Queen’s University in Belfast and the Sorbonne in Paris. Encouraged by a friend of her father – none other than the legendary Sarah Bernhardt – to enter the acting profession, she was taken on by Victorian actress and drama teacher Rosina Filippi (1866-1930). Cathleen’s first appearance on stage was in 1910 at the Royalty Theatre in London. This was followed in November 1911 by her Broadway debut with the touring Abbey Theatre Players in ‘The Well of the Saints’.
From here on, and for the rest of her long life, she was never out of a job, demonstrating her range and versatility by playing anything from villainesses to being a much acclaimed Kate in Shakespeare’s ‘The Taming of the Shrew’, Perdita in ‘The Winter’s Tale’, Audrey Hepburn‘s grandaunt in ‘Gigi’, the Dowager Empress in ‘Anastasia’ and the gossipy ‘humorously animated’ Julia Shuttlethwaite of T.S. Eliot‘s ‘The Cocktail Party’. Her Mrs. Higgins in ‘My Fair Lady’, Brooks Atkinson described as played with ‘grace and elegance’, which also pretty much sums up Cathleen’s career in films.
Her first motion picture role was a lead in the drama The Faithful Heart (1922), adapted from an Irish play. She then absented herself from the screen for the next decade, resurfacing in supporting roles in British films, though rarely cast in worthy parts, possible exceptions being Man of Evil (1944) and Jassy (1947). Her strengths were rather better showcased during her sojourn in Hollywood, which began in 1952. In addition to prolific appearances in anthology television, she also appeared in several big budget films, most memorably as Cary Grant‘s perspicacous grandmother in An Affair to Remember (1957) and as gossipy Lady Matheson (alongside Gladys Cooper) in Separate Tables (1958). One of her last roles of note was as Julia Rainbird, who instigates the mystery in Alfred Hitchcock‘s final film, Family Plot (1976).
On the instigation of her friend Anita Loos, author of ‘Gentlemen Prefer Blondes’, Cathleen wrote her memoirs, ‘A Little Love and Good Company’ in 1977. For her extraordinarily long career in the acting profession, she was awarded a CBE in the Queen’s Honours List the following year. She retired just two years prior to her death in 1983 at the age of 93.
– IMDb Mini Biography By: I.S.Mowis
The above IMDB entry can also be accessed online here.
Her obituary in “The Los Angeles Times” can be accessed here.
Pier Angeli was born in 1932 and was an Italian-born television and film actress. Her American cinematographic debut was in the starring role of the 1951 film Teresa, for which she won a Golden Globe Award for Young Star of the Year – Actress. She had one son with Vic Damone, her first husband, and another son with Armando Trovajoli, her second husband. Her twin sister is the actress Marisa Pavan.
During the 1960s and until 1970, Angeli lived and worked in Britain and Europe, and was often screen-credited under her birth name, Anna Maria Pierangeli. Her performance in The Angry Silence (1960) was nominated for a Best Foreign Actress BAFTA, and she was reunited with Stewart Granger for Sodom and Gomorrah (1963), in which she played Lot’s wife. She had a brief role in the war epic Battle of the Bulge (1965). 1968 found Angeli in Israel, top billed in Every Bastard a King, about events during that nation’s recent war.
According to Kirk Douglas‘ autobiography, he and Angeli were engaged in the 1950s after meeting on the set of the film The Story of Three Loves (1953). Angeli also had a brief romantic relationship with James Dean. She broke it off because her mother was not happy with their relationship as he was not Catholic.
Angeli was married to singer and actor Vic Damone from 1954 to 1958. During their marriage, they appeared as guests on the June 17, 1956 episode of What’s My Line?. Their divorce was followed by highly publicized court battles for the custody of their only child, son Perry (1955–2014).
Angeli next married Italian composer Armando Trovajoli in 1962. She had another son, Howard, in 1963. She and Trovajoli were separated in 1969.
In 1971, at the age of 39, Angeli was found dead of a barbiturate overdose at her home in Beverly Hills. She is interred in the Cimetière des Bulvis in Rueil-Malmaison, Hauts-de-Seine, France.
Jane Wyman won an Oscar in 1948 for her performance in “Johnny Belinda”. She had spent a long time in small parts in movies and htis film was one of her first starring parts. She had a good ten years as a major leading lady. She was retired for a number of yearswhen she made it big again in the 1980’s with the success of the television series “Falcoln Crest” where she played the matriarch Angela Channing. When the series ended she retired again. She died at the age of 90 in 2007. Jane Wyman was the first wife of Ronald Reagan. Her biography on IMDB can be found here.
Jane Wyman obituary in “The Independent”.
Her “Independent” obituary:
The Oscar-winning actress Jane Wyman, who married the future US president Ronald Reagan when he was still an actor, was a prime example of a film star who paid her dues in the days of the studio system. As a contract player at Warner Bros, she appeared in more than 40 films before achieving star billing, two years after which she won an Academy Award for her moving portrayal of a deaf mute in Johnny Belinda (1948), which heralded a long career as a major star. Best remembered for films in which she suffered nobly, she also shone in comedy, and she could sing too – with Bing Crosby she introduced the Oscar-winning song “In the Cool, Cool, Cool of the Evening”. The director Alexander Hall said, “That gal can do anything she sets her mind to; she is one of the most creatively versatile performers the screen has ever boasted.”
A new generation acclaimed her as the matriarch of the television series Falcon Crest. Her place in history is assured, since Reagan was the first US President to have an ex-wife, and though neither liked to talk about their marriage, many contend that he would never have become President had she not left him. “I was divorced in the sense that the decision was made by somebody else,” he once said.
Wyman’s early life is somewhat contentious. Records would indicate that she was born Sarah Jane Mayfield, daughter of Manning J. Mayfield, a labourer at a food company, and Gladdys Hope Christian, in St Joseph, Missouri, in 1917. Her parents, who married in 1916, were divorced in 1921, and Manning died the following year. Gladdys then gave her daughter into the care of Richard Fulks and his German-born wife, the former Emma Reiss. There seems to have been no formal adoption or name change, but when the child was registered for first grade at the Noyes School in St Joseph, Emma listed her name as “Sarah Jane Fulks”.
Wyman later revealed that she loathed school, but her spirited response to dance classes prompted Mrs Fulks to take her to Hollywood at the age of eight, but without success. “I was one of those blonde curly-haired kids and my mother thought I was destined for the movies,” she recalled. The couple returned home, and Jane later reflected, “I was raised with such strict discipline that it was years before I could reason myself out of the bitterness I brought from my childhood.”
She worked as a switchboard operator, waitress and manicurist before trying Hollywood again – she now had a contact, since her dancing instructor in Missouri was the father of the leading film choreographer Leroy Prinz, who gave her a spot in Busby Berkeley’s The Kid from Spain (1932). For the next four years, she toiled in the chorus, occasionally getting a line of dialogue, and she can be spotted in College Rhythm (1934), Rumba (1935), King of Burlesque (1935) and Anything Goes (1936). Finally, she won a contract with Warners in 1936, on the recommendation of the agent and actor William Demarest. The studio is often credited with naming her “Jane Wyman”, but some sources aver that the actress was briefly married in 1931 to a student named Eugene Wyman, while another explanation is that Mrs Fulks had been married before, and her first husband’s name was M.F. Weyman.
Warners put Wyman to work with a string of bit parts – wise-cracking girl friends, telephonists, secretaries, chorus girls – that would lead to starring roles in “B” movies with, it seemed, little chance of rising higher, though Dick Powell, who starred in three films that featured Wyman, stated, “Janie had something you couldn’t learn – presence.” The director William Keighley reflected, “I was surprised big things didn’t happen for the Wyman girl a lot faster than they did.” William Demarest was to say of Wyman’s lifestyle during those years, “She couldn’t keep still for a second, loved nightclubs, dancing, singing with her friends. ‘There’s a lot of living to be done, and I’m going to do it,’ she’d say.” Her penchant for elaborate clothes and costume jewellery prompted gossip columnist Louella Parsons to call her “a walking Christmas tree”. In 1937 Wyman married Myron Futterman, a dress manufacturer and divorcee with a teenage daughter, but the marriage lasted only a year.
Wyman was given her first leading role in a “B” movie titled Public Wedding (1937), and around this time she met a new contract player, the former radio sports announcer Ronald Reagan. She confessed later that she was attracted to the actor and flirted with him, but he would not consider a relationship because, although separated, she was still married. Demarest said, “She was far more worldly and experienced than he was, although she was three years his junior. I think Ronnie at first was somewhat bewildered by her fast come-on; then he started to like it, then her, and then he fell in love.”
Their relationship flourished during the shooting of William Keighley’s Brother Rat (1938), in which they played a marine cadet and his sweetheart. Wyman and Reagan were total opposites. He was an outdoor enthusiast and an ardent Democrat who was soon involved in the Screen Actors Guild, fighting for the rights of contract players. Wyman was apolitical, stating, “When I first met Ronnie I was a nightclub girl. I just had to go dancing and dining every night to be happy.”
By the time Reagan proposed to her – on the set of a sequel, Brother Rat and a Baby (1940) – Wyman had developed some interest in politics and athletics, and had even taken up golf, an enthusiasm she retained for the rest of her life. Meanwhile she had supported Alice Faye in Tailspin (1939) and starred as resourceful reporter Torchy Blane in Torchy Plays with Dynamite (1939).
Wyman and Reagan were wed in 1940. Their daughter, Maureen, was born in 1941, and in 1945 they adopted a baby boy, Michael. While Reagan’s career seemed to be going upwards, Wyman’s followed its familiar pattern. “I’m queen of the sub-plots,” she confessed. “For years I’ve been the leading lady’s confidante, adviser, pal, sister, severest critic.”
Drafted when the United States entered the Second World War, Reagan was stationed with an army film unit in Culver City, where he was a personnel officer when not acting in training films. Wyman toured military camps, using a talent for singing that she had rarely displayed on screen. Knowing that the studio had purchased the rights to the life story of torch singer Helen Morgan, Wyman campaigned for the role but was instead cast in support of Ann Sheridan in The Doughgirls (1944). Sheridan had become one of her closest friends, and commented, “Jane used to tell me that Ronnie was such a talker that he even made speeches in his sleep.”
Wyman’s career received a boost when Billy Wilder asked her to read the screenplay he and Charles Brackett had fashioned from Charles Jackson’s novel about alcoholism, The Lost Weekend, to be filmed for Paramount. She said, “I was so conditioned to think of myself as a comedienne, I was completely floored when Billy said he wanted me for the part of girlfriend to the hero.” Brackett said, “We wanted a girl with a gift for life. We needed some gusto in the picture.” (He omitted to tell Wyman that both Katharine Hepburn and Jean Arthur had turned down the role.)
Wilder and Brackett’s adaptation omitted the hero’s latent homosexuality, enlarged the part of the girl, and added an optimistic ending, but otherwise it was an uncompromising and brilliant study of a hopeless alcoholic (an Oscar-winning Ray Milland), with Wyman splendid as his down-to-earth sweetheart. “It changed my whole life,” said Wyman, though she was still under-rated by her own studio and found herself cast as a chirpy chorus girl in a wildly inaccurate biography of Cole Porter, Night and Day (1946).
Though release of The Lost Weekend was delayed for nearly a year – the studio had qualms about it, and the liquor industry offered them $5m to destroy the negative – trade insiders had seen it, and MGM negotiated to borrow Wyman for their screen version of the Pulitzer Prize-winning novel about a boy’s love for a fawn, The Yearling. Its star Gregory Peck, who personally acted with Wyman in her test, told her afterwards, “You were wonderful”, to which she replied, “Good God, don’t act so surprised.” When The Lost Weekend opened, critics displayed similar wonder. The World-Telegram referred to her “unsuspected talent” and The New York Times stated, “Jane Wyman assumes with great authority a different role.”
Her part in The Yearling (1947) as careworn Ma Baxter, who toils in the backwoods of 1870 Florida, required delicate shading in her portrayal of a mother who must have her son’s beloved fawn killed because it is eating their crops. Wyman’s performance was described by Life magazine as “beyond reproach”. Wyman won an Oscar nomination and, though she lost to Olivia De Havilland in To Each His Own, her status as a star was now established, and she was soon to play the part for which many best remember her.
The producer Jerry Wald had persuaded Warners to buy the rights to a Broadway hit of 1940, Johnny Belinda, despite the studio’s misgivings about a story in which a deaf mute is raped, has a child, then kills the father when he tries to take it from her. (Shortly before shooting commenced in late 1947, Wyman’s second child, a daughter, had died a few hours after her premature birth.) Wyman learned sign language and lip reading for the film, but later recalled, “Something was missing. Suddenly I realised what was wrong. I could hear.”
She and the director Jean Negulesco decided that her ears should be blocked with wax to cut out all noise except percussion. Wyman’s performance was beautifully modulated, avoided bathos, and won her a deserved Oscar against formidable competition (Ingrid Bergman, Barbara Stanwyck, Olivia De Havilland and Irene Dunne). Her acceptance speech was one of the briefest and most effective in Oscar’s history: “I accept this award very gratefully – for keeping my mouth shut for once. I think I’ll do it again.”
She was accompanied to the ceremony by the actor Lew Ayres, who was rumoured to have consoled her during the shooting because of her marital problems. Reagan’s political work and fervent campaigning for President Truman had strained their relationship, but when Wyman announced to the press, “We’re through. We’re finished. And it’s all my fault”, she was making it clear that it was her own decision to end the marriage. “I love Jane,” said Reagan, “and I know she loves me. I don’t know what this is all about and I don’t know why Jane has done it.”
Shortly afterwards, Reagan was in London filming The Hasty Heart, and his co-star Patricia Neal later commented, “Although I was a young, pretty girl, he never made a pass at me. Of course there were splendid reasons. I was wildly in love with Gary Cooper and he was still in love with Jane Wyman.” The couple’s divorce became final in July 1949. Wyman refused throughout her life to talk of their marriage or divorce, claiming that it was “bad taste” to discuss such matters.
Alfred Hitchcock’s Stage Fright (1950) took Wyman to London where she renewed a friendship with Laurence Olivier, who had won his Oscar for Hamlet on the same night she won hers. Hitchcock had personally asked for Wyman, but he was later to accuse her of getting out of character by refusing to look too drab compared to her glamorous co-star, Marlene Dietrich. The film’s lukewarm reviews, though, were the fault of the director, who made a rare error of judgement by opening the mystery with Wyman’s boyfriend (Richard Todd) relating an incident told in flashback (in an era when flashbacks were taken literally) though in fact he is lying. Critics were incensed by the perceived “cheating”, and the film proved a box-office disappointment.
The Glass Menagerie (1950), based on Tennessee Williams’ lyrical play, also proved disappointing, though Wyman gave what The New York Times called a “beautifully sensitive” portrayal of Laura, a crippled girl who finds solace from loneliness in her collection of glass figurines.
In 1952 Wyman had two contrasting box-office hits. The first was Frank Capra’s musical comedy, Here Comes the Groom, in which Wyman was teamed with her singing idol, Bing Crosby. The pair had relaxed fun with a novelty number, “In the Cool, Cool, Cool of the Evening”, which Hoagy Carmichael and Johnny Mercer had written for an unrealised Betty Hutton musical based on the life of Mabel Normand. It was a complicated production number that took the couple through several sets as they sang, and Capra decided to record the song live, with tiny radios in the stars’ ears so that they could hear the orchestra. The song won an Oscar, the stars’ recording was a big hit, and Decca signed Wyman to a recording contract. Her co-star Franchot Tone said, ‘Everybody got caught up in the fun Bing and Jane were obviously having together.’
The producer Jerry Wald had bought the rights to a French film hit, Le Voile Bleu (1947), hoping to tempt Greta Garbo out of retirement to play a woman who loses her husband and child in the First World Warand devotes her life to being governess to other people’s children. When Garbo refused, he asked Wyman to take the role, in which the woman goes from home to home until, old and working as a janitor, she is given a surprise party attended by all her former progeny. It was blatantly manipulative, but Wyman brought dignity and conviction to her part. Variety called it “a personal triumph”, and The Blue Veil won Wyman her third Oscar nomination, though she was up against two powerhouse performances, Katharine Hepburn’s in The African Queen, and Vivien Leigh’s (the winner) for A Streetcar Named Desire.
The success of both Here Comes the Groom and The Blue Veil put Wyman into the year’s top ten box-office draws, and she won two Golden Globe awards – as best actress, for The Blue Veil and as “World Film Favourite Actress of the year”. Wyman rejoined Crosby to take a role planned for Judy Garland (who was not fit enough to do it) in Just for You (1952). Its brightest spot was another catchy duet with Crosby. Wyman was reunited with Ray Milland for Let’s Do It Again (1952), a musical remake of a comedy classic, The Awful Truth. Milland, usually sparing with compliments, said of Wyman, “She could sing and dance with the best of them and her comedy timing was top-notch. She inspired everyone around her to give their best, and she was very down-to-earth and democratic.”
Making the film, Wyman met Fred Karger, an assistant to the studio’s music director, Morris Stoloff, and before shooting finished, Karger had become Wyman’s husband. They were divorced in 1955, remarried in 1961, and divorced again in 1965.
Wyman had to go from young woman to old lady again in Robert Wise’s So Big (1953), the third screen version of Edna Ferber’s novel. It proved popular, but not as much as her next film, another property filmed twice before, Magnificent Obsession (1954). In this, the first of a string of lush melodramas produced by Ross Hunter, wastrel Rock Hudson indirectly causes both the death of Wyman’s doctor husband and then Wyman’s blindness. Reformed, he becomes a surgeon and restores Wyman’s sight for a tearful climax. Most critics directed any praise they offered to Wyman’s sincere underplaying, which won her a fourth Oscar nomination (she lost to Grace Kelly in The Country Girl).
Directed by Douglas Sirk, the film was a huge money-maker, though it is less well regarded today than another film with the same production team and stars, All That Heaven Allows (1955). The latter, in which a widow falls in love with her young gardener to the horror of her selfish children and her conformist friends, was dismissed by most critics as just another piece of glossy kitsch, but is now perceived as a cuttingly perceptive attack on middle-class hypocrisy and the expectation that ageing widows should need nothing more from life than the country club and a TV set.
It was not entirely original (My Reputation had tackled a similar subject a decade earlier) but Sirk’s subversion of his material and use of colour made his film more than just a star vehicle. (In a celebrated shot, he has Wyman’s face reflected in the glass screen of the television to symbolise her entrapment.) Fassbinder’s Fear Eats the Soul (1974) was inspired by the film, though his ending was much bleaker.
In 1955, after starring with Van Johnson in the sentimental Miracle in the Rain, Wyman refused the role of Gary Cooper’s wife in Friendly Persuasion, and instead became president of the company that produced the television anthology series Fireside Theater. Rechristened The Jane Wyman Theater, it featured a variety of plays, with Wyman starring in around a third of each season’s 34 half-hour episodes, and ran until 1959. For the next 22 years, she made occasional guest appearances in TV shows such as Wagon Train and The Love Boat, and played only four more film roles, notably as Hayley Mills’ stern Aunt Polly in Pollyanna (1960). Semi-retired, she enjoyed painting, golf and seeing her children.
Her career, it seemed, was virtually over when in 1981, at the age of 64, she was asked to star as Angela Channing, wine tycoon, in the television series Falcon Crest. The “pilot” show left her with stringent demands. “Not only was Angela too mean and vicious, but she was just plain boring. I wanted her to be an interesting character.” When the former superstar Lana Turner joined the show as Wyman’s sister-in-law, Turner’s entourage and star demands did not sit well with Wyman, who displayed her power by having Turner’s character killed off after one season. Falcon Crest ran until 1990, and by the end of the show’s fifth season, the already-wealthy Wyman was estimated to be earning $3m a year (10 times Reagan’s salary).
When Reagan died in 2004, Wyman broke her long silence to say, “America has lost a great President and a great, kind and gentle man.”
Tom Vallance
The above “Independent” obituary can also be accessed online here.
