Apologies for the delay in getting to Day 3. This year is a unique situation: For the first and only time, my coverage of Cinevent has conflicted with the Thanksgiving Holiday Season. What with taking down Halloween decorations, preparing for (and eating) the Big Feast, and beginning decking the halls with Yuletide trimmings, Cinevent just got elbowed aside. This will of course not be an issue when The Columbus Moving Picture Show (CMPS) takes over next Memorial Day. For now, where was I? Oh yeah…

Saturday morning at Cinevent, of course, is Cartoon Time. This year, animation curator Stewart McKissick took advantage of the scheduling anomaly to establish a Halloween theme for the program; most of the cartoons had at least a tenuous connection to something eerie, ghostly, creepy or monstrous; all that was missing was the “Night on Bald Mountain” sequence from Fantasia. Some highlights (I include YouTube links where available):

One of my favorites this year was the first one, I Heard (1933), with Betty Boop (any Betty Boop is likely to be one of my favorites). The Halloween connection was a baseball game among ghosts at the bottom of a coal mine (the “Never Mine”) in the last minute. For the rest, it was Betty in her sex-kitten prime, with the patented Fleischer surrealist funk, set to a jazz score provided by the unjustly forgotten Don Redman and His Orchestra. I couldn’t make room for an I Heard image in this collage, so let’s move on now to the others.

Soda Squirt (1933) (top row left) had Ub Iwerks’s Flip the Frog welcoming a succession of movie stars to the Hollywood-premiere-style grand opening of his new soda fountain. These celebrity-caricature cartoons are a sub-genre in their own right (I’m always a sucker for them myself); maybe one of these years (assuming CMPS retains the Saturday animation program) Stewart will schedule a whole program just of these. He’d have plenty to choose from.

In Pluto’s Judgement Day (1935) (top row right), Mickey’s dog’s penchant for tormenting cats comes back to bite him (if you’ll pardon the expression) when he dreams himself into Kitty Hell, where he is put on trial for crimes against the feline species.

Like Duck Dodgers in the 24½^th Century (see below), Rocket to Mars (1946) (second row left) was Halloween-by-way-of-science-fiction, with Olive Oyl accidentally launching Popeye and herself into outer space, where they have a close encounter with a Bluto-like alien tyrant bent on interplanetary conquest. Curiously enough, this one was directed by Vladimir “Bill” Tytla, who created the memorable images in the “Night on Bald Mountain” sequence mentioned above.

Frankenstein’s Cat (1942) (second row right) began life as one of producer Paul Terry’s Super Mouse cartoon — but very early in the series’ life, Terry got wind of a Supermouse comic-book, so to prevent confusion (and to avoid free publicity for somebody else’s product) he changed the name to Mighty Mouse. Most extant prints (including the one Cinevent saw and the one at the YouTube link) are from TV prints where “Super” is overdubbed with “Mighty”. Having originated as a Super Mouse, this one is a straight narrative, rather than one of the mini-operas the Mighty Mouse cartoons would later become. Super/Mighty is differently proportioned, too, with a bigger chest and scrawnier limbs than the character we all remember singing, “He-e-e-e-e-e-re I come to save the da-a-a-a-a-a-ay!”

The program culminated in a triple-peak of great pictures from Chuck Jones and Warner Bros., one Looney Toon and two Merrie Melodies. First was Hair-Raising Hare (1946) (third row right), featuring the first appearance of that hulking orange monster who remained unnamed on screen but was later referred to as either Rudolph or Gossamer (“Gossamer”??? I guess that’s like calling a seven-foot basketball player “Stubby”).

Duck Dodgers in the 24½^th Century (1953) (bottom row right), besides being Halloween-by-way-of-science-fiction like Rocket to Mars, is simply one of the all-time great cartoons; Stewart could screen it every year until the print disintegrated and I wouldn’t squawk. Like Hair-Raising Hare, there’s no YouTube link for this gem; you’ll just have to spring for Looney Toons Golden Collection (the first volume, hence no number) to get this and a ton of other greats. However, YouTube does have the cartoon with an amusing commentary by two gents (heretofore unknown to me) named Trevor Thompson and Sean McBee. You can access that here.

The only cartoon in this collage that gets two images (bottom left) was (1) the final one on the program and (2) one of my all-time favorites: Claws for Alarm (1954). Motoring through the Southwest, Porky and Sylvester stop for the night in a desert ghost town where Porky, not noticing the lack of inhabitants, blithely signs the cobwebby register at the hotel. The town is inhabited after all, but not by ghosts — instead, the locals are mice posing as ghosts to try to scare off the interlopers. It works on Sylvester, but Porky remains oblivious and refuses to leave. The images here show Sylvester shivering in the night (below), and (above) the departure next morning with Porky singing his hilarious broken-record rendition of “Home on the Range” (you’ll have to see it to get the joke). This one is available whole on YouTube, albeit with — I kid you not — Greek subtitles. But those are easy enough to disregard, so click on over and enjoy. (And by the way, if you’ve ever wondered what “Sylvester” looks like in Greek, it’s “ΣΙλβεστερ”. Never let it be said that Cinedrome neglects a classical education.)

After the animation program, the Saturday kiddie matinee vibe continued, as it has most years — this time with a trio of silent Our Gang shorts from Hal Roach: Dogs of War (1923), Big Business (1924; not to be confused with the 1928 Laurel and Hardy classic), and The Sun Down Limited (1924). All three were directed by the all-but-unsung Robert F. McGowan. If Hal Roach was the Our Gang series’ commanding general, McGowan was his executive officer; he directed or co-directed 102 of the shorts between 1922 and 1936 and played a major role in shaping their comic style while getting natural, unself-conscious performances from the kids. Film history owes Robert McGowan a lot. 

That said, I must confess I’m never entirely satisfied with the silent Our Gangs. Delightful as they are, I miss the voices, having first encountered and grown up with the talkie shorts on TV in their Little Rascals phase. Darla warbling “I’m in the Mood for Love”, Alfalfa screeching “The Barber of Seville”, Tommy Bond’s Butch muttering “C’mon, Woim”, the wise banter between Spanky McFarland and Scotty Beckett at their cutest — all that is a major component of the shorts’ charm for me. Still, the silent shorts are worth seeing, and not just as historical artifacts.

Then the Kiddie Matinee section of the day wound up with Chapters 7-9 of King of the Texas Rangers, and it was time for lunch.

Back from lunch break, we saw Stella (1950). The lobby card reproduced here is a trifle misleading, as can be seen by perusing my notes for the Cinevent program book:

You won’t find Claude Binyon’s name in any of the high-end film encyclopedias, and maybe that’s as it should be. Still, his career was nothing to sneeze at. Like so many screenwriters of the era, he started out as a newspaperman, working for the Chicago Examiner — then later, as city editor for Variety. Legend has it that in that capacity he concocted the immortal 1929 headline WALL ST. LAYS AN EGG — though it’s only right to mention that other legends credit Sime Silverman and Abel Green.

Whatever Binyon’s experience at the showbiz Bible, by 1932 he had segued from writing about movies to writing for them, with his first job being one of 16 writers on the omnibus comedy If I Had a Million (1932). That was one time when too many cooks didn’t spoil the soup, though it would be nice to know how much of which episode Binyon worked on.

As a contract writer at Paramount throughout the 1930s and into the ’40s, Binyon kept busy; he made uncredited contributions to such pictures as The Old Fashioned Way and It’s a Gift (both 1934), The Princess Comes Across (’37) and Dixie (’43), and he was the writer of record on a whopping 14 pictures for director Wesley Ruggles, including the Bing Crosby/Fred MacMurray/Donald O’Connor vehicle Sing, You Sinners (’38). Later, Binyon gave Der Bingle and Fred Astaire a 24-karat setting in Holiday Inn (’42) — with a major assist, of course, from Irving Berlin’s songs. Then again, Berlin also wrote the songs for the Crosby/Astaire follow-up vehicle Blue Skies (’46), with distinctly inferior results. True, director Mark Sandrich didn’t live to complete Blue Skies as he had Holiday Inn – but Binyon didn’t write Blue Skies either. Coincidence? Maybe.

Anyhow, let’s say it again: A career not to be sneezed at.

Binyon never abandoned writing for other directors, right up through Henry Hathaway’s hilarious North to Alaska (1960) and Leo McCarey’s last two pictures, 1958’s Rally ‘Round the Flag, Boys! and Satan Never Sleeps in 1962. But he started directing his own scripts with The Saxon Charm in 1948, and continued the practice off and on through 1956, with generally happy results. Cinevent50 viewers got a delicious helping of Binyon the auteur with Dreamboat (’52), his delightful satire of Hollywood, academia and TV starring Clifton Webb and Ginger Rogers.

Dreamboat was probably the peak of Binyon’s career as writer-director, but he had come close to it two years earlier with Stella, based on Doris Miles Disney’s novel Family Skeleton. Ms. Disney’s book told the story of the Bevans family, a rather dimwitted clan whose cantankerous Uncle Joe dies accidentally during a family outing. Fearing that nobody will believe they didn’t kill the old reprobate on purpose, his surviving relatives decide to give him a hasty burial in an unmarked grave and pretend he’s just off on one of his benders. The only one not in on this birdbrained scheme is Stella, the family breadwinner and the only one with the sense God gave a goose. By the time she learns what’s happened, it seems there’s nothing to be done but ride the thing out. Then the plot thickens when it comes to light that Uncle Joe was insured for $20,000, and Stella’s layabout brothers-in-law begin conniving to cash in — and thicker still, Stella works as a secretary for Uncle Joe’s insurance agent.

The New York Times appraised Family Skeleton as “half humorous…not a mystery, hardly even a murder novel, and certainly not the light farce suggested by the publisher’s grinning skull symbol.” Which sounds odd now in light of the movie 20th Century Fox and Binyon made of the book, because a light farce is exactly what Binyon delivered, with a mix of black comedy and a New England setting that foreshadowed Hitchcock’s The Trouble with Harry (1955).

The central role of Stella was reportedly first assigned to Fox contract star Susan Hayward. When she turned it down — wisely, since comedy was never Hayward’s strength — the role went to Ann Sheridan, whose droll delivery was certainly better suited to the material. Sheridan also exerted a lightening influence on co-star Victor Mature (who too seldom got to deploy his flair for comedy) as an insurance investigator who smells something fishy. But good as those two are, the movie gets stolen right out from under them by David Wayne and Frank Fontaine (still ten years from his most famous turn as Crazy Guggenheim on The Jackie Gleason Show) as the venal brothers-in-law, and by Evelyn Varden as the family’s whimpering matriarch.

In reviewing Stella for The New York Times, Thomas M. Pryor noted: “Out of an essentially macaber [sic] situation, Claude Binyon…has drawn some of the most unusual comedy of the season.” Variety’s “Brog” concurred that “a missing corpse takes on a comedic flavor with quick pacing and sharp dialog.”

As a side note, Stella marked the final (posthumous) appearance of the prolific character actor Hobart Cavanaugh as the local undertaker. This fact prompted columnist Jimmy Fidler — a week after Cavanaugh’s passing and three months before the movie’s release — to write: “Hobart Cavanaugh, who died the other day, had specialized for years in ‘Mr. Milquetoast’ roles, but I think the cast and crew of ‘Stella,’ his last picture, will always remember him as a man of extraordinary courage. Cavanaugh, who had already submitted to one operation for intestinal cancer, came to work on that picture in a dying condition, well aware of the fact that he didn’t have more than one chance in a million to live another month. He hadn’t been able to eat a bite of food for five days, and he was unable to eat during the several days it took him to complete his role. Twice he collapsed on the set, but he insisted on finishing the job. And when he had done so he said his goodbyes with a wisecrack thrown in for seasoning. ‘I play an undertaker in this picture but it’s poor casting,’ he laughed. ‘I look more like the corpse.’ It takes fortitude for a man to make remarks like that while facing another operation that is almost sure to be fatal.” This blurb has all the earmarks of an item planted by the Fox publicity department to wring some publicity out of Cavanaugh’s death. And if that sounds a little ghoulish…well, it’s not out of keeping with the spirit of the picture as a whole. 

After Stella came a conversation between ace historian/biographers Scott Eyman and Alan K. Rode. Scott was at the convention — well, he’s at Cinevent most years, but this year in particular he was there to promote (and sign copies of) his latest book, 20th Century Fox: Darryl F. Zanuck and the Creation of the Modern Film Studio, published under the aegis of Turner Classic Movies. There have been other histories of that studio (notably Michael Troyan’s Twentieth Century Fox: A Century of Entertainment), but Scott’s has a unique advantage — besides, that is, Scott’s trenchant historical analysis and eye for the telling detail. His is the first history of 20th Century Fox to encompass the moment when the studio ceased to exist — that is, its 2018 acquisition by the Disney Company, like a once-mighty Mesoamerican empire being absorbed and obliterated by the encroaching jungle. When Disney changed the name of its new subsidiary to Twentieth Century Pictures — ironically, returning to the name Darryl Zanuck and Joseph Schenck came up with 85 years earlier — for the first time in over a hundred years the name of William Fox was missing from the motion picture business (Fox himself was ousted in 1930). Scott’s book is both a chronicle and an elegy.

I mentioned back on Day 2 Alan K. Rode’s Michael Curtiz: A Life in Film, but another mention isn’t out of order. Back in the 1960s, when the Auteur Theory was reaching its maximum influence with people who indulged in such things, I remember a semi-serious joke that went around to the effect that Michael Curtiz was one director who “single-handedly disproves the Auteur Theory.” Well, to the contrary, Alan Rode’s biography makes a convincing case that Curtiz may have been more of an auteur than he usually gets credit for. In addition, Alan gives long-overdue credit to Curtiz’s wife, the writer Bess Meredyth, whose advice and script-doctoring efforts buttressed Curtiz’s career in much the same way Lady Alma Hitchcock did Sir Alfred’s. And if nothing else, we finish the book having been reminded how much Curtiz contributed to the Warner Bros. house style during the studio’s halcyon years — and continued to do so long after other creators of that style had decamped to greener pastures: Darryl Zanuck to create 20th Century Pictures and merge with Fox, Mervyn LeRoy to MGM, Hal Wallis to Paramount. If nothing else, Curtiz seems to have been able to work with Jack L. Warner longer than almost anyone. 

After Scott and Alan’s colloquy (moderated by Caroline Breder-Watts) Alan introduced another Michael Curtiz Pre-Code, The Cabin in the Cotton (1932). Richard Barthelmess played the son of a family of sharecroppers who is hungry for education to better himself, but is forced back to grueling farm work when his father suddenly dies. When his planter-landlord’s daughter (Bette Davis) goes to bat for him, he’s allowed to complete his education and winds up graduating from the fields to the office of the plantation. There he is torn in his loyalties between the boss and his roots among the hardscrabble workers, just as he is between his new rich girlfriend and his lifelong sweetheart (Dorothy Jordan). It was the kind of role Barthelmess had been playing since the late 1910s for D.W. Griffith, and truth to tell by 1932 he was getting too old really to pull it off. But audiences then looked at him and saw the youthful lad they remembered from Way Down East and Tol’able David, while we today look and see a middle-aged actor trying to pass for nineteen. Fortunately for Barthelmess’s legacy, we also see the dogged, unshowy conviction that kept his career alive through the Pre-Code era. The Cabin in the Cotton also still plays — better than it did in 1932, if Michael Haynes’s citing of contemporary critics is any indication — thanks to Curtiz’s unpretentious direction, the irresistibly fetching Dorothy Jordan, and (last but not least) Bette Davis near the beginning of her career, coyly drawling the first of her signature lines: “Ah’d like t’kiss ya, but Ah jus’ washed my hair [‘hay-ah’].” Late in life, Bette was quoted as saying that was her all-time favorite line. 

After the dinner break, it was Laurel and Hardy time again, this time Their First Mistake (1932). Ollie, nagged by his wife (“the ever-popular Mae Busch”) for spending too much time with Stanley, gets the bright idea to adopt a baby to occupy the Missus while he gallivants with Stan. Coming home with the baby, he learns that his wife has left him, so The Boys must parent the child themselves. You can imagine how that works out; by the time the short has run its 20-minute course, it’s a toss-up as to which of the three is the most helpless infant.

Then came The Haunted Castle (1921), an early — and minor — F.W. Murnau, made before even his breakthrough with Nosferatu (1922). Any Murnau is worth seeing at least once — after all, he is one of the masters, he only directed 22 pictures, and seven of those are lost — but this one was frankly pretty tough sledding. (The English subtitles on the German intertitles didn’t help.) Despite the English title, there was nothing “haunted” about it; it wasn’t a ghost or horror story, but a straightforward (and pretty rudimentary) murder mystery. In fact, the original German title was Schloss Vogelöd (“Vogelöd Castle”), a simple identification of the setting. The scenario was adapted by Carl Mayer (The Cabinet of Dr. Caligari, The Last Laugh, Sunrise) from a novel by one Rudolf Stratz. Besides Murnau and Mayer, there are no names connected with The Haunted Castle worth mentioning. The cast was a gaggle of second-string actors whose names were unknown outside Germany then and are utterly forgotten today.

Parole Fixer (1940) was a sprightly B-picture from Paramount about a conspiracy among gangsters and shyster lawyers to wangle undeserved paroles and fast-track criminals back to their nefarious ways. Supposedly based on J. Edgar Hoover’s book Persons in Hiding, the script was by the journeyman writer Horace McCoy (who did not live to see his 1935 novel They Shoot Horses, Don’t They? hailed as a 20th century classic), with crisp direction by Robert Florey. Top-billed William Henry, Virginia Dale, Robert Paige and Richard Denning were pretty lackluster, but the supporting cast included Lyle Talbot, Anthony Quinn, Marjory Gateson, Jack Carson and Louise Beavers.

The day finished up with…oh jeez, how shall I put this?…one of the most indelible screenings of the whole weekend. This was Sabaka (1954), a ghastly Technicolor train wreck that makes Plan 9 from Outer Space look like Close Encounters of the Third Kind. The plot concerned a young mahout (elephant wrangler) in India, Gunga Ram (Nino Marcel), seeking vengeance on the cult of Sabaka, the “fire goddess”, led by a charlatan priestess named Marku Ponjoy (prolific voice artist June Foray in a rare on-camera performance).

The provenance of Sabaka may not interest most readers, but it’s vastly more interesting than the movie itself, so here goes. The adventures of young Gunga Ram were a segment of a network-hopping kiddie show of early TV called Smilin’ Ed’s Gang, which Baby Boomers of a Certain Age may dimly remember. (Personally, I have no recollection of Gunga Ram, but I clearly remember the show, hosted by former kids’ radio personality Smilin’ Ed McConnell. I likewise remember his gang, including the puppets Midnight the Cat and Froggy the Gremlin, and his catchphrase “Plunk your magic twanger, Froggy!”) Series producer/director Frank Ferrin expanded one of these Gunga Ram segments into feature length, dispatched a second unit to India for local color, and shot the main body of the picture in and around Los Angeles, hiring a smattering of reputable actors (Boris Karloff, Reginald Denny, Victor Jory, Jay Novello, Vito Scotti) for fly-by cameos that could be filmed in a day or two and spliced in as needed. As for that location footage — you’d think a color picture shot in India would at least have pretty scenery, but no. The credited cinematographers were Jack McCoskey and Alan Stensvold, and whichever one Ferrin sent to India had trouble even focusing the camera (which must have had the Cinevent projectionists tearing their hair). Sabaka is available complete on YouTube if you’re curious. I’ll be interested to know how long you’re able to stick it out. 

Just as Sabaka was going into release in 1954 — and in a possibly unrelated development — Smilin’ Ed McConnell dropped dead unexpectedly of a heart attack at 62. He was replaced by Andy Devine, and the show became Andy’s Gang until it finally ran its course at the end of 1960. Baby Boomers of a Slightly Younger Age may remember that incarnation of Froggy, Midnight, Gunga Ram and the rest of the gang.

And so it was, at slightly before 1:00 a.m. Sunday morning, that those of us who stayed with Sabaka to the end repaired at last to our hotel rooms, secure in the knowledge that the final day of the final Cinevent would have nothing worse in store for us.

To be concluded…

Cinevent, the venerable classic film convention that was a longtime fixture on Memorial Day Weekend in Columbus, Ohio, convened belatedly for the 52nd time October 28-31 this year. It was doubly belated, in fact — postponed from 2020 to 2021 by the COVID lockdown, then from May to October just to be on the safe side. Then this damned Delta Variant came along and seemed to threaten even that — but with vaccinations strongly encouraged and masks mandatory, the convention proceed as (re)scheduled. 

So where are the masks in this picture, you ask? Those are still in the future; the pic is from Cinevent 51 in 2019, when Cinevent chair Michael Haynes (left) and Dealers’ Room coordinator Samantha Glasser announced that Cinevent 52 (expected, naturally, to be in 2020) would be the last. Cinevent’s founders were all gone. John Baker, much the oldest of the three, was the first to go, after a long retirement in Florida; then John Stingley died in 2007 at 59; Michael’s father Steven, the last survivor, passed away in April 2015 as Cinevent 47 was gearing up. Now, in 2019, Michael and his mother Barbara decided it was time to step down from active participation, retire the Cinevent name, and pass the torch if anyone cared to carry it forward.

Fortunately, Samantha did, along with a significant cadre of Cinevent’s dedicated staff. In 2019 they were seeking suggestions for a new name; now they have one: The Columbus Moving Picture Show (CMPS). And so it is that The Classic Film Convention Formerly Known as Cinevent will go forward under that name, and will return to Memorial Day Weekend — only seven months away.

In the meantime, CMPS served as co-presenter of Cinevent 52, so let’s have a look at the program for this final year.

One feature of this and the two previous Cinevents that I hope CMPS will continue is the practice of scheduling a 12-chapter serial throughout the weekend, screening three chapters on each of the four mornings. This tradition-in-the-making began at Cinevent 50 with The Masked Marvel (1943), a spirited Republic actioner about fighting home-front saboteurs during World War II. In its day it was upstaged by “the Masked Marvel murder“, the bizarre unsolved killing of one of its leading players weeks before the first chapter hit theaters; today the murder is a forgotten footnote, while the serial remains good fun. In 2019 Cinevent presented Hawk of the Wilderness, a bizarre mash-up of Tarzan of the Apes, The Last of the Mohicans, Treasure Island and The Last Days of Pompeii that I’m told has a good rep among serial aficionados, but which I could never get behind.

This year brought King of the Texas Rangers (1941) (like its predecessors, from the…er, “economical” Republic Pictures factory). The star was pro football’s Sammy Baugh (dubbed “Slingin’ Sammy” by sportswriters and Republic publicists; Baugh himself preferred plain “Sam”) as “Smashin’ Tom” King, likewise a pro footballer (the kind who boldly goes for a first down on fourth-and-eight — and makes it). When Tom’s Texas Ranger father is killed while investigating sinister foreign sabotage in Texas, Tom puts his gridiron career on hold while he enlists in the Rangers and picks up where Dad left off. (America not yet being involved in World War II, the culprits are not specifically identified as they cruise around in their zeppelin plotting mischief, but their stiff-arm salutes and Teutonic accents leave no doubt about what nationality they’re supposed to be.)

Sammy Baugh’s own pro career didn’t have to wait; King of the Texas Rangers was filmed during his off-season (he played for the Washington Redskins from 1937 to ’52). As an actor, Baugh was no threat to Fredric March or Spencer Tracy, but he was up to the modest demands of a Republic serial hero right enough, and having been raised on a Texas farm, he was as good a horseman as any stuntman on the lot.

Besides, he was buoyed by a good supporting cast. Neil Hamilton, playing a quisling saboteur, had started in the 1920s as a leading man for D.W. Griffith; by 1941 his star had dimmed somewhat (he was best remembered as the luckless wimp who lost Maureen O’Sullivan to Johnny Weismuller in MGM’s first two Tarzan pictures), but he was still soldiering on in the trenches, as he would continue to do through the end of the 1960s; later generations would know him as Commissioner Gordon to Adam West’s Batman. Duncan Renaldo (still ten years from his signature gig as TV’s Cisco Kid) played a Mexican federale on assignment north of the border, serving as Baugh’s cheerful sidekick. And Pauline Moore, as a plucky Lois Lane-style newspaper reporter, contributed as much as mere “girls” were allowed to do in Republic serials. Toss in the usual contingent of two-fisted gun-toting henchmen from the studio’s stable of stuntmen, and breakneck direction from William Witney and John English, and the recipe was complete.

After the first three chapters of King, it was time to bring on the features. The Great Hotel Murder  (1935) was the sixth re-teaming of Edmund Lowe and Victor McLaglen as dueling frenemies, after their 1926 hit What Price Glory as Marine Corps Sgt. Quirt (Lowe) and Captain Flagg (McLaglen). Some of those re-teamings were straight Quirt/Flagg sequels, with the boys battling over some female or other; others, like this one, varied the formula a bit. Here Lowe played a famous mystery novelist horning in on house detective McLaglen’s investigation of a murder at a medical convention meeting in the hotel where McLaglen works and Lowe lives. This time it’s not a woman they’re fighting over, but bragging rights for solving the murder. It was a fun banter-fest and a pretty clever mystery, albeit with an abrupt and confusing climax (Dave Domagala’s program notes alluded to some maladroit pre-release editing that mucked things up).

The weekend’s first silent was 1928’s The Michigan Kid, from a novel by Rex Beach. Conrad Nagel played a gambling-house owner in the Alaska Gold Rush of the 1890s, with Renee Adoree as the childhood sweetheart he hopes to marry. Beautiful scenery and an impressive forest fire climax bolstered the film. Then it was Welcome Home (1935), a complicated sting operation (and who isn’t a sucker for those?) with con-artist James Dunn returning to his home town for a chamber of commerce reunion, then discovering that one of his partners in crime (Raymond Walburn) has swindled the town fathers in a stock scam. Getting the money back before the game is discovered, plus inducing a New York tycoon to invest in the local economy, made up the bulk of the picture’s 73 minutes. Arline Judge, Rosina Lawrence, William Frawley and Charles Sellon rounded out the cast. 

After the dinner break came the highlight of the day and one of the highlights of the whole weekend. This was Pursued (1947), a moody, genre-bending melodrama from Warner Bros., director Raoul Walsh and writer Niven Busch. On the surface Pursued is a western, but with enough elements of film noir to bolster those who maintain that noir is less a genre than a style. On top of the western/noir mix, there’s a soupçon of Wuthering Heights‘s Cathy/Heathcliff/Hindley triangle of sexual obsession and sibling rivalry, and even a few threads of Moby Dick in the obsessive, vendetta-driven character played by Dean Jagger.

The story opens in the New Mexico Territory in the 1880s. Eleven-year-old Jeb Rand survives the massacre of his family by cowering in the cellar of their cabin, seeing only confusing glimpses of the slaughter that will haunt his nightmares well into adulthood. He is discovered in the aftermath by the widow Callum (Judith Anderson), a neighboring rancher who takes him home and raises him as a foster son. Years later, he has grown into Robert Mitchum, in love with his foster sister Thor Callum (Teresa Wright), loathed and resented by her brother Adam (John Rodney), and still haunted by those nightmares. Lurking on the edges of his life is Widow Callum’s brother Grant (Dean Jagger), waiting impatiently for the day he can bring about Jeb’s death, either personally or by manipulating the resentments of others. In service to Grant’s malignant hatred a number of bystanders, even an innocent pony, are made to bite the dust.

The torrid, borderline-incestuous passion between Jeb and Thor is the fraught focus of Pursued. Writer Niven Busch was no stranger to sexual ferment, whether in a western (Duel in the Sun) or a film noir (The Postman Always Rings Twice, 1946), and if Pursued doesn’t quite have the lurid, panting carnality of those challenges to the Production Code, it still has an adult-content edge that makes it something more than a family-feud shoot-’em-up. By the time just deserts got meted out, the Cinevent audience was keyed up enough to burst into applause well before the final credits.

After that, we all unwound with Helpmates (1932), one of Laurel and Hardy’s best shorts, in which The Boys frantically try to straighten up Ollie’s house after a wild party and before the shrewish Mrs. Hardy (Blanche Payson) gets home from her visit to Mother. Then came The Clinging Vine (1926), a silent romantic comedy in which Leatrice Joy (with her gender-bending signature male haircut) plays a career-driven business executive who takes lessons in femininity from her prospective grandmother-in-law to help her win the boss’s son (Tom Moore) by making him think he’s the brainy one.

Then, just like that, it was back to melodrama for Black Tuesday (1954), with Edward G. Robinson leading a daring prison break — from Death Row, no less — along with girlfriend Jean Parker and fellow condemned killer Peter Graves; before they can make a clean getaway with Graves’s $200,000 in stashed loot, the exploit degenerates into a hostage situation on the top floor of a warehouse. The lobby card here promises “The most ruthless Robinson of all time!” — and by golly, that’s not far off the truth. His Vincent Canelli makes Little Caesar and Key Largo‘s Johnny Rocco look like Southern Baptist deacons. “Some people have youth, some have beauty,” Robinson once famously said, “I have menace.” In Black Tuesday Robinson is at his menacing-est. Sidney Boehm’s script is peppered with indictments of capital punishment, but Robinson’s Canelli undercuts them: Nothing but cyanide pellets, a bullet in the head, or 25,000 volts will do for this vicious beast. Screenings of Black Tuesday are evidently rare, due (it is said) to a complicated copyright arrangement that’s more trouble to work out than it’s worth. Too bad; it’s a tight, grueling 80 minutes (thanks to director Hugo Fregonese), with Robinson at his late-career best heading a cast that includes Milburn Stone, Warren Stevens, Jack Kelly, James Bell, Russell Johnson and Frank Ferguson.

And that closed out the first day of the last Cinevent. More was to come.

To be continued…

NEWS FLASH!!!: Alias Nick Beal (1949) is finally available on a legitimate, non-bootleg Blu-ray. It’s from Kino Lorber, which has presumably worked something out with Universal. Universal owns the pre-1950 Paramount library, but it seems that unless a Paramount picture stars either the Marx Brothers or W.C. Fields, there’s scant interest at Universal in issuing a DVD. That may be changing; maybe it takes someone like the gang at Kino Lorber to offer to do all the work (and pay a sufficient fee) to get Universal to shake loose. On the other hand, I found a suggestion that story-rights issues had kept Beal (and another 1949 Paramount, The Great Gatsby with Alan Ladd) off the market, but I wasn’t able to confirm or clarify that. Whatever the backstory, the main thing is we’ve got it now, finally, in North America; you can order it here at Kino Lorber or here at Amazon. (Be warned: The Amazon page reprints KL’s description, which garbles the plot. Best not to read either one; just click “Add to Cart” and take it from there.) Anyone within reach of Cinedrome must not hesitate, but order their copy of Alias Nick Beal forthwith. If that peremptory order is not enough, I’m republishing my 2011 post on this John Farrow/Jonathan Latimer masterpiece.

When I posted on Beal ten years ago, the picture had gone from running two or three times a year on local Late Late Shows in the 1970s to virtually vanishing from the face of the earth. The last legal showing of it I was aware of was on The Movie Channel in 1990 — which I fortunately had the foresight to record on VHS and later transfer to DVD. That disc was the source of the frame-caps I included. I may replace those illustrations when I get my new disc; we’ll see. For now, read on…

*                         *                         *

The Paramount mountain dissolves to a slate-colored sky pouring a torrential, whistling rain, riven by claws of lightning and rumbling thunder. There’s a crashing fanfare from composer Franz Waxman that sounds magisterial, commanding and insinuating all at once, then descends into a tortured, frantic violin scherzo. Next the names of the three above-the-title stars — Ray Milland, Audrey Totter, Thomas Mitchell — then the title itself. Alias Nick Beal is under way.

Alias Nick Beal is another “supernatural noir“, the subgenre I mentioned in my post on Night Has a Thousand Eyes. It may be the only other example. Of all the movies with supernatural plots, I can’t think of any but those two that dressed their stories so fully in the trappings of film noir. (If you know of any, please speak up; I’ll gladly kick myself for not having thought of them first.) 

Beal came hot on the heels of Night Has a Thousand Eyes for director John Farrow, writer Jonathan Latimer and producer Endre Bohem — so close, in fact (the pictures were released less than five months apart), that I have to believe Beal was being prepared while Night was shooting, and being shot while Night was being readied for release. Without access to Paramount’s detailed records I can’t confirm that, but the two movies are simply too close a match, variations on a theme of frail little humans trapped in a web of which they can see only the dark and shadowy outline. The difference between them — the variation — is this: Night Has a Thousand Eyes speaks of sinister and mysterious forces beyond our understanding; in Alias Nick Beal the sinister mystery is entirely comprehensible, and it has a name — most of us were raised on childhood tales of it — but as adults, our belief in our own sophistication blinds us, makes us willfully refuse to see it until it’s too late.

The screenplay for Alias Nick Beal was by Jonathan Latimer, from an original story by Mindret Lord. Lord’s name isn’t a familiar one even to movie-trivia buffs; he is sometimes misidentified as “Mildred”. In fact, he was born Mindred Loeb in Chicago in 1903. His early years haven’t left much trace in the permanent record, but by the late 1920s he was an aspiring writer and had embarked on a long affair with the opera singer Marguerite Namara, 15 years his senior.

 

In 1934 Lord met an old flame of Namara’s, tenor Hardesty Johnson, and his wife Isabel, daughter of Hamlin Garland, a popular early-20th century writer whose fame would pretty much die with him in 1940. Isabel had ambitions to be a writer like her father, so she and Lord had something in common; by this time he had begun selling stories to the pulps, detective fiction to magazines like Black Mask and tales of horror and the supernatural to Weird Tales and the like (“pot boiling” he called it), and he mentored Isabel on her own writing. They began an affair that eventually finished off his liaison with Marguerite and her marriage to Hardesty. Lord and Isabel were married on December 21, 1936.

Mindret and Isabel collaborated (as “Garland Lord”) on several mystery novels while he continued to boil pots for the pulps; he never really broke into the “slicks”, as they were called, though he did eventually get four short-short stories (fictional anecdotes, really) into The New Yorker in 1942 and ’43. By then he had contributed some sketches to New Faces of 1936 on Broadway, done some script doctoring for a wealthy Park Avenue wannabe-playwright, and picked up work writing for sundry radio series.

 

This got him a foothold in Hollywood (sort of), writing for independent producer W. Lee Wilder (Billy’s older, far less talented brother), who released his movies through Poverty Row’s Republic Pictures. Lord began drinking heavily, his marriage fell apart, he had an affair — though in what order, and which caused what, is anybody’s guess. In 1948 and ’49 he sold two stories to Paramount which became The Sainted Sisters (adapted by Lord from a play by Elisa Bialk and Alden Nash) and Nick Beal respectively. He wrote for a few second-string syndicated series in the early years of television, one last C-picture for Wilder, and finally, the script for The Virgin Queen (1955) with Bette Davis as Elizabeth I and Richard Todd as Sir Walter Raleigh. Near the end of that year, Lord committed suicide at 52. It’s not hard to imagine why — his writing career had never really gone anywhere, and he died one day after what would have been his wedding anniversary — but if anybody knows the real reason, or even how he did it, they didn’t leave the information lying around where I could find it.

 

Jonathan Latimer, who turned Lord’s story for Beal into a screenplay, was also born in Chicago and wrote for the detective pulps in the ’30s, but he was another case entirely — a more successful career, a longer life, and death from natural causes at 76 in 1983. Latimer started out as a crime reporter for the Chicago Herald Examiner — and later for the Tribune — where he became personally acquainted with Al Capone, Bugs Moran, and other Chicago underworld celebrities. In the mid-’30s he turned to fiction with a series of hardboiled, semi-comic mysteries featuring private eye Bill Crane.

 

Latimer branched out into non-crime fiction and non-series mysteries. One of the latter, Solomon’s Vineyard (1941) was so violent and sexy it came out only in England; it wasn’t published in the U.S. until 1950 (as The Fifth Grave), and then it was heavily expurgated (Latimer’s original text finally appeared in the States in 1982). It’s a good solid mystery that doesn’t waste a word, but it is violent, with at least a dozen killings (only about half of them offstage), and a surprising amount of hot and kinky sex, especially for 1941. It also has one of the greatest I-dare-you-to-stop-reading opening lines in the history of pulp fiction: “From the way her buttocks looked under the black silk dress, I knew she’d be good in bed.”

 

At a time when The Thin Man had spearheaded a vogue for comedy/mysteries, Universal bought three of Latimer’s Bill Crane books for a short-lived series starring Preston Foster: The Westland Case (from Headed for a Hearse) in 1937 and two more the following year, The Lady in the Morgue and The Last Warning (from The Dead Don’t Care). Those scripts were written by others, but in 1940 Latimer tried his own hand at screenwriting, first contributing the story for Phantom Raiders (with Walter Pidgeon as detective Nick Carter), then in 1941 co-writing the script for Topper Returns.

 

Like many newspapermen accustomed to deadlines, Latimer worked well in Hollywood, and he got some assignments that have aged gracefully among movie lovers: the 1942 remake of The Glass Key with Alan Ladd and Veronica Lake; They Won’t Believe Me (’47) with Susan Hayward, Robert Young and Jane Greer; and The Big Clock (’48) with Ray Milland and Charles Laughton. The Big Clock was directed by John Farrow, and Latimer reunited with him for Night Has a Thousand Eyes — then, in ’49, with both Farrow and Milland for Alias Nick Beal. In fact, Latimer worked with Farrow more than with any other director (and Farrow more with him than with any other writer), ten pictures in nine years, and the titles would be among the best on both men’s résumés — there were also Plunder of the Sun, Botany Bay and Back from Eternity.

Like Lord, Latimer also got into television, but at the other end of the food chain, writing for important network shows: Hong Kong, Checkmate, Markham (Ray Milland’s one-season half-hour crime series), and a whopping 31 episodes for the original Perry Mason — that last gig was as high as a writer could go in early-’60s TV. Latimer’s last credit was another top-of-the-heap assignment: a 1972 episode of Columbo guest-starring his old friend Milland.

Alias Nick Beal is arguably the best thing Jonathan Latimer ever wrote, and it’s certainly the absolute pinnacle of Mindret Lord’s rather lackluster career. It takes place in an unnamed big city, one that closely resembles Lord and Latimer’s native Chicago: corrupt, crime-ridden, and ruled by oily political boss Frankie Faulkner (Fred Clark), so secure and arrogant that he doesn’t even bother to conceal his scheming or veil his threats.

However, Faulkner may have met his match in district attorney Joseph Foster (Thomas Mitchell), a paragon of legal rectitude and civic virtue — in his spare time he helps his friend Rev. Garfield (George Macready) manage an after-school recreation program for boys at risk of delinquency. Foster is prosecuting Faulkner’s underling Hanson on corruption and racketeering charges, hoping to bring down Faulkner’s organization brick by brick. But Faulkner isn’t that easily dismantled; through crocodile tears he informs the prosecutor that Hanson’s books, which Foster had subpoenaed only that morning, were destroyed in a fire the night before. Foster is stymied, checkmated; he had been careful to make it appear that he wouldn’t seek the books, then had sprung his subpoena at the last moment, just to forestall something like this. But Faulkner was a step ahead of him. Foster’s got to nail Hanson if he wants to clean up the city, and there’s nothing he won’t do to get him.

 

That’s when Foster receives a cryptic summons to a dingy dive down by the waterfront: “If you want to nail Hanson, drop around the China Coast at eight tonight.” The man he meets that night (Ray Milland) is clean-shaven and dapper, impeccably groomed and dressed, cutting a figure entirely at odds with the squalid little tavern where Foster finds him. His card reads simply: “Nicholas Beal, Agent”. “Agent for what?” asks Foster. Beal grins slightly. “That depends. Possibly for you.”

 

Beal takes Foster to a nearby building, a rundown, darkened cannery where he presents Foster with the evidence he had sought that very morning — Hanson’s books, saved from the flames after all. Foster hesitates. He can’t take them, he says; he has no warrant. I thought you wanted Hanson, Beal says; here’s your chance. Foster continues to peruse the books. He doesn’t speak but we can imagine his thoughts: Here they are, can I take the chance on losing them again? I can always get a warrant tomorrow. When he looks up, Beal is gone.

Foster decides. He tucks the books under his arm, puts out the light, and makes his way out of the cannery by the beam of a flashlight Beal left behind. In the pitch dark of the outer room, his light startles a rat on a shelf. The rat squeaks plaintively and stares at Foster, eye to eye. We can almost read the rat’s mind, as clearly as if he were speaking: Welcome to my world.

 

Foster gets his conviction and becomes a hero in the press. He’s still vaguely troubled about his hocus-pocus with the warrant, but shrugs it off. Still, Beal isn’t finished with him. No sooner do representatives of the state’s Independent Party arrive, asking if Foster will allow his name to be placed in nomination for governor, than Beal shows up in his study to collect for services already rendered. But what seems like a sly piece of blackmail takes an odd turn when Beal offers to contribute to his political campaign; he already knows about the overtures from the Independent Party (“I hear things.”).

That night, on the foggy boardwalk outside the China Coast, Beal takes the next step in whatever scheme he has afoot. A down-and-out slattern (Audrey Totter) gives him a come-on, but is taken aback when he knows her name, Donna Allen. He knows her history, too: a couple of years of college, ambitions to be an actress, then seduced and abandoned by an actor she called “Boysey” — who turned out to be married. They fought, he fell down a flight of stairs. “An accident, they said.” How do you know about Boysey, she asks; you a friend of his? “I met him once.”

 

 

Beal leads her to an expensive penthouse apartment, smart and stylish but somehow foreboding and unsettling, with Daliesque frescoes painted on the walls. It’s hers, he says, along with a wardrobe of silks and sables, diamonds and sapphires. She tries to bolt, but the delivery boy is at the door, and everything is just too tempting — and it all has her name on it. “What do I gotta do, murder?” “Just the opposite,” says Beal, “reform work. In a boys’ club.”

 

In the next scene Donna has made herself indispensable, organizing the boys’ club office and writing large checks for donations — and coyly flirting with Foster. It’s a scene she’s played often since her days with Boysey, but usually only for cheap drinks, and never with such lavish sets and costumes. Men are all alike, right? Boysey was married and here’s another one; this time she’s wised up, and if Beal wants her to tickle his vanity she’ll play along. Why should she care? 

 

As time goes on Donna will slowly realize that neither Foster nor Beal is the kind of man she thought he was. Neither she nor Foster can see what we see: that Beal is slowly, carefully drawing his net around them both. Every step, beginning with Foster’s compromise on the warrant and Donna’s following Beal from the waterfront to that apartment, calls for just a slight stretch of the conscience, a tiny little disregard of misgivings, moving them off true center by degrees they simply don’t notice.

 

We see other things the characters don’t. Beal’s plans involve conspiracy, duplicity, bribery, double-dealing, seduction and murder. Things come to a head as Beal prepares to spring his trap. He shows up at Donna’s apartment, telling her that Foster is on his way after a fight with his wife. Beal tells her how the conversation will go — what she’s to say, what Foster will answer, what she’s to say to that. She sneers at the melodrama; who would ever spout those cornball lines? Never mind, he says, just remember your part.

 

When Foster arrives their talk runs more or less as Beal said it would. Then, hearing her cue and hardly knowing what to expect, Donna segues into the words Beal gave her — and so does Foster. With growing horror, she tries to stop things, and her words take on a different, more frightened meaning — but they’re still Beal’s words! Try as she might, she can’t not say what Beal told her to. It’s a brilliantly written scene, and brilliantly played by Audrey Totter, the finest five minutes in her career.

 

Donna Allen becomes the first to sense the truth: Nicholas Beal isn’t just some slimy, amoral political operative. He is, in literal fact, the Devil Himself.

 

I’m not spoiling anything here; this isn’t a please-don’t-reveal-the-ending mystery. We’ve tipped to this long before Foster or Donna or Rev. Garfield. Beal knows things before they happen. He can’t stand to be touched. He refuses to read from the Bible, or even touch it. He cold-shoulders Rev. Garfield, who can’t quite place where he’s seen Beal’s face before. (“Did anyone ever paint your portrait?” “Yes, Rembrandt in 1655.”) The beauty of Alias Nick Beal isn’t that Beal’s character is revealed to us in a sudden, shocking whoa-didn’t-see-that-coming revelation. It’s that we can easily believe that the other characters can’t see him for what he is. To paraphrase Sherlock Holmes, they see but they do not observe. We’re sitting watching a movie, but they’re living their lives; after all, this is the 20th century, and things like that just don’t happen, do they? But as Rev. Garfield finally says, “Maybe the Devil knows it’s the 20th century too, Joseph.”

 

Foster passes control of his soul to Beal by increments, one step at a time. The first step is both the smallest and the biggest, because once he’s started it gets harder to turn back, easier to go on, until finally he stands bewildered, unable to recognize himself. How did I get here?, he wonders. In a moment of self-knowledge, he realizes: “It’s not Beal, it’s me.”

 

Naturally, the mainspring of Alias Nick Beal must be Ray Milland’s performance, and he’s nothing short of superb. His Beal is smooth, quiet, confident, glib. Nothing ruffles him. But don’t try to touch him. “I don’t like to be touched.” He says it simply, almost apologetic, but his meaning is clear: you won’t like what happens when you do something Nick Beal doesn’t like. When Beal once flares in anger, it’s over in an instant and his calm demeanor returns, but the moment is unnerving; though his eyes are angry slits in that moment, we can almost see the fires of Hell banked behind them.

 

Milland won a well-deserved Oscar for his tour de force in Billy Wilder’s The Lost Weekend, but he’s even better here — more subdued, certainly, his face often registering only the slightest movement of an eyebrow, a cheek muscle, the corner of his mouth. He’s the master puppeteer with no wasted motion, supremely in control, confident that his puppets will never feel the strings. Milland worked four times with director Farrow (not incidentally, all but one of them written by Jonathan Latimer), and they were an excellent match, never more so than here.

Alias Nick Beal is superbly directed, too, by the underrated Farrow, whose name is familiar now thanks more to his daughter Mia and grandson Ronan’s careers than to his own. He was Australian-born in 1904, naturalized American in 1947, twice Oscar-nominated (1942 for directing Wake Island; 1956 for co-writing Around the World in 80 Days, which he won). He was also something of a polymath — author of plays, novels, short stories, a Tahitian-English dictionary and biographies of Thomas More and Father Damien. Besides the Oscar, he was also awarded an honorary Commander of the British Empire (by Queen Elizabeth II) and a Knighthood of the Grand Cross of the Order of the Holy Sepulchre (by Pope Pius XI). In Nick Beal his hand is firm but not heavy, and he doesn’t overplay it. Scenes move sinuously from one to the next (the black fog of the waterfront becomes the back of Foster’s suit as he steps away from the camera in his study), and the story moves with the slithery grace of a serpent.

 

Notice too the performances of minor characters — Donna’s maid (Theresa Harris), a railroad depot bartender (Sid Tomack), the grizzled denizens of the China Coast. Farrow is a director who tends to the details. After all, isn’t that where the Devil is?

 

The phrase “banality of evil” was years in the future when Alias Nick Beal came out, but the theme is on display here. The banality of evil, but also its seductiveness, and the good intentions that pave the road to Hell. Above all, the tenacity of evil. You may vanquish the Devil, but he won’t give up; he’ll be back, and he’s patient. Beal tells us as much when he and Foster overhear a sidewalk Salvation Army convert’s testimony: “Glory be! I’ve wrestled the Devil and thrown him. I’ve pinned his shoulders to the mat…” Beal turns ironically to Foster. “I wonder if he knows it’s two falls out of three.”

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When I wrote about Alias Nick Beal in 2011, it was buried deep in the Universal vault, available only in a gray-market transfer from Loving the Classics.com (whose customer service, I regret to say, is not what it used to be). In the intervening years it’s been poking up from time to time, like a hibernating bear checking out the spring weather — showings on Turner Classic Movies, DVD releases in Europe and Australia. But now our Mr. Beal has come home where he belongs, so hurry over to Kino Lorber or Amazon and grab your copy; as I said about Henry Hathaway’s Down to the Sea in Ships, this is one of the best movies you never heard of.

Now — if only somebody would bring out a Region 1 disc of Night Has a Thousand Eyes. That one’s available in Europe too. Why not here? How about it, Kino Lorber?

As a rule, Cinedrome doesn’t concern itself with the contemporary movie scene, or with any movie made after, say, 1964 or so (that being the year to which I more or less arbitrarily date the end of Hollywood’s Golden Age). But rules are for breaking, after all, and I last broke that one in February 2019, when I wrote that Mary Poppins Returns was manifestly the best and most enduring movie of 2018 (when I bought the Blu-ray in early ’19, I told the twenty-something Target clerk who rang it up, “It’s the only movie from last year that your great-grandchildren will know.”) I used that observation to segue into a discussion of the long shadow of Walt Disney. My original plan was to follow up with a second post about the contentious relationship between author P.L. Travers and Disney’s Bill Walsh, Don Da Gradi and the Sherman Brothers in crafting the script, with possibly a sidebar discussion of 2013’s bucket of enjoyable hogwash Saving Mr. Banks, which purported to tell the same story. But in reading up on it, I found the querulous, intransigent Ms. Travers such churlish and unpleasant company that I dropped the idea early on, and that follow-up post (“Mary Poppins: Enter the Dragon”) never materialized. 

Well, that was then, this is now, and I’m breaking that rule again to discuss another contemporary movie and another long shadow. The movie is Mank, directed by David Fincher from a script by his father Jack, and the shadow belongs to Citizen Kane (1941). The younger Fincher appears to have undertaken Mank as a tribute to his father, who died in 2003 (the movie is dedicated to his memory). Besides that, it fits into the intermittent vogue for making movies about the making of movies — that is, about the making of specific movies. It’s a sub-genre that dates back at least as far as 1980’s TV movie The Scarlett O’Hara War, in which 55-year-old Tony Curtis played the 35-year-old David O. Selznick beating the bushes to find a leading lady for Gone With the Wind. The vogue has cropped up from time to time ever since; examples include the aforementioned Saving Mr. Banks and 2012’s Hitchcock, about the making of Psycho. Even Citizen Kane‘s production has been done before, in RKO 281 (1999), with Liev Schreiber as Orson Welles and James Cromwell as William Randolph Hearst.

Mank covers ground similar to RKO 281, but concentrating not on Welles (played by Tom Burke as a drive-by cameo) but on co-writer Herman J. Mankiewicz (Gary Oldman). In the spring of 1940, after hashing out with Welles a rough outline of what would become Citizen Kane, Mankiewicz was dispatched to a distraction-free exile in Victorville, in the middle of California’s Mojave Desert, to crank out a first draft. He was encased in a half-body cast after thrice-breaking his leg in September ’39 in an auto accident en route to New York. He had just been fired from MGM and was headed east to beg work from friends, having burned too many bridges in Hollywood; his convalescence put the kibosh on that, but it led to the job with Welles.

Accompanying Mankiewicz to Victorville was a German nurse (named “Fräulein Frieda” in Mank and played by Monika Grossman); an English secretary, Rita Alexander (Lily Collins), whose last name would be used for Charles Foster Kane’s second wife; and Welles’s former producer John Houseman (Sam Troughton), who had had a violent falling-out with the Boy Genius but was coaxed back for this assignment at Mankiewicz’s request. Mank covers the twelve weeks the group spent writing, editing, and (in Mankiewicz’s case) recuperating in Victorville, with flashbacks to Herman’s feckless, self-destructive career in Hollywood to that time. 

As luck would have it, the theatrical-and-streaming release of Mank followed close on the heels of my reading Sydney Ladensohn Stern’s definitive dual biography The Brothers Mankiewicz: Hope, Heartbreak, and Hollywood Classics. Ms. Stern’s subject, of course, is not only Herman J. Mankiewicz but his kid brother Joseph L., their literary ambitions and cinematic achievements. Both spent their lives hungry for the approval of their college professor father, who always seemed to feel his sons were wasting their abilities by working in movies. She makes a convincing case that Herman’s accomplishments arguably surpassed those of “Pop”, and that Joe’s undeniably surpassed them both, yet neither quite managed (if only in their own eyes) to live up to Pop’s expectations.

The Brothers Mankiewicz was published just over a year ago, much too late for Ms. Stern’s research and insights to have benefited Fincher père when he wrote Mank, or Fincher fils when he filmed it, but in plenty of time to pique our interest in their movie — at least it piqued mine — and to let us compare it with the historical record.

The impetus for this post was an email from my friend Jean in Spokane, Washington, who asked me what I thought of it. She said she had a “fairly middle of the road reaction to it overall”; she “did find it a bit long” but was fascinated by “the way it presents the characters — the Mankiewiczes, Mayer, Thalberg, Hearst et al.” and was particularly impressed by Amanda Seyfried’s performance as Marion Davies. She also spoke well of Tom Burke as Welles. I told her that no, I hadn’t seen Mank yet, but I was looking forward to it, especially now that I’d read Sydney Stern’s book — twice: once to myself, then again to my uncle.

Speaking of people playing Orson Welles in movies [I wrote her], have you by any chance seen Richard Linklater’s Me and Orson Welles (2008)? I urge you to give it a look; it’s a modest masterpiece. It’s based on a 2003 novel by Robert Kaplow; Zac Efron plays this high school kid in 1937 who stumbles into a sort of internship with the Mercury Theatre and works on Orson Welles’s modern-dress Fascist-themed production of Julius Caesar. Welles is played by one Christian McKay, and he’s absolutely uncanny. Should have won an Academy Award, but like most people who deserve Oscars, he wasn’t even nominated; besides, it was 2008, and that was the year they decided to give it to Heath Ledger for being dead. The movie is a brilliant portrait of Welles at a time when his career was still rocketing upward, with the sky seemingly the limit, and Welles himself was like an unstoppable force of nature, by turns inspiring and insufferable, but always Herculean and awe-inspiring. Also, it’s probably as close as we’ll ever get to feeling the impact of that Caesar (scenes from which were, I understand, painstakingly researched and recreated). It’s also brilliantly cast; McKay is actually just first among equals. This is all the more impressive in that there are only three major characters who are fictitious, played by Efron, Claire Danes and Zoe Kazan. Just about everybody else in the cast is not only historical, but familiar from countless movies – Joseph Cotten, Martin Gabel, John Houseman, John Hoyt, Norman Lloyd, George Coulouris, Les Tremayne. All of them perfect, especially a fellow named James Tupper as Joseph Cotten – I mean, how would you go about even looking for the ideal Joseph Cotten? So kudos to Lucy Bevan, the casting director (casting directors are often unsung heroes of movies, and never more so than here). (And by the way, in case you didn’t notice, dear old Norman Lloyd is still with us, bless his heart, having turned 106 exactly one month ago; continued long life to him, say I.) (UPDATE 6/20/21: Norman Lloyd passed away on May 11, 2021 at age 106.)

And so it was, with the memory of Me and Orson Welles fairly fresh in my mind, that I sat down a couple of nights later to watch Mank on Netflix. What follows it what I wrote to Jean a few days after that.

*                         *                         *

Hi Jean —

I watched Mank the other night, and I’ve spent the last couple of days mulling over what to tell you about it, and I finally decided what the hell, I might as well cut to the chase.

I detested it. I found it to be a pompous, overstuffed, bloviating gasbag of a movie, a comically dumb-ass parade of falsehoods great and small. I’ll start with the great ones – which, paradoxically, are the least important. By “great” I mean the movie as a chronicle of the writing of Citizen Kane. Bullcrap from first frame to last. I hardly know where to begin with its tin-eared idiocies, but a few more-or-less random thoughts:

Marion Davies went to her grave insisting that she never saw Citizen Kane, and while I’m not sure I believe that, it was her story and she stuck to it to the end. In any case, the idea that she would have driven out to Victorville to sit on the porch critiquing the fine points of Mankiewicz’s script before shooting even started is just plain stupid.

Also, somewhere along the line the movie goes off onto a completely irrelevant tangent about Upton Sinclair’s 1934 campaign for governor of California, and the fake newsreels MGM made to undermine him. (This may be why you found it “a bit long”; cutting this wild goose chase could have saved half an hour to 45 minutes.) Herman Mankiewicz had nothing to do with any of that, and none of that had anything to do with writing Citizen Kane. I don’t know why it was even there (honestly, by that time my attention had already begun to wander), but it appeared to me that the movie was suggesting that Mankiewicz somehow undertook Kane as revenge against Hearst for spearheading the torpedoing of Sinclair’s campaign, and for helping drive Mankiewicz’s pal Shelly Metcalf to suicide out of shame over his part in it. Bollocks, bollocks, and bollocks. To begin with, “Shelly Metcalf” never existed, and nobody in Hollywood cared that Upton Sinclair lost the election or that MGM’s “newsreels” had anything to do with it. Certainly nobody killed themselves out of guilt over it — that’s a daydream of 21st century leftists.

At one point Mankiewicz tells Marion Davies, in one of their soulful moonlight chats on the grounds at San Simeon (itself a silly invention), that L.B. Mayer loathes Sinclair because Sinclair wrote that he “took a bribe to look the other way so a rival could buy MGM.” Another crock. The movie doesn’t say who this “rival” was, but it may be a reference to William Fox, who in the late 1920s did indeed embark on a project to buy every studio in Hollywood, intending to monopolize the business. (Adolph Zukor at Paramount had tried something similar in the late 1910s, and Thomas Edison before him. Monopoly-building has always been a tempting pastime in the movie business, and such efforts continue to this day.) Fox started by aiming big and, yes, he did try to buy MGM. He came pretty close, too — but far from looking the other way, Mayer (and Thalberg) fought doggedly against the deal. Almost to no avail; Fox came very near to pulling it off. Then, in the summer of 1929, Fox was in a horrible automobile accident that damn near killed him. He was months recuperating, and just as he was getting up and around again, the stock market crashed, taking all his credit with it. Fox was overextended, creditors pounced, and when the dust cleared he was ruined. By late 1930 he was out of the movie business forever (he lived on until 1952). He didn’t buy MGM – or rather, he did, in a way, but when the chips were down he didn’t have the cash to close the deal, and Mayer’s job at the studio was saved. I don’t know what Upton Sinclair may have written (he did write a book, Upton Sinclair Presents William Fox, published in 1933), and Mayer, a conservative Republican, may well have loathed Sinclair. But Sinclair wrote nothing about any bribe because there wasn’t one.

There’s hardly a detail too minor for the movie to go out of its way to get wrong. Herman Mankiewicz had a mustache in 1940. Marion Davies was sweet and well-loved, but she drank too much and, having retired from the screen in 1937, she was puffy and tending to overweight by 1939; also, she stuttered. As for Rita Alexander, no Englishwoman then, or Englishman either, would have used the word “shitty” in mixed company, even if they did think aircraft carriers were “a shitty idea” (which nobody did). That word was a pure Americanism – and for that matter, even in America few women would have said it in those days. The road accident that broke Mankiewicz’s leg happened not because a letter fluttered out of his convertible with the top down, but because Tommy Phipps, who was driving, lost control of the car in the rain on Route 66. The Mankiewicz brothers never called each other “Hermie” and “Joey”, and nobody on Planet Earth was dumb enough to call William Randolph Hearst “Willie”, even behind his back in a soundproof room.

But honestly, none of that is really important; in fact, it’s all beside the point. I mean, if you want to know about the gunfight at the O.K. Corral, you don’t watch John Sturges’s 1957 movie, or even John Ford’s My Darling Clementine; nor do you go to The Adventures of Robin Hood for insights about Medieval England in the reign of Richard I (or for that matter, to Shakespeare about Richard III). You certainly don’t sit through Lawrence of Arabia, your butt going permanently numb, if you want to know anything about T.E. Lawrence. So the fact that Mank falsifies the writing of Citizen Kane and the career of Herman J. Mankiewicz beyond any semblance of the actual events, is not what matters. The salient fact about Mank is simply that it’s a lousy movie.

I can’t really fault the actors, except that the roles they’re shoved into are unplayable and none of them seems to have complained about it. At a minimum, they do struggle bravely with dialogue that positively bristles with name-dropping howlers:

“Mark my words, The Wizard of Oz will sink that studio.”

 

“Well, you know most everyone here. Mr. Kaufman…” “‘George’ is fine, kid.” “…Mr. Perelman…” “Do you prefer Sidney or S.J.?”

 

“Aimee Semple McPherson says you’re a godless commie, Upton!”

 

“We all want to welcome the Thalbergs back from Irving’s long convalescence in Europe…”

 

“L.B., this is my brother Joe.” “Nice to meet you, Joseph, I’m Louis Mayer.” (As if Mayer would find it necessary to introduce himself to someone in his own office!)

 

“You all know Jo von Sternberg…”

 

“I love Lowell Thomas’s voice. I sat across from him at the Brown Derby once.”

 

“How is Marie Antoinette coming along?” “Norma is a nervous wreck.”

 

“That’s Herman Mankiewicz. He wrote one of our Lon Chaneys.”

 

“I know you, we met at John Gilbert’s birthday party; you’re Herman Mankiewicz…You fractured Wally Beery’s wrist Indian wrestling.”

There’s hardly a minute without such low-camp groaners. I’d love to go on, but you get the idea; the script is a chortler’s paradise.

The look of the movie is flat and murky. Not “evocative” or “atmospheric”, just dark and indistinct. It was shot in something called “Hi-Dynamic Range”, whatever the hell that is. Faces, even architectural details, are lost in shadows or merge into background darkness. The cinematography, credited to someone named Erik Messerschmidt, is perfectly atrocious. It’s obvious Messerschmidt didn’t light the film for black and white, he lit it for color and shot it that way, then just leached the color out, as if that’s the same thing. You light a subject differently for black and white than you do for color, a fact that they used to teach you in the first ten minutes of Photography 101. Either Mr. Messerschmidt cut class that day or he’s merely incompetent (that’s my vote). Either way, he’s in well over his head here, and I intend to remember that name.

Late in the movie, I think at the climax (such as it was), there was a long scene in the “Refectory” at San Simeon (although in Messerschmidt’s hands it just looked like a rather well-furnished cave). The scene seemed to be terribly important; anyhow, it had Gary Oldman going tooth-and-nail for his second Oscar. But by that time the movie had completely lost me and I was no longer even pretending to pay attention; I just sat there rolling my eyes and making that wrist-rotating gesture that is the universal signal for let’s-wind-this-thing-up-already. (I couldn’t help remembering something Pauline Kael wrote in one of her reviews: “Sitting in the darkened theater, I kept listening for snorts, but every time I heard one I could feel the breath on my hands.”) Somewhere in this seemingly-terribly-important scene, Mankiewicz puked and made his famous wisecrack about the white wine coming up with the fish (which actually happened at the home of Arthur Hornblow Jr.), but that’s really all I remember. I was just marking time, waiting for this ridiculous, fraudulent movie to be over. And then…finally…it was.

So for what it’s worth, that’s my reaction to Mank, a silly and terrible movie where not a scene, not a minute, not a second, not a frame has the ring of truth – plus it’s ugly to look at, and it’s more trouble trying to peer through the stygian gloom than it’s worth. It’s 131 minutes I’ll never get back, but on the whole I might well have frittered the time away on something almost as useless, so no great harm done. Still, having gotten it out of the way, I now dismiss it from my mind forever, and I intend never to give it another moment’s thought.

On the other hand, I can’t wait to watch Me and Orson Welles again. Now that’s how it’s done.

All for now; write when you can.

Jim

This isn’t the way we usually picture Olivia de Havilland — so naturally it’s one of my favorite photographs of her. This image is reproduced in Robert Matzen’s lavishly illustrated dual study Errol & Olivia: Ego & Obsession in Golden Era Hollywood. Robert’s aim in publishing this pose, along with others from the same photo session, was to refute the assertion of a 1978 biographer that Olivia was “always a lady [but] never sexy”. Well, mission accomplished, says I. “Never sexy”? Ha! Not much.

For those who may find that view of Olivia a trifle, ahem, disconcerting, here’s another one from the same sitting. She’s upright this time — less overtly wanton, more watchful and appraising. But she’s still clad in nothing but garlands of strategically-placed flowers — quite literally, la dame aux camelias.  These shots were taken by Warner Bros. staff photographer Scotty Welbourne in the summer of 1940, around the time she turned 24. She looks less like Maid Marian or Melanie Wilkes than like Dorothy Lamour in one of her South Seas sarong romances. (Thank you, Scotty Welbourne.)

Olivia left us two weeks ago at the age of 104, making her the world’s longest-lived movie star. In that, she edged out Kirk Douglas, who passed away in February, two months after turning 103. And speaking of those two — it’s odd, isn’t it, to think of Olivia de Havilland and Kirk Douglas as almost exact contemporaries. We tend to think of them as belonging to different generations — which, in point of fact, they did. Douglas got his first Oscar nomination the same year de Havilland got her last (she won, he didn’t). He made his first movie at 29 and became a star at 32; by 32 she’d been a star for fourteen years. And just to put a little cherry on top of the Odd-Isn’t-It Sundae, both of them were brought into movies by Hal B. Wallis — Olivia at Warner Bros., Kirk at Paramount. That Wallis fellow did have an eye for talent.

Strictly speaking, though, the first eye for talent to which we are indebted for Olivia de Havilland belonged to somebody else. In fact, we’re indebted to a whole series of improbable events for the fact that she didn’t live out her life as an obscure schoolteacher whom nobody but her own students had ever heard of. Born in Tokyo in 1916 to an English patent attorney and his wife, a former actress and opera singer, she was two-and-a-half when her mother persuaded her father to move the family to England for the sake of Olivia and her baby sister Joan. They got as far as San Francisco, then the family fell apart. Olivia came down with tonsillitis, Joan with pneumonia (both life-threatening afflictions in those pre-antibiotic days), and their father ran out on them all, returning to Tokyo and the Japanese housekeeper he’d been fooling around with (and whom he later married). Mother de Havilland settled permanently in California with her girls, eventually marrying George M. Fontaine, a manager for Hale Bros. Department Store in San Jose (thus providing a nom de screen for sister Joan when she followed Olivia into movies).

A precocious student with an artistic bent, Olivia caught the acting bug as a teenager, making her debut at 16 playing Lewis Carroll’s Alice for the Saratoga Community Players. Her stepfather, a real petty tyrant, disapproved, and he tried putting his foot down after she was cast in a school production of Pride and Prejudice. None of this acting nonsense, he decreed, not if she wanted to live under his roof — only to learn the lesson others would learn when they tried pushing Olivia de Havilland around: She moved in with a family friend, and the show (and Olivia) went on.

She graduated from Los Gatos High School in 1934 with a scholarship to Mills College in the fall. But first she was cast as Puck in a Saratoga Players production of A Midsummer Night’s Dream. And wouldn’t you know it, that same summer the great Austrian director Max Reinhardt was coming to California to stage Midsummer (his favorite play) at the Hollywood Bowl, Berkeley’s Greek Theatre, and the San Francisco Opera House. And so it was that one of Reinhardt’s assistants, surveying the turf for the Maestro and beating the bush for ensemble talent, stumbled upon 17-year-old Olivia in the hinterlands of Saratoga. Whoever he was (possibly Felix Weissberger, Reinhardt’s credited assistant on the Hollywood Bowl program), he offered her a job carrying a candle in Theseus and Hippolyta’s wedding procession, and as second understudy for the role of Hermia.

Second understudy. Second. Understudy. A dead-end gig if there ever was one. No doubt she was expecting nothing more than a little excitement, a brush with the Reinhardt greatness, and some nifty memories to take with her when she started college in the fall. But wonder of wonders, just a week before opening night at the Bowl, Reinhardt’s Hermia (Gloria Stuart) and her first understudy (Jean Rouverol) both left the company. And Olivia, just turned 18, went on as Hermia, on such short notice that they didn’t even get her name straight in the program (“de Havelland”).

She never made it to Mills College (at least not until 2018, when they awarded her an honorary degree). Hal Wallis caught the Hollywood Bowl engagement of A Midsummer Night’s Dream, he talked Jack Warner into approaching Reinhardt about putting it on film, Reinhardt insisted that Warners cast Olivia in the movie, and Wallis and Henry Blanke (Midsummer‘s line producer) had the good sense to offer her a five-year contract. (Olivia wavered briefly — she still had this idea she wanted to be a teacher — but the money was good for 1934, and she still had the bug, so she signed.)

It was as simple — and as quick — as that. One day, Olivia de Havilland is this kid fresh out of high school, doing one last show before knuckling down to college in the fall to become an English teacher. Then whoooooosh! — she’s starring for Max-Freakin’-Reinhardt at the Hollywood Bowl. Then whoooooosh! again — and she’s Warner Bros.’ hot new contract player. That kind of thing happens in corny showbiz movies, not in real life.

A Midsummer Night’s Dream was the first movie Olivia made, but it wasn’t her first one to hit theaters. While Midsummer took shape in the cutting room and got a slow publicity build-up to an October ’35 release, Warner Bros. wasted no time getting their money’s worth out of her. They didn’t shunt her off into supporting “trainer wheel” roles, either. On the contrary, they made her a leading lady to some of the studio’s biggest stars. By age 19, she had dealt with Joe E. Brown’s incessant excuses as Alibi Ike (above), and been double-teamed by Pat O’Brien and James Cagney (below) in The Irish in Us. By the time Midsummer finally opened, she was no longer a lucky unknown promoted out of obscurity; she was an established Warner Bros. star-in-training.

Her next picture completed her training program. Sometimes, becoming a star is a matter of being teamed with the right co-star. No disrespect to Joe E. Brown or Pat O’Brien, but they weren’t a good match for Olivia, nor she for them, and those experiments wouldn’t be repeated. (She would be teamed once more with Cagney in 1941’s The Strawberry Blonde, to good effect.) Then seemingly out of nowhere came this son of a Tasmanian biology professor.

Unlike Olivia, Warner contract player Errol Flynn did get shunted off into trainer wheel parts — a dead body in The Case of the Curious Bride, one of Warren William’s Perry Mason mysteries; three minutes on screen and nine lines in Don’t Bet on Blondes, a screwball comedy also starring Warren William.

Then Warner Bros. decided to bring back the swashbuckler. When they saw the success that United Artists had in 1934 with the British actor Robert Donat as The Count of Monte Cristo, they decided the time was right to dust off Rafael Sabatini’s pirate novel Captain Blood, one of the properties they acquired when they absorbed the Vitagraph Company in 1925. Warners even signed Donat for the lead — but between Donat’s chronic asthma and the fact that he didn’t much like America anyway, he wound up bowing out (Monte Cristo would remain his only Hollywood picture). Jack Warner and Hal Wallis bandied names for a while: Leslie Howard, Clark Gable, Ronald Colman, Brian Aherne, Ian Hunter — and George Brent, of all people (thank God nothing came of that bright idea). Finally, based on a couple of good screen tests and a hunch (Hal Wallis’s eye for talent again), they decided to take a chance and promote Errol overnight from corpse-cum-bit-player to leading man.

And for the haughty English lady whose path crosses Peter Blood’s, with romantic and adventurous consequences for both of them, Warner and Wallis (after floating a trial balloon to W.R. Hearst for Marion Davies) decided to team Errol Flynn with Olivia de Havilland.

Now before we go on, let’s pause to consider how Captain Blood might have turned out with Robert Donat and Marion Davies. Fortunately, we were spared that. Instead of Donat and Davies, we got Captain Blood with Errol and Olivia, and it made stars of them both. In eight pictures together, they shared a reserved grace that provided a good complement each for the other. Not to mention an erotic chemistry so strong that in those few pictures where their characters don’t end up together — like The Charge of the Light Brigade (1936) and Four’s a Crowd (1938) — something seems distinctly out of whack.

Errol and Olivia reached their apotheosis in 1938’s The Adventures of Robin Hood — not surprising, since that was pretty much an apotheosis for everyone involved, one of the most intoxicatingly flawless movies ever made. Olivia herself didn’t know it for over twenty years; she felt no affinity for Maid Marian, and when director William Keighley was fired and replaced with Michael Curtiz — well, she felt no affinity for Curtiz either. With no confidence in Curtiz or in her own performance, she couldn’t bring herself to see the picture in 1938. Finally, one Saturday in the autumn of 1959, at a loss for some way to amuse her son Benjamin, 10, and daughter Gisèle, 3, she took them to see Robin Hood at a theater near their Paris home. It was a revelation. “I had no idea it was so good,” she recalled. “I thought, good gracious, it’s a classic, it really is a classic! When we made those films we had no idea what we were making, that we were making the best of their kind.”

By that time Olivia and Errol had been estranged for over fifteen years, for some reason that both of them seem to have taken to their graves. In that time they had seen each other only once. Depending on which account you read, it may have been at a charity ball for the costumers’ union in 1957, or maybe at the wrap party for her picture The Proud Rebel in 1958. Either she was disconcerted by this disheveled, staring stranger, or he planted a kiss on the back of her neck and she spun around and slapped him. In any case, she didn’t recognize this puffy, bleary-eyed drunk. “Do I know you?”

“It’s Errol…” She later recalled that she actually said, “Errol who?”

Now, sitting in that Paris cinema with her children, those days of their intimate friendship (which by all accounts had never been more than that) came flooding back. She and the kids sat through the picture twice, then she went home and wrote Errol: “If you haven’t seen the film recently, run it. You will be so proud of it, so glad that you were Robin Hood.” Then she had second thoughts. The letter was awfully sentimental; perhaps she shouldn’t send it. So she didn’t. A few weeks later she got a phone call from a French journalist who warned her he had “some very sad news.” Errol Flynn was dead; would she care to make a statement?

Years later, she said: “I wish I had sent that letter. It would have pleased him after all those years, but I didn’t.”

About the time her friendship with Flynn fell by the wayside, in the early 1940s, she was also reaching the end of her rope with Warner Bros. In 1936, in the afterglow of Captain Blood, the studio had offered her a new contract, seven years instead of five, and at a higher weekly salary. Still, it seemed as if Jack L. Warner couldn’t picture her as anything but the damsel in an Errol Flynn adventure movie. It finally began to dawn on Olivia that her best roles — or at least her most personally satisfying — had been on loan-out to other studios. First it had been to Selznick International to play Melanie in Gone With the Wind. Olivia had really wanted that one, and Selznick had really wanted her. But Jack Warner wouldn’t have it — maybe because Selznick had shot down his idea of lending Bette Davis and Errol Flynn for Scarlett and Rhett, maybe just because he enjoyed showing whose name was on the water tower. Anyhow, as all the world knows, J.L. relented in the end — but only because Olivia and his wife Ann double-teamed him. Olivia got to sink her teeth into her first death scene — and came away with her first Oscar nomination. (She lost — as the world also knows — to Hattie McDaniel.)

Next — two years and several damsels later — it was Hold Back the Dawn over at Paramount. Olivia played Emmy Brown, a naïve schoolteacher on a field trip to Tijuana who gets swept off her feet by Charles Boyer as a scheming Romanian refugee seeking to enter the U.S. by — well, by marrying some naïve pushover like Emmy, then dumping her once he’s inside the border. Olivia got her second Oscar nomination, and her second loss.

This one no doubt stung a bit more than losing to Hattie McDaniel in ’39. Also nominated in 1941 was sister Joan Fontaine for Alfred Hitchcock’s Suspicion. It was the first time acting sisters had been nominated against each other — it would happen only once more, with Lynn and Vanessa Redgrave in 1966 (both lost) — and it was the race everyone was following. Joan won.

What to say about Olivia and Joan? Their relationship was…complicated. Here are two views of them, as teenagers at a Saratoga garden party, and striking a sporting may-the-best-gal-win pose at the Academy Awards Banquet for 1941 (before any of the winners were announced). In the Saratoga picture they look like conjoined twins, fused at the back and fated never to look in the same direction. It’s an apt metaphor for the most notorious sibling rivalry in Hollywood history.

Surely it didn’t help that they were born only fifteen months apart, making them more like competing twins than anything else. Moreover, they seem to have grown up in a Rashomon universe. Olivia remembered playing big sister and loving it; Joan would climb into bed with her, she recalled, and “put her little head on my shoulder and ask me to tell her a story.” Joan’s recollection differed: “I remember not one act of kindness from Olivia all through my childhood.”

It does seem that Joan went out of her way to compete. She showed no interest in acting until, after living a year or two in Japan with their father and his second wife, she came home in 1934 to find Olivia appearing in Midsummer in San Francisco and on her way to Hollywood. As Olivia told it, Joan’s mantra became “I want to do what you’re doing.” Olivia urged her to finish high school, become a debutante, even a leader in San Francisco society, but Joan refused. As Olivia remembered Joan’s resolve, it was never “I want to be an actress,” or even “I want to be a movie star.” It was always “I want to do what you are doing.”

For her part, Joan remembered only her sister’s petty resentments. “I got married first, got an Academy Award first, had a child first…” True, Joan did get married first — but then, her first husband was Brian Aherne, Olivia’s ex-boyfriend. That might have stuck in Big Sister’s craw. And as for getting the Oscar first — well, Alfred Hitchcock always insisted that it was he and not Joan who created her performance in Suspicion, cobbling together reactions, thoughts, and subtexts in the cutting room that weren’t in evidence on the set. Now we all know that Joan’s talents were (to put it kindly) more modest than Olivia’s. So if Olivia got a little miffed that Joan skated to the winner’s circle on Hitch’s editing tricks while she, Olivia, had done some real acting in Hold Back the Dawn… Well, personally, I’ll cut her a little slack. And “had a child first”? Now Joan is just gloating.

Over the years the sisters — protesting a bit too much, perhaps — would sometimes pose for photos to show that things were just fine between them. They were always burying the hatchet, and always remembering where they left it. The “final schism”, as Joan phrased it, seems to have come with their mother’s terminal illness in 1975. Joan, on tour in Cactus Flower, felt slighted at being excluded from end-of-life treatment decisions; worse, she felt Olivia was dilatory in letting her know when the end was near, so she was still on the road when Mummy breathed her last. At the memorial service, Joan refused to speak to her older sister. Three years later, in her autobiography, Joan, like a volcano that would not stop, spewed sixty years’ worth of pent-up hostility — prompted, perhaps, by still-tender wounds about their mother. In an interview promoting the book she said, “You can divorce your sister as well as your husbands. I don’t see her and I don’t intend to.” In public, Olivia maintained a lofty silence; privately she took to calling Joan the Dragon Lady. Joan titled her memoir No Bed of Roses. Olivia dubbed it No Shred of Truth. 

Olivia eventually got her own Oscar, of course. Two of them, in fact, and both at Paramount, the studio that had borrowed her for Hold Back the Dawn. First, in 1946, came To Each His Own. Olivia played an unwed mother who, when her lover is killed in World War I, is forced to give up her baby to be adopted by an old frenemy, then to watch from afar as the boy grows up, thinking of her only as a fussy and rather pathetic family friend. It was, in Oscar historian Robert Osborne’s apt phrase, “a Tiffany tear-jerker”. In the movie’s final scene, when the boy, now grown to manhood, finally gets it through his head why “Aunt Jody” has always been so nice to him, and says to her, “May I have this dance…Mother?” — the look on Olivia’s face is enough to reduce a bronze statue to helpless sobs.

Then three years later came The Heiress, from the play by Ruth and Augustus Goetz based on Henry James’s novel Washington Square. As James’s timid, insecure heroine beset with, on one hand, a father whose pretended solicitude masks a withering contempt, and on the other, an ardent suitor who may only be after her money, Olivia gave perhaps her finest performance (although her turn as a mental patient in 1948’s The Snake Pit would be up there as well; she was nominated for that one too). So Joan may boast of winning her Oscar first, but Olivia matched her, and raised her one. Not only that, but Olivia (like Joan) earned her awards working for A-list directors (Mitchell Leisen on To Each His Own, William Wyler on The Heiress) — and neither of them ever said that he had to do Olivia’s acting for her.

But the truth is, even without those well-deserved Oscars, by 1946 she had already earned her place in the history books — and all because she finally had it to here with Jack L. Warner. Perhaps Warner wanted to punish her for that end run to his wife over Gone With the Wind, or maybe he was just being his usual boorish, obtuse, screw-the-talent self. Either way, Olivia found herself being offered an unvarying succession of two-dimensional ingenues; every time she turned one down she’d go on suspension. As 1942 turned into 1943, she was counting the days until her seven-year contract ran out in May. Then came a nasty shock: Warner informed her that the time she’d spent on suspension was being added to the end of her contract, another twenty-five weeks.

Any other contract star might have simply gritted her teeth and ridden out those six months, doing whatever Jack Warner threw at her just to be done with the studio, and with him. But this was one of those moments, like the showdown with George Fontaine over that high-school production of Pride and Prejudice, that showed what Olivia de Havilland was made of. In August 1943 she sued.

Jack Warner had dealt with rebellious stars before. Bette Davis had sued in British court to get out of her contract and lost; James Cagney had sued for breach of contract and — because Warners had clearly breached — fought the studio to a draw. This time J.L. wasn’t giving an inch; besides, Bette Davis and James Cagney had been (and were still) bigger stars than Olivia de Havilland.

But Olivia had a good lawyer, one Martin Gang. He found California Labor Code (CLC) Sec. 2855, which limited a personal-services contract to no more than seven years. The Hollywood studios had always interpreted that to mean seven years of actual work; Gang argued that such a limit was really no limit at all, and that the law must mean seven calendar years. Since her contract had been signed on May 5, 1936, he said, it had run out on May 5, 1943.

The Superior Court of California agreed, and so did the Court of Appeals. In February 1945 the State Supreme Court declined to hear the case, and Olivia was a free agent. She hadn’t worked in nearly two years and had run up steep legal fees, squeaking by on the occasional radio gig. Jack Warner effectively blacklisted her; as far as the studio was concerned she was still under suspension, and he wrote personally to every production company in America warning them not to hire her. But now it was over, she had won, and it was worth it. 

And not only for her. She had broken what was essentially a system of indentured servitude in which the studios had all the power and the stars had none. No more. Henceforth movie actors — indeed, anyone under contract for anything — would have much more control over their careers because Olivia de Havilland wouldn’t let Jack Warner push her around. And Hollywood seemed to respect her for it. Her first picture after the long dry spell was To Each His Own, and the Academy Award may have been as much a tribute to her legal victory as it was to her performance.

In his book Errol & Olivia, Robert Matzen suggests that the forced hiatus while her lawsuit trudged through the courts stunted Olivia’s momentum, causing her to “lose a chunk of her career as a youthful leading lady during three of Hollywood’s last good years” — and there’s something to that. Still, there were those two Oscars, plus a nomination for The Snake Pit — those three pictures probably constituting her best performances. If the shadow of Gone With the Wind loomed over the rest of her life — well, she wasn’t alone in that. And if her career turned down after 1950 — whose didn’t? She worked when she felt like it, and when she didn’t, she was happy at home in Paris, where she relocated with her second marriage to Paris Match editor Pierre Galante in 1955 (they divorced in 1979 but remained good friends, and she tended him as he lay dying of cancer in 1998).

Her last performance came in 1988, as the aunt of the future Duchess of Windsor in a TV movie about the abdication of Edward VIII; her last credit, narrating a 2009 documentary about art therapy for Alzheimer’s patients. Otherwise, it was a comfortable dowager retirement in her home near the Bois de Boulogne overlooking the Seine, sprinkled with life-achievement honors — including, at the age of 100, being made Dame Commander of the Order of the British Empire. So be it duly noted, she died not simply Ms. de Havilland, but Dame Olivia.

Also at 100, she showed the world that there was litigation in the old girl yet. She sued FX Networks and producer Ryan Murphy over Feud: Bette and Joan, an eight-part miniseries that purported to dish the dirt on the making of What Ever Happened to Baby Jane? in 1962 and the diva-rivalry between Bette Davis and Joan Crawford. Olivia had been a good friend of Bette’s, and she replaced Joan when she was fired from her and Bette’s follow-up teaming on Hush…Hush, Sweet Charlotte (1964), so Olivia was represented as a supporting character in the miniseries, and played by Catherine Zeta-Jones. As these two pictures suggest, neither Ms. Zeta-Jones, her costumer, nor her hairdresser gave much evidence of ever having seen or heard of Olivia. Neither did any of the writers, and that’s what she sued over, charging that her privacy had been invaded without her permission or input, that she had been slandered and misrepresented. True enough; Feud was sleazy stuff, despite all the A-list names, and it misrepresented pretty much everybody it mentioned. The only reason Olivia was the only plaintiff in the case is that she was the only one who was still alive.

The case got fast-tracked out of deference to Olivia’s advanced age, but nobody expected her to prevail, and she didn’t. Feud: Bette and Joan, distasteful as it was, was ruled to be protected First Amendment speech. Turns out it’s not against the law for someone to make a lousy movie, even if it’s about you, and on balance that’s no doubt a good thing; America’s prisons are crowded enough. Still, if there’s anything to karma, someday somebody will make a miniseries that does to Susan Sarandon, Jessica Lange, Alfred Molina and Judy Davis what they did to (respectively) Bette Davis, Joan Crawford, director Robert Aldrich and gossip columnist Hedda Hopper. For that matter, Catherine Zeta-Jones won’t get off scot-free either.

So Olivia lost that one, but she made her point: she still didn’t like being pushed around. Besides, I wonder if she didn’t have a longer game in mind. Feud was originally pitched by Ryan Murphy as an ongoing project, with each season consisting of an eight-part miniseries dramatizing some famous celebrity feud. Bette and Joan was simply Season One; Season Two would deal with Charles and Diana. Was Olivia’s lawsuit a proactive move, a shot across Ryan Murphy’s bow warning him not to plot out any episodes for Feud: Olivia and Joan? If so, maybe she could claim a strategic victory: it’s been three years now and there are still no plans for a Season Two of Feud (though Ryan Murphy has reserved the right to reanimate the project).

Over the years, Olivia granted a reasonable number of interviews, and she always graciously answered fan mail. But she frequently turned aside specific questions by saying that she would deal with that in her memoirs. Did she really write them, I wonder, or was that just her way of dodging nosy questions from strangers? I suppose we’ll find out sooner or later. If there is a manuscript somewhere in that house in Paris, I imagine it will be complete without being laborious, honest without being cruel, dignified without being snooty, assertive without being rude, and strong without being vulgar. Pretty much the way she was in all her movies — and, as far as anyone ever knew, in real life.