Tag Archives: classic film

100 years ago today, Olivia de Havilland was born.

5 years ago this past March (and in the very wee infancy of this blog), I was studying abroad in Paris and heard that the great Olivia de Havilland would be introducing a movie she had recently narrated, a documentary about Alzheimer’s called I Remember Better When I Paint, at the American Library in Paris.

I was ecstatic. This was at a point in my studies where I was becoming quite homesick, and had spent the past few weeks binging classic movies at the Rue Christine in order to give myself a taste of home and comfort. I had become a huge fan of Olivia de Havilland over the past few years, had seen nearly every movie she ever made, and the fact that she would be appearing at the American Library while I was there in Paris seemed almost too good to be true.

She was 94 then, and I had no idea what to expect. Her onscreen persona had been a strange and appealing combination of sweetness and vulnerability, paired with a lion’s strength and an iron will in her eyes. Her life had been a series of triumphs and challenges in the extreme–from rocky relationships with her sister Joan Fontaine and first husband Marcus Goodrich, to loving and beautiful ones with her two children and her second husband, Pierre Galante. She won two Oscars and was nominated for three more. Her childhood had been difficult in many ways, and she overcame it to become one of Hollywood’s brightest superstars and a powerful advocate for the rights of entertainment workers who almost singlehandedly destroyed the studio system. This was a woman of enormous strength.

She was born in Tokyo, Japan on July 1, 1916, the first of two daughters to Lilian and Walter de Havilland, a British couple living abroad in Tokyo’s international district. Her sister Joan was born in 1917. In the aftermath of World War I, in March 1919, she moved with her mother and younger sister to San Francisco. Her parents were separating, and Walter stayed behind to work in Tokyo while Lilian moved with the girls to a warmer climate that would be better for their health. They soon moved from San Francisco to a smaller town an hour south, the village of Saratoga, CA. Lilian became involved with the owner of a San Jose department store, a man named George Milan Fontaine, whom she married when Olivia was 8. He was immensely strict with the girls, his harshness prompting at least one runaway attempt. They weren’t allowed any extracurricular activities, but Olivia was beginning to show a talent for drama and disobeyed her stepfather’s orders by joining the school play.

When Fontaine found out, he gave her an ultimatum. “You will either give up the play,” Olivia recalled him saying later, “or leave this house forever.” Olivia chose the latter, and at the age of 16, she left home.

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I had invited several European friends, all fans of Olivia de Havilland, to come with me to the American Library to hear Olivia introduce the movie. They flew in, two from Sweden, one from Italy by way of England, the afternoon of the movie and after cramming all of our stuff into my tiny apartment near Parc Monceau, we headed over to the library. Shortly after our arrival, we saw a regal, perfectly arranged shock of white hair sticking up from the front row of chairs. It was Olivia. She was sitting perfectly straight, talking and smiling with the people introduced to her, a perfect lady. She stood up whenever she was introduced to someone, leaping out of her chair faster than someone half her age. We watched her in awe. Essentially shunned by her family, left to fend for herself at 16 years old, she had forged her own path, never looking back and creating a livelihood entirely on her own, standing tall and maintaining her dignity all the way through her life. Even at 94 years old.

In a local production of Alice in Wonderland, shortly after she left home.

Despite the difficulties she encountered as a teenager living on her own, Olivia received a full scholarship to Mills College based on her exemplary grades. But at the same time, she auditioned and got the role of understudy for Hermia in A Midsummer Night’s Dream, directed by Max Reinhardt, to be performed at the Hollywood Bowl and various other places in California. Olivia decided to do the play in order to build up her resume and perhaps get more scholarship money for Mills, but after going onstage several times as the understudy, Max Reinhardt was so impressed with her that he selected her to go to Hollywood with him to make the movie version.

And thus began the career of Olivia de Havilland. She was signed to Warner Bros, where she made an impression not only with the acting talent that had so impressed Max Reinhardt, but also with her huge, winsome brown eyes and distinctive voice, perfectly suited for recording with the equipment in the mid-1930s.

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When the program was to start at the American Library, the producer of I Remember Better When I Paint, Berna Huebner, went to the podium and introduced Olivia, who would introduce the movie. Her words were loving and kind, speaking of a woman whom she had clearly come to love as a dear friend. Then Olivia came up to the podium and began to talk about the movie. I was so profoundly struck by the sound of her voice, I could barely pay attention to anything but the beautiful deep tones that were coming out of her mouth. Her voice was like melted chocolate, rising and falling dramatically with each clearly enunciated word, articulated slowly and deliberately. I have never heard a voice like hers in my life. It seemed to come from an era that is long gone–and of course it does.

During her years at Warner Bros, Olivia was often cast in damsel-in-distress roles, paired a whopping nine times with Errol Flynn. Their feelings for each other were palpable onscreen and off, but Flynn was married and Olivia refused to be the “other woman.” Still, Olivia continued to speak giddily about Flynn even in interviews many decades later, and it was clear that the love had never faded.

In 1938, she persuaded Jack Warner to loan her to Selznick International for a movie that Selznick was making based on the hit novel Gone With the Wind. Warner was reluctant, but finally allowed her to go, and Olivia signed on to play the shy, demure, ever-trusting Melanie Hamilton to Vivien Leigh’s Scarlett O’Hara.

Cast members sign the contracts for Gone With the Wind.

It became the role of her lifetime. Above anything else, Olivia de Havilland is remembered as Melanie Hamilton, playing the character to nuanced perfection. She received her first Oscar nomination for Best Supporting Actress against costar Hattie McDaniel, with McDaniel winning the Oscar and becoming the first African-American actress to do so. De Havilland took it very much in stride.

People were very attached to Melanie, but they knew I wasn’t a supporting actress. They knew that Hattie was, and they were not tricked, and they were not deceived, and they voted for Hattie.

-Olivia de Havilland, Academy of Achievement, 2006

Back at Warner Bros, she was beginning to tire of being the damsel-in-distress, finding those parts too limiting and itching to expand her repertoire. She had been nominated for an Oscar again in 1942 for her performance in Hold Back the Dawn, but had lost to her younger sister, who had come to Hollywood and started acting under the name Joan Fontaine. Joan and Olivia eventually became fodder for the press, who scavenged for stories and contributed to the crumbling of their sibling relationship, which had never been strong. But on Oscar night, Olivia was extremely gracious and proud of her younger sister, and the press captured it.

In the wake of her second Oscar loss, Olivia started refusing scripts from Warner Bros, resulting in suspensions that were then tacked on to the end of her contract. She seemed forever destined to the roles that she hated–and saw no light at the end of the tunnel for her career. She became very depressed, and consulted her agents to try to help her. The agents called a lawyer, who informed her of an obscure California law restricting the duration of time that a worker can be held under contract to seven years.

She went to court, and after an appeal, she won in a unanimous decision of the California Superior Court. The De Havilland Law, as the decision is now called, had and continues to have huge implications for workers in the entertainment business. It limited the power of the studios over their stars, and gave stars greater freedom to seek projects that they felt suited them, and set a precedent for workers in the music and sports fields. Most recently, Jared and Shannon Leto of the band Thirty Seconds to Mars sued in response to a musical contract issue, and won based on the De Havilland Law. They wrote Olivia personally to thank her.

From then on, Olivia’s career soared. In 1946, she played the role of a mother who gives up her illegitimate child and then tries to adopt him back in To Each His Own. The role finally won her her first Oscar. In 1948, she received another Oscar nomination for playing a mentally unstable woman whose treatment in a mental institution is documented in The Snake Pit, one of the first serious treatments of mental illness on film. Then in 1949 came another role of a lifetime, the role of a simple embroiderer set to inherit a large fortune who is courted by a man of questionable intentions in The Heiress, for which she won her second Oscar. Olivia’s metamorphosis from naïve, schoolgirlish embroiderer to bitter, jaded woman getting her revenge stands as one of the most brilliant transformations in film history.

At home, her life was becoming difficult. She was on the brink of divorce from Marcus Goodrich, whom she had married in 1946, and with whom she had had a son, Benjamin. They finally divorced in 1953, and shortly thereafter Olivia moved to France with Benjamin. Life got better in France–she married a Frenchman, Pierre Galante, the editor of Paris Match, with whom she had a daughter, Gisèle. She continued to work, though more sporadically now than before, and focus her energy on raising her children. She wrote a witty memoir in 1962 called Every Frenchman Has One, recounting anecdotes of living as a foreigner in France.

With her two children: Benjamin (left) and Gisèle (right).

Benjamin, a prodigious mathematician, grew up to be a statistical analyst and died from non-Hodgkin’s lymphoma in 1993. Gisèle became a respected journalist like her father, and currently lives in the Los Angeles area.

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Olivia became an American citizen in 1943 and has long been dedicated to the bastions of American culture in Paris, devoting her time and resources to the American University, the American Library, and the American Cathedral. It was her commitment to the American Library that brought I Remember Better When I Paint to France, and Olivia de Havilland to me. After her introduction, she sat down and watched the movie with the crowd–delighting in the movie as a simple member of the audience. It was a memorable moment. I watched one of the towers of the entertainment world sitting on a simple folding chair, laughing at a movie’s funny parts and furrowing her brow at the sad parts, just like the rest of us.

After it was over, we prepared to leave. Olivia was taken by the arm by one of the library staff, and accompanied out of the main room. But just as we were about to head out the door, we saw that shock of white hair again–this time behind the library desk, as Olivia chatted with the audience members who had come to see her. She had somehow broken free of the library staff member who was supposed to lead her to her car, and she was simply interacting with those who had loved her for so many years.

Just in case, we had brought things for Olivia to sign. I had brought my copy of Every Frenchman Has One, and my friends and I excitedly positioned ourselves in the crowd. She talked with us for several minutes, asking us where we had gotten our long out-of-print books and interacting in just as charming and gracious a way as she did on the screen.

When it finally came time for her to leave, she went unwillingly. “They’re making me leave!” she exclaimed. It took her another good few minutes to get out the door, and when she did, we saw that she had come to the event alone at 94 years old.

And so it has always been. She did it all herself.

Happy 100th birthday, Olivia. There is no one more deserving of this special birthday than you.