Tag Archives: Olivia de Havilland

Important books about film and film stars, published by the University Press of Kentucky.

Books about film and film stars—important books about film and film stars—are published by the University Press of Kentucky. Here is a handful of new and forthcoming film titles.

Legendary actress and two-time Academy Award winner Olivia de Havilland ($34.95) is renowned for her role as Melanie Wilkes in Gone with the Wind (1939). She often inhabited characters who were delicate, ladylike, elegant and refined. At the same time, she was a survivor with a fierce desire to direct her own destiny on and off the screen. She fought and won a lawsuit against Warner Bros. over a contract dispute that changed the studio contract system forever. She is also renowned for her long feud with her fellow actress and sister Joan Fontaine—a feud that lasted from 1975 until Fontaine’s death in 2013.

Author Victoria Amador utilizes extensive interviews and forty years of personal correspondence with de Havilland to present an in-depth look at the life and career of this celebrated actress .Amador begins with Havilland’s early life ( born in Japan in 1916 to a single mother and controlling stepfather) and her theatrical ambitions at a young age. The book then follows her career as she skyrocketed to star status, becoming one of the most well-known starlets in Tinseltown.

Readers are given an inside look at her love affairs with iconic cinema figures such as James Stewart, and John Huston, and her onscreen partnership with Errol Flynn, with whom she starred in The Adventures of Robin Hood (1938) and Dodge City (1939 ). After she moved to Europe in the mid-’50s, de Havilland became the first woman to serve as the president of the Cannes Film Festival in 1965, and remained active but selective in film and television until 1988.

Olivia de HavillandLady Triumphant is a tribute to one of Hollywood’s greatest legends, who has evolved from a gentle heroine to a strong-willed, respected and admired artist


With celebrated works such as Alien, Blade Runner, Thelma & Louise, and Gladiator, Ridley Scott has secured his place in Hollywood. This legendary director and filmmaker has had an undeniable influence on art and the culture of filmmaking, but is also a respected media businessman.

In Ridley Scott: A Biography ($40), Vincent LoBrutto delves into Ridley Scott’s oeuvre in a way that allows readers to understand the yin and yang of his exceptional career. Presented is a unique crosscut between the biographical facts of Scott’s personal life—his birth and early days in northeast England, his life in New York City— and his career in Hollywood as a director and producer of television commercials, TV series, miniseries and feature films.

Every film is presented, analyzed, and probed for a greater understanding of the visionary, his personality, and his thought process, for a deeper perception of his astounding work and accomplishments. The voices of cast and crew who have worked with Scott, as well as the words of the man himself, are woven throughout this book for a fully realized, critical biography, revealing the depth of the artist and his achievements.


The many con men, gangsters and drug lords portrayed in popular culture are examples of the dark side of the American dream. Viewers are fascinated by these twisted versions of heroic American archetypes, like the self-made man and the entrepreneur. Applying the critical skills he developed as a Shakespeare scholar, Paul A. Cantor finds new depth in familiar landmarks of popular culture in Pop Culture and the Dark Side of the American Dream:
Con Men, Gangsters, Drug Lords and Zombies ($40). He invokes Shakespearean models to show that the concept of the tragic hero can help us understand why we are both repelled by and drawn to figures such as Vito and Michael Corleone or Walter White.

Beginning with Huckleberry Finn and ending with The Walking Dead, Cantor also uncovers the link between the American dream and frontier life. In imaginative variants of a Wild West setting, popular culture has served up disturbing—and yet strangely compelling—images of what happens when people move beyond the borders of law and order. Cantor demonstrates that, at its best, popular culture raises thoughtful questions about the validity and viability of the American dream, thus deepening our understanding of America itself.


Throughout his career, Alfred Hitchcock had to deal with a wide variety of censors attuned to the slightest suggestion of sexual innuendo, undue violence, toilet humor, religious disrespect and all forms of indecency, real or imagined. From 1934 to 1968, the Motion Picture Production Code Office controlled the content and final cut on all films made and distributed in the United States. Code officials protected sensitive ears from standard four-letter words, as well as a few five-letter words like tramp and six-letter words like cripes. They also scrubbed “excessively lustful” kissing from the screen and ensured that no criminal went unpunished.

During their review of Hitchcock’s films, the censors demanded an average of 22.5 changes, ranging from the mundane to the mind-boggling, on each of his American films. Code reviewers dictated the ending of Rebecca (1940), absolved Cary Grant of guilt in Suspicion (1941), edited Cole Porter’s lyrics in Stage Fright (1950), decided which shades should be drawn in Rear Window (1954), and shortened the shower scene in Psycho (1960).

In Hitchcock and the Censors ($50), author John Billheimer traces the forces that led to the Production Code and describes Hitchcock’s interactions with code officials on a film-by-film basis as he fought to protect his creations, bargaining with code reviewers and sidestepping censorship to produce a lifetime of memorable films. Despite the often-arbitrary decisions of the code board, Hitchcock still managed to push the boundaries of sex and violence permitted in films by charming—and occasionally tricking—the censors and by swapping off bits of dialogue, plot points, and individual shots (some of which had been deliberately inserted as trading chips) to protect cherished scenes and images.

By examining Hitchcock’s priorities in dealing with the censors, this work highlights the director’s theories of suspense as well as his magician-like touch when negotiating with code officials.


 

Seventy years later, more proof why, still, “It’s a Wonderful Life”

James Stewart always thought it was a wonderful life. So did Donna Reed. And movie mavens worldwide. But the classic Yuletide film It’s a Wonderful Life almost didn’t make it onto the big screen and into our hearts.

The film is based on The Greatest Gift, a 1939 short story written by Philip Van Doren Stern.  He spent years trying to sell his story to publishers. No success, so in 1943, Stern self-published his work and sent it to 200 friends as a 21-page Christmas card. RKO Pictures wound up getting a hold of the “card” and bought the rights to the story. They had Cary Grant in mind to play suicidal do-gooder George Bailey.9511755_1

Time passed, and in 1945 Frank Capra was came on board and cast James Stewart as the star. Actresses such as Jean Arthur, Ann Dvorak , Olivia de Havilland and Ginger Rogers (who called the character “too bland” ) refused the co-starring role as George’s wife Mary. Donna Reed nabbed the role, and from here to eternity, is noted for her terrific performance.

When It’s a Wonderful Life opened in theaters in December 1946, the film received generally mixed reviews; it did, however, earn five Oscar nominations but won none. Gulp! it was somewhat of a box-office flop, failing to recoup its $3.7 million cost (it made $3.3 million during its initial run).its-a-wonderful-life-foto

No wonder George was suicidal! In the years following its release, It’s a Wonderful Life fell  into obscurity only to re-emerge during the ’70s and ’80s when it began appearing on television during the holiday season. In 1990, the nearly 45-year-old film was deemed “culturally, historically, or aesthetically significant” by the Library of Congress.

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Lionel Barrymore in a Sydney Greenstreet mode?

And who ever thought the baileys might think of a red Christ,as? In It’s a Wonderful Life received an official mark of disapproval from the FBI, which pegged the poignant film as Communist propaganda thanks to its populist themes and, more specifically, unflattering portrayal of big-city bankers.

Reads a section of a 1947 FBI memo titled “Communist Infiltration of the Motion Picture Industry”:

With regard to the picture “It’s a Wonderful Life”, [redacted] stated in substance that the film represented rather obvious attempts to discredit bankers by casting Lionel Barrymore as a “scrooge-type” so that he would be the most hated man in the picture. This, according to these sources, is a common trick used by Communists. In addition, [redacted] stated that, in his opinion, this picture deliberately maligned the upper class, attempting to show the people who had money were mean and despicable characters. [redacted] related that if he made this picture portraying the banker, he would have shown this individual to have been following the rules as laid down by the State Bank Examiner in connection with making loans. Further, [redacted] stated that the scene wouldn’t have “suffered at all” in portraying the banker as a man who was protecting funds put in his care by private individuals and adhering to the rules governing the loan of that money rather than portraying the part as it was shown. In summary, [redacted] stated that it was not necessary to make the banker such a mean character and “I would never have done it that way.”

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Why do we present such background? On October 11, Paramount Home Entertainment is releasing the 70th anniversary of one of the most beloved films of all time on Blu-ray and DVD. This 70th Anniversary Platinum Edition includes a beautifully colorized version of the film and the original black-and-white movie, as well as The Making of It’s A Wonderful Life, a documentary featurette hosted by Tom Bosley and the original trailer.  Plus, both the Blu-ray and DVD set include collectible, limited-edition art cards featuring images of original ads and lobby cards.