Showing posts with label Olivia de Havilland. Show all posts
Showing posts with label Olivia de Havilland. Show all posts

Wednesday, August 22, 2018

It's Love I'm After (1937)


"I can't understand why a man I'm so crazy about takes such a fiendish delight in tormenting me." - Bette Davis as Joyce Arden

They hate each other. They love each other. Stage actors Joyce Arden (Bette Davis) and Basil Underwood (Leslie Howard) have the most tempestuous romance. Under the lights and in front of an eager audience they deliver stunning performances, but backstage things can get ugly. After one rousing rendition of Romeo and Juliet, Basil is cornered by an infatuated fan. What he doesn't realize is this is no ordinary fan. She's wealthy socialite Marcia West (Olivia de Havilland). She truly believes she's in love with Basil, much to the dismay of her fiancee Henry Grant Jr. (Patric Knowles).

"Love for breakfast. Love for lunch. Love for dinner."

When Henry confronts Basil about this dilemma, Basil offers to help. Especially to repay the debt Henry's father paid him when the stock market crashed back in 1929. As Basil and his butler and partner-in-crime Digges (Eric Blore) act out one of Basil's original plays, Henry has an idea. Basil should visit Marcia's family and cause such a ruckus that she'll fall out of love with him. It'll be exactly like a performance in a play! But there are two major obstacles awaiting Basil. He doesn't realize that the woman he's fooling with dramatics is the same fan who visited him in his dressing room on New Year's Eve. Also Basil promised Joyce that they'd get married on New Year's Day and she's about to throw his plans for a loop. Can Basil save Henry and Marcia's relationship and his own or will it all end in tragedy?






"From now on I doff the mantle of a Romeo and assume the role of a cad." - Leslie Howard as Basil Underwood

Based on the original story by Maurice Hanline called Gentlemen After Midnight, It's Love I'm After (1937) was directed by Archie Mayo for Warner Bros. The project was born out of Leslie Howard's request for a comedic vehicle. He needed a break after a succession of dramatic roles, one of them which happened to be Romeo in MGM's Romeo and Juliet (1936). Olivia de Havilland, a fairly new contract player for Warner Bros. had recently appeared in Mayo's Call It a Day (1937). Two years later de Havilland and Howard appeared in Gone With the Wind (1939) together, clinching their status as Hollywood legends. De Havilland was added to the cast pretty early on and in fact they started shooting scenes with her, Knowles, Howard and Blore even before a leading lady was secured.

Getting a leading lady for the film was easier said than done. Leslie Howard initially wanted Ina Clare or Gertrude Lawrence, two stage veterans, to appear opposite him. In the end, neither had the screen presence to be viable options. Howard had worked with Bette Davis in Of Human Bondage (1934) and the Archie Mayo directed movie The Petrified Forest (1936). The two didn't get along and Howard was hesitant about working with her again. But if they wanted an actress who sparkled on screen they could do no wrong with Davis. When Davis was cast, the production was already well on its way. In fact, a July 1937 issue of Screenland shows behind-the-scenes pictures of the making of the film but does not mention Bette Davis whatsoever. Her character appears more so at the beginning and end of the film so plenty of scenes could have been shot without her. Before It's Love I'm After, Davis was hospitalized for exhaustion. She took a tumble into the orchestra pit during the filming of the Romeo & Juliet scenes and suffered a minor injury.




When I came across this movie, I was immediately drawn by the star power. Davis, Howard AND de Havilland? Of course I had to watch this! All three play to their strengths. Davis as the tempestuous actress who runs hot and cold, Howard as an actor's actor and de Havilland as a starry-eyed youth with a tender heart; not a stretch for any of them by any means. And one of my favorite child actors, Bonita Granville, plays to her strengths as the bratty spoiled teenager.

But it's not Davis, nor Howard, nor de Havilland, nor Knowles nor even boisterous little Granville who steals the show. It's character actor Eric Blore. If you enjoy Fred Astaire and Ginger Rogers movies, Blore is a familiar face. He often played waiters and butlers and in It's Love I'm After he plays Digges, Howard's underpaid but devoted assistant. The script really gave Blore many moments to shine. He's got a lot of terrific scenes, delivers some great lines and serves as both straight man and comic throughout the story. He's the most sensible character but he's also caught up in the magic of the theater. Blore's Digges anchors the movie and I'd go so far as to say he's the #1 reason you should watch it.

It's Love I'm After (1937) is a zany film with lots of great witty one-liners and insults. Come for Leslie Howard, Bette Davis and Olivia de Havilland and stay for Eric Blore.




It's Love I'm After (1937) is available on DVD-MOD from the Warner Archive Collection. When you use my buy link you help support this site. Thanks!


Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. I purchased It's Love I'm After (1937) from the WB Shop.

Friday, January 26, 2018

Not as a Stranger (1955)



"It isn't enough for you to have a brain. You have to have a heart."

Producer Stanley Kramer had staked his claim in Hollywood. After a string of successful films, he was ready to tackle being a director. For his directorial debut, he set his sights on Morton Tompson's bestselling novel Not as a Stranger. A huge hit with the public, the almost 1,000 page novel explored the work and social lives of doctors and nurses with a focus on its main character Lucas Marsh. Kramer was excited to adapt the story that took the nation by storm and he wanted to go big. He needed big stars and a big production. Little did Kramer know what he was getting into.



Medical student Lucas Marsh (Robert Mitchum) will do anything to be a doctor. His best friend Al (Frank Sinatra) and buddy Brundage (Lee Marvin) know it. When Marsh goes home to get some of the money he inherited from his mother, he finds that his drunken father Joe (Lon Chaney Jr.) has spent it all. After hearing some harsh words from Joe, Lucas goes back to school with a major dilemma. If he doesn't pay the rest of his tuition bill in 30 days he's out. Even the lab gig his professor Dr. Aarons (Broderick Crawford) and the check he forked over isn't enough. Lucas has been chatting with the talented Swedish nurse Kristina Hedgivson (Olivia de Havilland). At a family dinner Kristina's sister Bruni (Virginia Christine) and brother-in-law Oley (Harry Morgan), Lucas discovers that Kristina has several thousand dollars stashed away. He speeds up their romance and marries Kristina for the money and the chance to be a doctor, even though his buddy Al warns him that it's not a good idea. Eventually the couple moves to a small town where Lucas will replace the resident doctor (Charles Bickford) but he encounters the gorgeous and seductive widow Harriet Lang (Gloria Grahame). With his marriage in jeopardy, Lucas is also faced with a major operation that will test his skills as a doctor.

Not as a Stranger (1955) is a medical melodrama. To prepare for their parts, Mitchum, Sinatra and Crawford attended an autopsy in a hospital theater much like one in the beginning of the film and Mitchum and de Havilland had extensive training for the different surgery scenes. While Not as a Stranger an interesting look at hospital dynamics and the science of medicine circa the 1950s, this movie has some serious problems. At first I was annoyed by the over-the-top music and the fake Swedish accents and the sluggish pacing. But then I was frustrated by the fact that Mitchum, my favorite actor of all time, who could save pretty much any film, was terribly miscast. Perhaps it was a combination of various factors but Mitchum's Lucas is a very flat character. We don't get to learn enough about him or to connect with him for him to be fully dimensional. Olivia de Havilland serves well as the moral center of the film. Frank Sinatra is absolutely necessary to keep this film going. He's not only the voice of reason but he gives the movie some levity that it so desperately needs. The movie is overly long and at least 30-40 minutes could have been easily cut. What saves it is the wonderful cast and interesting subject matter.

Stanley Kramer, Olivia de Havilland, Frank Sinatra and Robert Mitchum on the set.

Kramer wanted to go big or go home. But perhaps he should have gone home. According to Don Lochte, in later years Kramer called the making of this movie "ten weeks of hell." Robert Mitchum told Lochte that "Stanley stays in his own way as a director." It wouldn't be fair to say this is all Kramer's fault. According to Mitchum biographer Lee Server, "Kramer had unwittingly loaded the picture with a number of Hollywood's most ferocious drinkers". Putting Mitchum, Chaney, Sinatra, Marvin, McCormick and Crawford in one movie might not have been the best idea. But Kramer believed in this cast. Lee Server in his book Baby I Don't Care wrote that there was a lot of hype for the movie adaptation. When news broke that Robert Mitchum would play Lucas Marsh, fans of the book were outraged. They didn't think he could pull off such a sensitive part. Kramer stood by Mitchum and proceeded.

It didn't turn out to be a total disaster. Not as a Stranger cost $2 million and made over $7 million at the box office. According to Frank Sinatra biographer James Kaplan, Sinatra was in the midst of a comeback and needed to keep working so accepting third billing and a smaller part was just something he had to do. Coming off of From Here to Eternity, Frank Sinatra still had something to prove if he wanted to be a big leading star in the movies. Not as a Stranger got him in front of audiences and kept that momentum going he desperately needed.

Olivia de Havilland and Gloria Grahame play polar opposites in a love triangle with Robert Mitchum. Their roles suited their particular strengths well. I wish De Havilland wasn't made to have that Swedish accent but I enjoyed her performance and for a while there she convinced me she was a trained nurse. Grahame was at this point becoming self-conscious about her appearance and was stuffing tissue underneath her front lip which makes her scenes kind of unbearable to watch.

During the making of this film, Mitchum, Sinatra and Crawford had some drinks with Joe DiMaggio and set after to break into Marilyn Monroe's apartment to get the couple back together. They broke into the wrong apartment in what was then called the "Wrong Door Raid."

I can't tell you not to watch Not as a Stranger. This film has such a fantastic cast and such an interesting backstory it would be a shame to ignore it.



Not as a Stranger (1955) is available on Blu-Ray from Kino Lorber. Besides a few issues in the beginning of the film, the Blu-Ray looks great. The extras include captions, various trailers and film commentary by Troy Howarth.

Thank you to Kino Lorber for sending me a copy of the Blu-Ray to review!

Wednesday, January 25, 2017

The Strawberry Blonde (1941)


The Strawberry Blonde (1941)

Biff Grimes would waltz with a strawberry blonde
And the band played on.
He'd glide 'cross the floor with the girl he adored
And the band played on.
But his brain was so loaded it nearly exploded;
The poor girl would shake with alarm.
He'd ne'er leave the girl with the strawberry curls
And the band played on.

Let's take a trip to New York City during the Gay Nineties with Raoul Walsh's film for Warner Bros. The Strawberry Blonde (1941). Adapted by screenwriting brothers Julius J. and Philip G. Epstein from a James Hagan play, the movie follows the story of two couples whose romances are complicated by one beautiful strawberry blonde.

Biff Grimes (James Cagney) is a struggling dentist, and not necessarily a very good one, trying to make ends meet for him and his wife Amy (Olivia de Havilland). He gets word that his old friend turned arch nemesis Hugo Barnstead (Jack Carson) is coming to him for some dental work. We flashback to when Biff and Hugo started fighting over the neighborhood cutie Virginia (Rita Hayworth). Thrown into the mix is Amy, a nurse with a progressive mindset. She clashes with Biff whose views are more traditional. We follow the duo as they naturally pair off and when things go sour for all involved. The story wraps up with one final encounter that leaves audiences satisfied.

Rita Hayworth, Olivia de Havilland, James Cagney and Jack Carson


The Strawberry Blonde has a fantastic cast. Among the four heavyweights that star in the film are some beloved character actors and familiar faces. Alan Hale plays Old Man Grimes, Biff's dad. He's a lovable rogue who can't hold down a job, loves a good bar fight and is a total flirt with the ladies. One object of his affection is Una O'Connor who plays a snooty neighborhood woman. Then there is George Tobias who plays Nicholas, a local barbershop owner and Biff's sidekick. He's also got an eye for the strawberry blonde but winds up with a giggle monster instead. George Reeves plays the punchy college man who picks a fight with Biff. Supposedly my favorite actress Susan Peters is in the film. After close examination I couldn't spot her. I suspect she's part of George Reeves' garden party harem but I can't confirm that.

"Freethinkers have a lot of time on their hands." - Amy

Of all the characters Olivia de Havilland's Amy was my favorite. She's a forward thinking suffragist who scoffs at societal gender norms. She eventually settles into a traditional life with Biff. This was another thankless role Warner Bros. threw at de Havilland in her post-Gone with the Wind days. She eventually broke free from the studio's contract after quite a battle. While this role isn't really worthy of her talent I think it's a fun role and in my opinion she outshines Hayworth's prim and proper strawberry blonde. I wasn't crazy about Hayworth at all in this film. Her character is beautiful but in the end rather pathetic. Her role is an example of how Hollywood sometimes tried to downplay her ethnicity.

This film has all the romance of the era. It's a nostalgia piece that pays tribute to the finer things of the Belle Epoque. There are barber shops, complete with barber shop quartets, ferry rides, beer gardens, saloons, gas lamps and horse-drawn carriages. The women wear Edwardian fashions and the men don boater hats, shirt garters, starched collars and big twirly mustaches. Orry-Kelly designed the costumes and they are of of course of top notch quality. Studios during the golden age of Hollywood would often take liberties with hair styles and clothing in period pieces but that's not the case here. Attention to detail lends to the historical accuracy of the style. It's a shame that the film is in black-and-white. Technicolor would have served it better.

This isn't a musical but music plays an important role here. Turn-of-the-century standards become the film's theme songs. Most notably The Band Played On plays a crucial part in the film. It gives the story its purpose, kicks off the initial drama and is both a boon and a curse for the main character Biff. The ending credits serve as a sing-a-long with lyrics and music encouraging the audience to sing The Band Played On. I've never seen this before and I thought it was quite fun.

The Strawberry Blonde (1941) benefits from a great cast, fun music, beautiful costumes, funny scenes, playful dialogue and an overall sweet story with a good dose of drama. There are some dull spots but overall it's a fun film. It tries to kick off with a bang but doesn't really get into a rhythm until the two female leads make their appearances. Regardless you should give this one a try. It's a fun movie for nostalgia buffs.


http://www.anrdoezrs.net/links/6581483/type/dlg/https://www.wbshop.com/products/the-strawberry-blonde-mod

The Strawberry Blonde (1941) is available from the Warner Archive Collection on DVD-MOD.




Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you Warner Archive for sending me The Strawberry Blonde (1941) to review!

Monday, September 12, 2016

Every Frenchman Has One by Olivia de Havilland

Every Frenchman Has One
by Olivia de Havilland
Crown Archetype
2016 Reissue
ISBN: 9780451497390 - 144 pages
Amazon - Barnes and Noble - Powells


Imagine sitting down for a nice long chat with actress and living legend Olivia de Havilland. Unless your Robert Osborne or some lucky soul, de Havilland’s book Every Frenchman Has One is as close as you’ll get to that experience.

Originally published in 1961 and reissued for Olivia de Havilland’s centennial year, this book explores the actress’s early days living in France during the 1950s. Why did she move to France in the first place? It all started when she was invited to the Cannes Film Festival to promote My Cousin Rachel (1952). She was in the middle of a divorce with her first husband Marcus Goodrich and thought a continental adventure would be a nice change of pace. She accepted the invitation but on one condition, that she would be able to bring her 3 year old son Benjamin. Little did de Havilland know that she’d soon meet her next husband Frenchman Pierre Galante. The two married, had a daughter Gisele and settled in France. De Havilland stayed long after both her children grew up and after she divorced Galante. But those first years in France took some getting used to.

Every Frenchman Has One explores all the stages of culture shock de Havilland experienced as she settled into her new life across the pond. Each chapter is an essay on the cultural differences between France and the USA and how she dealt with them. Topics include: nuances of the French language, traffic in Paris, French medicine vs. American medicine, the metric system, French stubbornness, living in old houses, hiring a French maid, Protestantism vs. Catholicism and more. Even though the subjects seem serious, de Havilland explores them in a jovial way. Each chapter is full of humorous and thoughtful anecdotes. When I read this I felt like I was transported back to 1950s Paris and was living these experience right alongside de Havilland.

Olivia de Havilland - Every Frenchman Has One


This book is only 140 or so pages and can be read in a day. The publisher Crown Archetype (an imprint of Penguin Random House) reissued the book in a slim and petite little hardcover edition that can practically fit in your pocket. It also has a gorgeous self-cover. For the 2016 edition, they added a very short interview with de Havilland about the book. It’s not the best interview. It doesn’t say who conducted it or what the circumstances were. It’s obvious the interviewer hadn’t read the book because the initial question would have been answered by reading the first chapter.

This was such a fun read and I’d recommend it to anyone who has an interest in Olivia de Havilland or French culture. I particularly loved reading about converting Fahrenheit to Celsius (it caused quite a stir when she wrote a piece for the New York Herald Tribune about it) and I was laughing out loud at her story of her disastrous home remodel. Her writing is sharp and witty and very entertaining. She's self-deprecating in the most charming way possible. A must read.


This is my fifth review for the 2016 Summer Reading Classic Film Book Challenge.



Tuesday, November 11, 2014

Wings of the Navy (1939)

Wings Of The Navy from Warner Bros.


Wings of the Navy (1939) shines a spotlight on U.S. naval aviation. This Warner Bros. film was directed by Lloyd Bacon and produced by Cosmopolitan Productions (a Hearst company). It stars George Brent as Cass Harrington. Cass and his younger brother Jerry (John Payne) have followed in their father's footsteps by pursuing careers in the Navy. Their rear admiral father, who recently passed away, has left them with the responsibility of carrying on the Harrington name in the Navy so that his legacy would continue. Pride, self-sacrifice and honor are all major themes in the story and the driving forces behind the actions of the various characters.

John Payne and George Brent in Wings of the Navy (1939)

Cass is an esteemed naval aviator with a reputation that has earned him respect and admiration among many of his colleagues. The younger Jerry is jealous of his older brother and seeks to surpass him. He abandoning his work with submarines and signs up to be a new naval aviation recruit, much to Cass' dismay.  Olivia de Havilland plays Irene Dale. With a father and a boyfriend (Cass) in the Navy, she's no stranger to the lifestyle. Jerry and Irene fall in love heightening Jerry's competitiveness towards his brother. What follows is a love triangle complicated by the dangers of aviation and the intricacies of a brotherly bond.

Olivia de Havilland and John Payne in Wings of the Navy (1939)

Providing some comic relief to this naval drama is Frank McHugh who plays Scat Allen. He's a farmer-turned-new-recruit who is blundering his way through the recruitment process. However, his character has the most personality and displays the most personal growth of all the characters. All of the other characterizations ultimately fall flat.

Frank McHugh in Wings of the Navy (1939)
The plot of Wings of the Navy (1939) is really secondary to the film's real purpose; to showcase the advancements in naval aviation and to entertain audiences with flying sequences both real and fake. Think of this film as a sandwich. You don't eat the sandwich for the bread, you eat it for the fillings. But without the bread it's not a sandwich. Without a plot Wings of the Navy wouldn't be a film. You need the plot to hold things together but really what you're after is the depiction of naval aviation.



As a story this film isn't very good. It's difficult not to compare Olivia de Havilland's very weak role as Irene Dale to her strong role as Melanie in Gone With the Wind which released the same year. Wings of the Navy was shot before Gone With the Wind but it's still a good example of how Warner Bros. didn't see de Havilland's true potential as an actress.

This film is worth watching especially if you are interested in military history. The planes and the aviation footage are the real stars of the movie. A New York Times review of the film reads:
"As a documentary study of the Pensacola Naval Air Training station, and its methods of turning raw recruits into seasoned pilots of combat and bombing planes, "Wings of the Navy" gets off the ground very nimbly, and has a good deal of value, interest and even excitement, of the purely mechanical sort, to offer to the curious."
Wings of the Navy was shot on location at the Pensacola and San Diego Naval Air Stations. The quality footage adds an authenticity to the film and gives it a lot of value as a historical piece.


The incredibly good looking cast of Wings of the Navy (1939). Olivia de Havilland, George Brent and John Payne.

Two of the characters head to Honolulu, Hawaii at the end of the film. I won't tell you which ones otherwise I'd spoil the ending. While Wings of the Navy is a WWII-era film, as of 1939 the United States was not yet involved with the war. However, in two years it would be when Japanese troops launched an attack on Pearl Harbor, Honolulu in 1941. After the film was over, I couldn't help wondering whether the two characters would have been victims or heroes of the Pearl Harbor attack or if they would have moved on to another base by then.

Wings of the Navy (1939) is available on DVD-MOD through Warner Archive . I usually feature Warner Archive movie reviews as part of my Warner Archive Wednesday feature. However, in honor of Veterans Day I'm posting this review early. Thank you to Warner Archive for sending me a copy of Wings of the Navy (1939) to review.




Wings of the Navy marquee on the Hemet Theater in Hemet, CA circa 1939. Source

Wednesday, October 29, 2014

Government Girl (1943)


Washington, D.C. during WWII was a hectic place. The new jobs created to support the war effort drove many to the nation’s capital. The influx of people caused a housing shortage that had workers and hotels scrambling. And with so many men away on duty, D.C. became a 10-women-to-every-man kind of a town leaving single gals with few options. The “government girls”, who took on a variety of important roles, were crucial to war effort’s success.

Add caption

What better way to examine chaos than with a screwball comedy? The film Government Girl (1943) is a humorous look at this moment in history. It was directed by Dudley Nichols, produced by RKO and adapted by Nichols and Budd Schulberg from a short story written by Adela Rogers St. John. Olivia de Havilland stars as Ms. Elizabeth Allard, AKA "Smokey", a “government girl” living and working in D.C. She’s booked a honeymoon suite at a hotel for her best friend May (Anne Shirley) and her soon-to-be-husband Sgt. Joe Blake (James Dunn). Joe only has 24 hours to get married, have quick honeymoon and be back on duty, so they are on a time crunch.

Anne Shirley and Olivia de Havilland in Government Girl (1943)

Unbeknownst to Smokey, the hotel gave their suite to Ed Browne (Sonny Tufts) a mechanic who has been hired by the government to do important work for the Air Force. When Smokey finds out the gentleman who lent her his ring so that her friend May could get married with one has the suite, they begin to butt heads.

Sonny Tufts in Government Girl (1943)
Sonny Tufts in Government Girl (1943)

And they keep butting heads when they eventually find out Smokey, or Ms. Allard, is really Ed Browne’s new secretary. He thinks she’s the one who was getting married. But really she’s a single government gal who already has two suitors, which is virtually a miracle in a town with an imbalanced ratio of men to women. Ms. Allard becomes Browne’s Girl Friday, helping him with important government work and championing for him when crooked government types try to screw him over.

Olivia de Havilland, Sonny Tufts and FDR.


This movie had a lot of potential but never quite realizes it. I read that Olivia de Havilland got stuck doing this film for RKO because of an arranged loan out from Warner Bros. What would follow was a difficult battle with Warner Bros. over her contract. Would the film have been better if circumstances for de Havilland were different? Male lead Sonny Tufts was being groomed during WWII to be a replacement star. With so many actors on duty and away from Hollywood, film studios needed more leading men. Tufts didn’t quite make the splash they were hoping for.

Government Girl is a quirky and funny movie but ultimately falls flat. The More the Merrier (1943), a Columbia picture starring Jean Arthur, Joel McCrea and Charles Coburn, is from the same year, deals with the same topic but is much more entertaining. If you are interested in the topic of American life during WWII, I suggest you watch Government Girl and then The More the Merrier to achieve a better experience. 

Agnes Moorehead and Jess Barker in Government Girl (1943)
Agnes Moorehead and Jess Barker in Government Girl (1943)


Notable appearances in the film include Agnes Moorehead as the villain Mrs. Right, Harry Davenport as Senator MacVickers and Una O'Connor as the honeymoon-wrecker-landlady. I love Anne Shirley but I thought her role as the daft but loveable May was a little too similar to Joan Fontaine’s portrayal of Peggy in The Women (1939). I’m not sure why I made that comparison while I was watching the film but perhaps it has something to do with Fontaine and de Havilland being sisters.

The main reason I watched the film is because I’m interested in the D.C. housing shortage during WWII. I’ve lived in cramped quarters all my life so I enjoy watching films about similar situations. The More the Merrier (1943), it’s remake Walk, Don’t Run (1966), Mr. Blandings Builds His Dream House (1948) and Buster Keaton’s Scarecrow (1920) are some of my top favorite movies partly for that reason.

One final note: fans of 1940s fashion will want to watch this for the excellent outfits worn by Olivia de Havilland, Anne Shirley and Agnes Moorehead.

Government Girl (1943) is available from Warner Archive on DVD-MOD.



Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. I received Government Girl (1943) from Warner Archive for review.

Thursday, October 14, 2010

#Errolivia Errol & Olivia: Ego and Obsession in Golden Era Hollywood by Robert Matzen


When I finished the book, I didn't know whether to kiss it or throw it across the room. In the end, I kissed it because I enjoyed the journey, frustrations and all.


by Robert Matzen
October 2010
$39.95 US
Paladin Communications/ Good Knight Books

I was contacted a while back about reviewing this book and I jumped on the chance. I had spend several nights recently with Errol Flynn for the review of the TCM Spotlight Boxed Set but I still had not had a taste of the Errolivia experience. Reading this book took me longer than usual. It's a 195 page plus coffee table book, chock-full of black-and-white and color photography, promotional stills, candids, portraits, etc. but it's also rich with information about Errol and Olivia's separate lives, their emotional yet distant relationship with each other and each of the 8 films they did together. It wasn't enough for me just to read about these movies, I wanted to watch them too but I only ended up watching half of them due to time restrictions and DVD availability.

Captain Blood (1935) *
The Charge of the Light Brigade (1936) *
Four's a Crowd (1938)
The Adventures of Robin Hood (1938) *
Dodge City (1939)
Essex and Elizabeth (1939)
Santa Fe Trail (1940)
They Died With Their Boots On (1941) *

(by the way, there is no such handy-dandy list of these movies anywhere in the book which kind of surprised me)

Reading this book was at times challenging and frustrating and other times pure bliss. This isn't a book you can casually read for fun. This is a book you will want to have arguments with, will want to throw across the room but also want to pet and stroke and cuddle up in bed with. Since I work in the book industry, I'm very particular about books. This book to me seems almost self-published. The publisher, Paladin Communications, seems only to have published this book and Robert Matzen's Errol Flynn Slept Here. Not really what you'd call a big publishing house with only 2 titles and one author. However, I've been very impressed with their marketing campaign. They did a lot of blogger outreach, got people excited about the book, created a dynamic and active Facebook page, and even created ErrolandOlivia.com complete with info about the book and a blog. The author recently asked on Facebook what his next topic of discussion should be on the blog. I suggested the Damita-Flynn-Curtiz love triangle which he doesn't talk about very much in the book. Lili Damita was a lively French actress who had a short career in the states. She was first married to Curtiz then to Flynn. Curtiz directed several Errolivia films and Damita would often visit Flynn on set to keep an eye on him. Wouldn't that be awkward? An Ex-husband directing, current husband acting and a wife lurking on set. The author seemed interested in my query so let's hope that he writes about it!

The book is very well structured and follows the parallel lives of Errol Flynn and Olivia de Havilland from their respective births and years growing up, to their Hollywood starts, their films together, their romance with each other and other people and it even follows Olivia de Havilland after Flynn's death but keeps Flynn in the picture as much as possible. The text never dallies or goes off track, it stays right on course giving the reader lots of great information along the way.

I did have a few issues with the book. It sometimes veered off into sleaze-ville. And of course, the sleaze was always directly linked to Errol Flynn who loved the ladies and loved the booze. One particular line that bothered me about Flynn having oral sex and intercourse with script girls and bit players during shoots. I thought it was both unnecessary and took for granted that the reader thinks Flynn is a womanizer (there was no footnote or reference). And I have to say this for the umpteenth time: Jimmy Stewart was NOT A WOMANIZER!!!

The author refers to Olivia as both Olivia and Livvie which threw me off because there was also Lili Damita, Lily Flynn and Lilian de Havilland. Oh the captions, let me just talk about those for a second. The author seems to take the photographs as an opportunity to write short 2-3 line sections of fiction where he over-analyzes what is going on in the image. My favorite one shows Flynn having lunch with Melville Cooper (who plays the Sheriff of Nottingham in The Adventures of Errol Flynn): it reads "[Cooper] toys with his glass uncomfortably, aware that Curtiz will have a fit if they don't get back to the set soon." Most of the captions are heavy on conjecture and not on fact. However, this improves drastically as the book goes along so in a second edition perhaps the earlier captions could be re-written.

I do think that if you are a classic film fan it is imperative that you pick up this book. There is a lot of great information about the studio system, the making of the Errolivia films and the general goings on of the Hollywood machine. Plus it makes for a really gorgeous looking addition to your collection of coffee table books.

Points in the book that I found particularly interesting:
  • Olivia's battle with Jack Warner and Warner Bros. studios. i.e, they did not treat her well.
  • Errol's marriage with fiery French actress Lili Damita (read more about her at Allure)
  • Flynn's $100 bet, They Died With Their Boots On (1941) and what de Havilland revealed to Michael Caine
  • How Errol upstaged Olivia in a scene in The Adventures of Robin Hood (1938)
  • Errol's Mommy issues
  • Curtiz's hellish movie sets
  • Gone With the Wind (1939) and how Olivia fought tooth and nail for the part of Melanie!
  • Errol really did not want to be Rhett Butler.
  • Ronald Reagan and the mound of dirt he built to step on to upstage Errol Flynn (LOLing all day). One of the best captions in the whole book!
  • The physical toll the movies took on Errol and Olivia
  • Olivia snubbing sister Joan at the Academy Awards (I could have stared at this picture all day). Joan: Congratulations! Olivia: Bitch, get away from my award!

If you've read this book, please let me know your thoughts. I'd love to hear them. And if you do pick it up, please report back. Make sure you stop by Cliff's blog Immortal Ephemera as he'll be reviewing the book soon.

In the meantime, enjoy the the Errol & Olivia book trailer.

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