James Stewart: A Walk on the Dark Side

<div style="font-family: Verdana,sans-serif;">by guest contributor Classicfilmboy</div><div style="font-family: Verdana,sans-serif;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRmnXVHdkvY9NAzmc_IAZJdYpeSIwZ7wOISZ4TxYh3Hxq69nQ5GBcKdVjMvdP4zbLizNSdB2K9bTAVQ979eNhxwc1byGH1l_Ddfg2FGlcTGQBpyUgP6Mz4IDUkPnXBN-TZoqf1H6PjPaao/s1600/Scottie+Obsessed+and+Coit.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRmnXVHdkvY9NAzmc_IAZJdYpeSIwZ7wOISZ4TxYh3Hxq69nQ5GBcKdVjMvdP4zbLizNSdB2K9bTAVQ979eNhxwc1byGH1l_Ddfg2FGlcTGQBpyUgP6Mz4IDUkPnXBN-TZoqf1H6PjPaao/s400/Scottie+Obsessed+and+Coit.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">Alfred Hitchcock had a knack for bringing out the worst in the best of actors. </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">And I mean that as a compliment. He could take likable leading men, cast them as dark characters and draw great performances. Think of Cary Grant’s Johnnie in <i>Suspicion</i> (before the studio re-edited the ending), Joseph Cotton’s Uncle Charlie in <i>Shadow of a Doubt</i> and Robert Walker’s Bruno in <i>Strangers on a Train</i>.<br /><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">Perhaps the best example of this was how Hitchcock used James Stewart, whose image was the “aw shucks” guy next door. As Hitchcock biographer Patrick McGilligan suggests, his heroes began to deepen with Grant and then with Stewart, and those films deepened as a result. </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /><a name='more'></a></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">But as much as I love Grant, he has a particular on-screen persona that became part of almost every performance he gave starting in the late 1940s. Meanwhile, as Stewart aged, he pushed away from his all-American persona and began playing dark and conflicted men, looking less and less like the characters audiences loved in the 1930s and early 1940s. Frank Capra tapped into Stewart’s dark side in 1946’s <i>It's a Wonderful Life</i>, with the actor playing a man who is contemplating suicide, forced to stay and work where he never wanted to and bitter that he never had the opportunities that others enjoyed. According to McGilligan, Stewart told Lionel Barrymore that his air force experience during World War II made him question acting, resulting in Stewart searching for stronger parts. </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYIos6P3kd1a7AMECdSmwtgAiTygL26OF16qX2RcqwJfN60t2sbQoElSWmZVVhJwiOFXvQ5WL45YKXIeUKK135proqum1jTaUw6vbWJaPlrfW0TPaqDaDNHazc9ZLnrqB8MM6F9MqbDhGK/s1600/rope.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYIos6P3kd1a7AMECdSmwtgAiTygL26OF16qX2RcqwJfN60t2sbQoElSWmZVVhJwiOFXvQ5WL45YKXIeUKK135proqum1jTaUw6vbWJaPlrfW0TPaqDaDNHazc9ZLnrqB8MM6F9MqbDhGK/s400/rope.jpg" width="400" /></a></td></tr><tr style="font-family: Verdana,sans-serif;"><td class="tr-caption" style="text-align: center;"><i>Rope </i>(1948)</td></tr></tbody></table><div class="MsoNormal" style="font-family: Verdana,sans-serif;">It makes sense that Hitchcock would pick up on Stewart’s newfound attitudes. Yet, oddly enough, Stewart’s first film with Hitchcock was 1948’s <i>Rope</i>, in which Stewart is very much playing off his good-guy persona. Stewart does his usual fine job, but both he and Hitchcock learned from this for their future collaborations. </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">But first came some fine roles that would eventually comprise a decade of marvelous work from Stewart, starting with 1950’s <i>Harvey</i>. As the gentle Elwood P. Dowd, Stewart plays someone who’s not in touch with the rest of society, which in itself can get you labeled as mentally disturbed even if that’s not the case. Stewart mines the dark comedy in playing a man who would rather be friends with a large imaginary rabbit that with any humans, and it takes a special actor to make this character resonate rather than becoming too cute or too disturbing. </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">Stewart’s early 1950s westerns also brought out a toughness in character. Just look at <i>The Naked Spur</i>, with Stewart as a bounty hunter in a tale that predates some of John Wayne’s more conflicted Western characters.  </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidj7TaMT1aCX2URWkPopJycrJXeiSevUlcForgeX1ReBg3zhYLq2J6wS_Bm5KA9znAULJJDaOBQuX8mgwaZmDnUy5QxpUJVU6HLKrCpMmmVo-syil0pPir9SSyXK9cDTeTX62vpa3aH3Ne/s1600/rear+window.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidj7TaMT1aCX2URWkPopJycrJXeiSevUlcForgeX1ReBg3zhYLq2J6wS_Bm5KA9znAULJJDaOBQuX8mgwaZmDnUy5QxpUJVU6HLKrCpMmmVo-syil0pPir9SSyXK9cDTeTX62vpa3aH3Ne/s400/rear+window.jpg" width="400" /></a></td></tr><tr style="font-family: Verdana,sans-serif;"><td class="tr-caption" style="text-align: center;"><i>Rear Window </i>(1954)</td></tr></tbody></table><div class="MsoNormal" style="font-family: Verdana,sans-serif;">Stewart’s second pairing with Hitchcock is 1954’s <i>Rear Window</i> which is my favorite Hitchcock film of the 1950s. It’s rare to think of Stewart as having a sexuality on screen, yet here Hitchcock fully taps into it with Stewart’s character, Jeff, having an open affair with Grace Kelly. It’s rather shocking to see Mr. All-American, in a leg cast and wheelchair, clearly in lust with the lovely Ms. Kelly. Yet it works, bringing Stewart down to our level. Yes, he’s still the hero, but he also has desires and doubts like the rest of us. The fact that our hero likes to spy on all of his neighbors adds an unsettling dimension to that character, because the audience is right there with him, knowing it’s wrong but unable to do anything but indulge. </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">How better than to have your audience identify with a peeping Tom than have that man played by Stewart. He’s a flawed man, and one that Hitchcock and Stewart brilliantly explore together. </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXofHi52KyOTYj4QZYwpYQn4M1tQo0gw76Ddy3sIDbnePOH2gMYpRnBXs-TsP_MBZlASLZTLlgD_mQLladvtZY3xC_klo_fVhniHxTJCrqj5pvdqZOJFyThhDViUbf5XIhHnuT0M4GmczN/s1600/tmwktm+2.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXofHi52KyOTYj4QZYwpYQn4M1tQo0gw76Ddy3sIDbnePOH2gMYpRnBXs-TsP_MBZlASLZTLlgD_mQLladvtZY3xC_klo_fVhniHxTJCrqj5pvdqZOJFyThhDViUbf5XIhHnuT0M4GmczN/s400/tmwktm+2.JPG" width="400" /></a></td></tr><tr style="font-family: Verdana,sans-serif;"><td class="tr-caption" style="text-align: center;"><i>The Man Who Knew Too Much </i>(1956)</td></tr></tbody></table><div class="MsoNormal" style="font-family: Verdana,sans-serif;">It’s worth noting that Stewart was cast before screenwriter John Michael Hayes started his work, so the role was tailored to Stewart. </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">Stewart and Hitchcock were both friendly and business-like to each other. More importantly, they understood each other. Stewart re-teams with Hitchcock a third time in <i>The Man Who Knew Too Much</i>, although in the first half of the movie Stewart relies on his aw-shucks persona too much. It isn’t until the latter stages when Stewart’s Ben MacKenna is desperate to save his child. </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">But Hitchcock fully taps into the dark side of Stewart in <i>Vertigo</i>, their fourth film together. Stewart’s Scottie may be afraid of heights, but that’s the least of his problems in light of his sexual obsession over Kim Novak. </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><a href="http://eves-reel-life.blogspot.com/2012/01/deadly-obsession-alfred-hitchcocks.html" style="color: #990000;">R.D. Finch</a> does an outstanding job of discussing Stewart in his <i>Vertigo</i> post from earlier this month during The Lady Eve’s <i>Vertigo</i> event, and there’s no need to repeat what he wrote. What’s worth noting is the unsettling, frightening darkness to Stewart’s character. </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguuXMpQOTi5IFMTrFSWhFKGhrtw8d2hVoD6xBMOeVm5COsQUbEgWqKP8GmEDmHz6NWVKugybFms-BET6NNajmaPQpXdSyDwUR24GdN6LRasAkooODHIRGjRJMWd153N3JviQnJUkiEifKa/s1600/changing+judy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguuXMpQOTi5IFMTrFSWhFKGhrtw8d2hVoD6xBMOeVm5COsQUbEgWqKP8GmEDmHz6NWVKugybFms-BET6NNajmaPQpXdSyDwUR24GdN6LRasAkooODHIRGjRJMWd153N3JviQnJUkiEifKa/s400/changing+judy.jpg" width="400" /></a></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"> Perhaps this is why the film wasn’t much of a success when it was released. In <i>Rope</i>, <i>Rear Window</i> and <i>The Man Who Knew Too Much</i>, Stewart eventually overcomes his weaknesses, although with some struggle. In <i>Vertigo</i>, the weaknesses are debilitating, and maybe that’s what audiences simply don’t want to see in Stewart or accept from one of his characters. </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAMH60yQmjCJdMjmwlOCXXBwF2r5djqMORIFCHNNpnp6398H768l1uiRYpTNHPTeGhV-WgtB6tTSS5HYasRpQkehHHG6-q6CfgKOld0k7arQHIWxBgwuzWcRjTl60z5m_BBGdBuiTQ1Lfv/s1600/vengeance+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAMH60yQmjCJdMjmwlOCXXBwF2r5djqMORIFCHNNpnp6398H768l1uiRYpTNHPTeGhV-WgtB6tTSS5HYasRpQkehHHG6-q6CfgKOld0k7arQHIWxBgwuzWcRjTl60z5m_BBGdBuiTQ1Lfv/s400/vengeance+2.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">But Scottie should be a disorienting figure in a film where dizziness is both literal and figurative. For me, Stewart’s casting is genius, because it adds another level of disorientation. I doubt another actor could have carried this off. Sure, others may have given strong performances, but Hitchcock and Stewart knew what they were doing. It’s that extra push, the expected screen persona that’s built into the audience mindset before the film begins that ultimately shocks them in the end. </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggnGAHVdo4Nz_fopkDZyqTFxnnSiDB8rFx-RFUnI5WsdhC5gzGGgvSgy9nFzpSUYYImZMFtn8vNzHvU1DLd5SsUXxCId6nU5tXL8IxRW-1FPZfGdO9Y3af4k6taxyADdoKcah0iUORDyc2/s1600/acrophobia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggnGAHVdo4Nz_fopkDZyqTFxnnSiDB8rFx-RFUnI5WsdhC5gzGGgvSgy9nFzpSUYYImZMFtn8vNzHvU1DLd5SsUXxCId6nU5tXL8IxRW-1FPZfGdO9Y3af4k6taxyADdoKcah0iUORDyc2/s400/acrophobia.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">  </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"> As a result, <i>Vertigo</i> is an enduring, disturbing tale. Over four films, Hitchcock and Stewart worked well together, and the great director elicited from Stewart some of his best work, perhaps none as disturbing as Scottie.</div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-D0Z1YDOm8nivyoh1Ba-Wbpfd1EYgd62tOxxAKg6o29ekRouh1ubcMamMzCxPqzxSbIFviwymFa8Z5iQyFqRLGGks5Htk6va1UwGHdNv9nO3Slm5wdx1qn1I52nzGSJe84XLy1wa2vajz/s1600/shattered.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-D0Z1YDOm8nivyoh1Ba-Wbpfd1EYgd62tOxxAKg6o29ekRouh1ubcMamMzCxPqzxSbIFviwymFa8Z5iQyFqRLGGks5Htk6va1UwGHdNv9nO3Slm5wdx1qn1I52nzGSJe84XLy1wa2vajz/s400/shattered.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">  </div><div class="MsoNormal" style="font-family: Verdana,sans-serif; text-align: center;">~</div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><i>Brian, aka Classicfilmboy, developed a love of classic films at a young age with the annual airing of </i>The Wizard of Oz<i> on CBS (which he partially blames for his tornado phobia). As a kid growing up in a small Midwestern town, access to classic films was limited, which made their mystique even more enticing. Brian later spent 10 years as a film reviewer and now writes <a href="http://classicfilmboy.com/" style="color: #990000;">Classicfilmboy.com</a>, although he wishes he could devote more time to his blog. He specializes in pre-1970 film history, and for fun he teaches noncredit film appreciation classes at his local community college in suburban Chicago. </i></div>

A Month of Vertigo Alfred Hitchcock Classicfilmboy James Stewart Vertigo James Stewart: A Walk on the Dark Side

by guest contributor ClassicfilmboyAlfred Hitchcock had a knack for bringing out the worst in the best of actors. And I mean that as a compliment. He could take likable leading men, cast them as dark characters and draw great performances. Think of C…

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Take 2: Irene Mayer Selznick, a Life in Three Acts

<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC1rwjNKvjiJVAo6vLvvJ4L7E6u5-MWrWAroNu2dRpFuq9xQFc0p633lqr8W0FmG2NBITm_-VBQRzKgL5TLleMYjGTqHXmBGXSINuLRkQWt3rKjgwSsxV2421BCnEfRa0eAGAOSesPrpjI/s1600/Private+View%252C+Irene+Mayer+Selznick+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC1rwjNKvjiJVAo6vLvvJ4L7E6u5-MWrWAroNu2dRpFuq9xQFc0p633lqr8W0FmG2NBITm_-VBQRzKgL5TLleMYjGTqHXmBGXSINuLRkQWt3rKjgwSsxV2421BCnEfRa0eAGAOSesPrpjI/s400/Private+View%252C+Irene+Mayer+Selznick+3.jpg" width="391" /></a></div><br /></div><div style="text-align: center;"><b style="font-family: "Trebuchet MS",sans-serif;">Classic Film Boy and The Lady Eve Discuss the Fascinating Irene Mayer Selznick</b></div><div style="text-align: center;"></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxSnv0SDnAR0IDllOtkp8c_djExaJ4v1CfoEnScXtpzDVM3E6YJXolP4j-0KST9FMSLrIWxuS89jSo-EyqVmcL1rx9TtdV8InczQ-Kb6LRcZtzAmz7KtOaP4Jmc0TywweFbqR5ByWGi46e/s1600/Take+2-2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxSnv0SDnAR0IDllOtkp8c_djExaJ4v1CfoEnScXtpzDVM3E6YJXolP4j-0KST9FMSLrIWxuS89jSo-EyqVmcL1rx9TtdV8InczQ-Kb6LRcZtzAmz7KtOaP4Jmc0TywweFbqR5ByWGi46e/s200/Take+2-2.jpg" width="200" /></a></div><span style="font-family: "Trebuchet MS"; font-size: 11pt;"><i>Welcome to Take 2, a conversation about Irene Mayer Selznick, the daughter of MGM studio head Louis B. Mayer and first wife of famed producer David O. Selznick. Both Classic Film Boy (CFB) and I (TLE) recently read <span style="color: #cc0000;"><a href="http://www.goodreads.com/book/show/1238423.A_Private_View" target="_blank"><u>A Private View</u></a></span>, Mayer Selznick’s 1983 autobiography.We were impressed by the story of this strong woman who grew up and lived in Hollywood during its golden age and went on to become an esteemed Broadway producer in her own right. CFB invited me to discuss her life with him and, over the past month or so, we did:</i> </span><br /><a name='more'></a><span style="font-family: "Trebuchet MS"; font-size: 11pt;"> </span></div><div class="MsoNormal"><br /><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">CFB</span></b><span style="font-family: "Trebuchet MS"; font-size: 11pt;">: It is great to find another fan of Irene Mayer Selznick’s autobiography. I knew very little about her until I read Scott Berg’s <span style="color: #cc0000;"><a href="http://www.goodreads.com/book/show/292751.Kate_Remembered" target="_blank"><u>Kate Remembered</u></a></span>, his biography of Katharine Hepburn, with whom he became great friends. He was also friends with Irene, and she really intrigued me. By this time it was later in her life, after her autobiography had been published, and I wanted to know more about this woman.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="font-family: "Trebuchet MS"; font-size: 11pt;"> </span></div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">TLE</span></b><span style="font-family: "Trebuchet MS"; font-size: 11pt;">: Over the past few years I’ve had an experience that could be called “all roads</span></div><div class="MsoNormal"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">lead to Irene Mayer Selznick” – I kept coming upon interesting references to her as I</span></div><div class="MsoNormal"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">read about or researched other subjects. Eventually, I knew I had to get my hands</span></div><div class="MsoNormal"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">on her autobiography. This led me to also peruse biographies of her father as well as</span></div><div class="MsoNormal"><span style="font-family: "Trebuchet MS"; font-size: 11pt;"><span style="color: #cc0000;"><a href="http://www.goodreads.com/book/show/41243.Showman" target="_blank">David Thomson’s bio of David O. Selznick</a></span> - primarily to learn more about Irene in</span></div><div class="MsoNormal"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">relation to the two key men in her life.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">CFB</span></b><span style="font-family: "Trebuchet MS"; font-size: 11pt;">: I’ll need to read the David Thomson book. I’ve read a few others on David O. Selznick. It interests me that several books infer that Irene had an iron will and you didn’t want to cross her. Yet I didn’t get that feel from her autobiography. I guess the truth lies somewhere in between. Still, I very much wish I could have met this woman. </span></div><div class="MsoNormal"><br /></div><div class="separator" style="clear: both; text-align: center;"></div><div class="MsoNormal"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzzSNLuhaXufe9-ZQroNP61u072SFf2AFCO1iHLDDyHFL9vCW1H32vgcbX24Zl2STL-fngdJx_hXEP12F5Qie1-UzLQipfXVw0tmzXYnqoKK3r9-SquVL_ky6AspagKEq2Or1Qw_nnq_3_/s1600/Edie+Louis+Margaret+and+Irene.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzzSNLuhaXufe9-ZQroNP61u072SFf2AFCO1iHLDDyHFL9vCW1H32vgcbX24Zl2STL-fngdJx_hXEP12F5Qie1-UzLQipfXVw0tmzXYnqoKK3r9-SquVL_ky6AspagKEq2Or1Qw_nnq_3_/s320/Edie+Louis+Margaret+and+Irene.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Mayers: Edie, Louis B., wife Margaret and Irene in the 1920s</td></tr></tbody></table><span style="font-family: "Trebuchet MS"; font-size: 11pt;">You would expect that someone who was brought up in Hollywood during the 1920s would have been part of the jazz age/flapper set. Yet I was amazed at the quiet life Irene and her sister Edie lived. It wasn’t sheltered, but it wasn’t flamboyant, either. </span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">TLE</span></b><span style="font-family: "Trebuchet MS"; font-size: 11pt;">: My impression was that Irene and Edie’s lives under their father’s roof were intensely scrutinized and fairly insulated. Louis B. was vigilant and protective to the point of warning his girls not to become smitten with #1 Hollywood bachelor <span style="color: #cc0000;"><a href="http://www.oscars.org/awards/academyawards/about/awards/thalberg.html" target="_blank">Irving Thalberg</a></span> (before he married Norma Shearer) because of his ill health. Irene wrote that they were allowed to socialize with him but were <i style="mso-bidi-font-style: normal;">never</i> seated next to him at dinners or events.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">Irene seems to me to have been a stifled child. She behaved very self-protectively, careful not to reveal much about her thoughts or feelings to her parents. She had a stammer, something that developed in childhood and apparently lasted most of her life.  Probably the most telling statement she made about her early life was that her parents had given her everything but a sense of her own worth.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVnxOMuNiNj8PGjwQwnv5uUuZZo2Nj4NVhG_U5NQu1wAHEs-xYz07fXq3hiWK0-Wx9FRh3daACpEln42z5wZkFU0aMfyhDe7q-84Vrw0NGVRaU3J4FXhoIknAqrGlObZ2uwMk_XFF6eHy4/s1600/the+selznicks+arrive.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVnxOMuNiNj8PGjwQwnv5uUuZZo2Nj4NVhG_U5NQu1wAHEs-xYz07fXq3hiWK0-Wx9FRh3daACpEln42z5wZkFU0aMfyhDe7q-84Vrw0NGVRaU3J4FXhoIknAqrGlObZ2uwMk_XFF6eHy4/s400/the+selznicks+arrive.jpg" width="230" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Irene and David O. Selznick on the town</td></tr></tbody></table><span style="font-family: "Trebuchet MS"; font-size: 11pt;">Irene grew up to be more her father’s daughter than her mother’s. She was very bright, discerning and determined. And she was a good-looking woman, stylish and modern in her day. I have the impression that David O. Selznick counted on her for quite a bit during their 19-year marriage – which may be why he could never completely let her go. She had been his foundation and sounding board during those years when he achieved the heights.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">CFB</span></b><span style="font-family: "Trebuchet MS"; font-size: 11pt;">: Great impressions, and you are on target. I do think Louis B. was overly protective, yet Irene never seemed to shy away from more intellectual pursuits. Where her older sister, Edie, definitely focused on the clothes and societal aspects of life as she came of age, she preferred people whose minds she admired. I enjoyed her fond recollections of <span style="color: #cc0000;"><a href="http://www.hearstcastle.org/history-art/historic-people/william-randolph-hearst" target="_blank">William Randolph Hearst</a></span> (and not-too-fond memories of <span style="color: #cc0000;"><a href="http://www.tcm.com/tcmdb/person/44966|106932/Marion-Davies/" target="_blank">Marion Davies</a></span>, who also had a stammer). He treated Irene as a woman with a brain, and she treasured their conversations together. David did the same thing – he recognized that she was his equal in that regard. </span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">As for her father, Irene paints a side of Louis B. in her autobiography that many may not be aware of. She recalls when he – notoriously fond of Americana and family-friendly fare – saw <i>A Streetcar Named Desire</i>, which Irene produced for the stage. Louis B. came to the tryouts in New Haven, and Irene was worried about his reaction. Others were respectful but weren't gushing, but it was Louis B. who pulled Irene into a room and told her, “You don’t have a hit, you’ve got a smash. You wait and see.” She was then shocked to see her father and Elia Kazan, the play’s director, deep in conversation and clearly enjoying each other’s company! </span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">I also agree with you that Irene was a good-looking woman, although Edie didn’t think she put enough into how she looked. I love this from Irene’s book: </span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdusoV3w_qcpdZFqMiXuUUQDUQdOjVdVEy0rv0j3NQdLpp_boyJevkCAEU6Ekpi2b3YFgqE68kBAdRWfOcNvKh7utSljCwnv-mrBejbYkSW9BRDGcHrwS16Ej0eQEylP4m6k5iRlo_TQo-/s1600/Irene+and+Edie+1929.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdusoV3w_qcpdZFqMiXuUUQDUQdOjVdVEy0rv0j3NQdLpp_boyJevkCAEU6Ekpi2b3YFgqE68kBAdRWfOcNvKh7utSljCwnv-mrBejbYkSW9BRDGcHrwS16Ej0eQEylP4m6k5iRlo_TQo-/s200/Irene+and+Edie+1929.jpg" width="148" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Irene and Edie Mayer in the 1920s</td></tr></tbody></table><span style="font-family: "Trebuchet MS"; font-size: 11pt;">Edie to Irene: “Do me a favor, darling. While I want you to look beautiful for yourself, actually I’m being selfish. Everyone thinks I’m years younger than you, but there are some people from way back who remember. So take care of yourself for my sake, because you make me years older than I appear.”</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">Irene’s response when a friend asked how old Edie was: “She used to be two years older than me. Now she is younger than springtime.”</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">TLE</span></b><span style="font-family: "Trebuchet MS"; font-size: 11pt;">: You touch on a significant aspect of Irene’s life, her disastrous relationship with her sister, Edie. Theirs was a sibling rivalry that eventually drove them completely apart. Edie had suffered ill-health when she was young and, as a result, received a lot of special parental care and attention. Because it was expected of her, Irene deferred to her “frail” sister’s every whim. As the two grew up, Irene became the more popular of the two and was part of Hollywood’s up-and-coming younger crowd. This didn’t escape Edie's notice.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikJZIepUPPRX4gjclz_DGWBcOJk4MRVB98XHE-8RmJxbjGi9BNg54r2BrQaMz6tGSomZV0XKD85SVawRfbZwOYl11zVHR_uGCxuo-JWEvWE3qsDzMS4Nc6n5c2WEZrdtpcjcTUEWb1p74T/s1600/Edie+Goetz+with+Van+Gogh.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikJZIepUPPRX4gjclz_DGWBcOJk4MRVB98XHE-8RmJxbjGi9BNg54r2BrQaMz6tGSomZV0XKD85SVawRfbZwOYl11zVHR_uGCxuo-JWEvWE3qsDzMS4Nc6n5c2WEZrdtpcjcTUEWb1p74T/s320/Edie+Goetz+with+Van+Gogh.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Edie Mayer Goetz at home...with Van Gogh</td></tr></tbody></table><span style="font-family: "Trebuchet MS"; font-size: 11pt;">Edie was a woman of great social ambition. Her husband, Bill Goetz, was a producer, though not a trailblazer in the way L. B. Mayer or David Selznick were. Mayer brokered Goetz’s partnership at 20^th Century Fox and it’s said that the snide inside-the-industry crack “the son-in-law also rises” was aimed as much at Goetz as it was Selznick. Goetz’s most significant film was <i style="mso-bidi-font-style: normal;">Sayonara </i>(1957), and it earned an Oscar nomination for Best Picture. He was a canny and forward-thinking businessman and enormously popular in Hollywood. Once the Selznick’s split up, he and Edie were at the heart of its social scene and remained so until his death in 1969. Edie quickly lost her social clout once Goetz died.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">Irene’s ambition seems of an entirely different nature. Her inclination was to be in on the action, not a decorative accessory or hostess. Her diary from her teen years includes comments on films she saw at MGM previews. These journal entries reveal Irene to have been perceptive and frank in her observations – even at 17. Her take on <i style="mso-bidi-font-style: normal;">Romola</i> (1924): “…L. Gish good as always but didn’t make the most of her opportunities – leading male part should not have been the villain – not enough love interest.” </span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdwR5meKVGBjvVTHGbJXksY0jBvHAdpTXWERZpRrpct7g9-wW5r5RfmJttONqatJf1KpTeuJ3u4UI4-eYNZPcnSGI3NJS3QJzIy6zXevF0hPv1mY-TKCIE4spw-RL6Z7owKDawIATjmNFc/s1600/Irene+and+boys.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdwR5meKVGBjvVTHGbJXksY0jBvHAdpTXWERZpRrpct7g9-wW5r5RfmJttONqatJf1KpTeuJ3u4UI4-eYNZPcnSGI3NJS3QJzIy6zXevF0hPv1mY-TKCIE4spw-RL6Z7owKDawIATjmNFc/s1600/Irene+and+boys.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Irene with her sons Jeffrey and Daniel Selznick</td></tr></tbody></table><span style="font-family: "Trebuchet MS"; font-size: 11pt;">In her book Irene writes that it amused her father to ask her opinion of a movie and then try to argue her out of her point of view. When she was dating Selznick, they went to a preview of a picture of his one night and afterward he asked what she thought of it. Irene replied with noncommittal remarks - and he challenged her, “…speak up; no one’s going to hold it against you. If you’re afraid, I promise you no one will ever know a word you’ve said.” Irene writes that she <i style="mso-bidi-font-style: normal;">was</i> afraid but over time she felt free enough to say anything she wanted to him. Selznick told her that he was undoing the damage her father had done.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">David Selznick was the younger son of <span style="color: #cc0000;"><a href="http://www.fortleefilm.org/studios.html" target="_blank">Lewis J. Selznick</a></span>, L.B. Mayer’s one-time employer and long-time anathema. The Selznick boys were on Mayer’s “off-limits” list for his girls, but Irene and David, once committed, were not to be stopped. It seems to me that Irene may not yet have had a true sense of her own worth, but she was developing a mind and will of her own.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Trebuchet MS";">CFB:</span></b><span style="font-family: "Trebuchet MS"; font-size: 11pt;"> She clearly had a will of her own, and I like how you track it from those observations about film to her conversations with David. She really needed an iron will, considering the men in her life. She could stand up to her father and husband, so dealing with Edie probably was more frustrating than anything else. </span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">Irene was great friends with Katharine Hepburn, and you know Hepburn was no pushover. Still, Irene spent years in analysis, and she was never afraid to admit it or discuss how it helped her. Perhaps that is what grounded her considering the characters around her. </span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2tnQoL-jW9ELuJv5d9R36HewEvirVkwMibA_Y75zbsz_qRuInYPE_VWExUOaRtN7qbMx1f3iX68NOxNeloBOhcKlsEXdUJgvowPL4zNXcSQxqz15Q-FfOdp8e2voxzNkjlRCGNDkfwBsR/s1600/kate+and+irene+asking+directions+in+montego+bay+jamaica.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2tnQoL-jW9ELuJv5d9R36HewEvirVkwMibA_Y75zbsz_qRuInYPE_VWExUOaRtN7qbMx1f3iX68NOxNeloBOhcKlsEXdUJgvowPL4zNXcSQxqz15Q-FfOdp8e2voxzNkjlRCGNDkfwBsR/s400/kate+and+irene+asking+directions+in+montego+bay+jamaica.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Katharine Hepburn and Irene in Jamaica, asking directions...</td></tr></tbody></table><span style="font-family: "Trebuchet MS"; font-size: 11pt;">Going back to Berg’s book, he was friends with Irene for nearly 20 years until she died, and it’s a nice companion piece to Irene’s autobiography. He describes her as such when they met in the 1970s: </span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">“I don’t think she was more than five feet tall – with short dark hair in bangs and the shrewdest pair of eyes I have ever seen; and I know she was one of the most powerful presences I have ever beheld. … It would be less than precise to call Mrs. Selznick an extremely difficult person, but she was easily the most challenging I have ever met. One never let down one’s guard with Irene, unless looking to be knocked out or thrown out. Emotional, volatile and analytical, she took nothing at face value, probing layers beneath layers in even the simplest matters.” </span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">Berg was very fond of Irene, and it’s interesting to have this insight when you read her autobiography. Her book was no frivolous undertaking to cash in on her fame, and I believe she took great care to analyze her life before setting it down on paper.  </span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">Eve, I feel like we could talk about Irene for days, but perhaps we should wrap this up. Any final thoughts about this fascinating woman? </span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">TLE:</span></b><span style="font-family: "Trebuchet MS"; font-size: 11pt;"> I’d like to talk a bit about Irene Mayer Selznick’s accomplishments after she departed Hollywood. Her family and friends are extremely interesting, of course, and her life was entwined with the history of movies in America, which is covered in her book, but there was more – she managed to reinvent herself and carve out a career of her own in New York.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">Irene’s decision to leave Selznick and relocate on the East Coast was bold. She wasn’t sure what she might achieve, but turned to old friends for advice, friends like famed playwright/director <span style="color: #cc0000;"><a href="http://www.vanityfair.com/culture/2012/05/moss-hart-diaries-kitty-carlisle-marlene-dietrich" target="_blank">Moss Hart</a></span> who urged her to pursue her dream of becoming a theatrical producer. After a while, she rented an office, hired a general manager and got going. Her first production, an Arthur Laurents play starring Shirley Booth, didn’t get to Broadway but closed after an out of town tryout. Laurents later retooled the play, came up with a new title, but kept Shirley Booth  - who won a Tony for her role. David Lean later adapted it to film; this was <i style="mso-bidi-font-style: normal;">Summertime</i> (1955) starring Irene’s good friend Katharine Hepburn.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiviMu-eHKIrN__mlUlnbdE3JKPgqImHCJdDlcSmYI4p_vdPDweN8-NY8bCWdnFY5yvfuSkE0thIxDq-3iKrHpx1FSrVb9hcK8dBs8ivEaSbMLePq2UVeX_P-JLcMHF_aX79iupxHGWq2wO/s1600/Streetcar+on+Broadway.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="341" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiviMu-eHKIrN__mlUlnbdE3JKPgqImHCJdDlcSmYI4p_vdPDweN8-NY8bCWdnFY5yvfuSkE0thIxDq-3iKrHpx1FSrVb9hcK8dBs8ivEaSbMLePq2UVeX_P-JLcMHF_aX79iupxHGWq2wO/s400/Streetcar+on+Broadway.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Final scenes: <i>A Streetcar Named Desire</i> on Broadway, 1947</td></tr></tbody></table><span style="font-family: "Trebuchet MS"; font-size: 11pt;">It was on Irene’s 40^th birthday that she received the script for what became her second production and it was this play that established her – and everyone associated with it. The play was <i style="mso-bidi-font-style: normal;">A Streetcar Named Desire</i> by <span style="color: #cc0000;"><a href="http://www.pbs.org/wnet/americanmasters/episodes/tennessee-williams/about-tennessee-williams/737/" target="_blank">Tennessee Williams</a></span>; it debuted on Broadway in 1947 to a half-hour standing ovation. According to Irene, the play made director Elia Kazan “a king.” It also made Marlon Brando a star (he went straight to Hollywood after the play and never looked back), brought a Tony Award to Jessica Tandy, who played Blanche Dubois in New York, and a Pulitzer Prize to Williams. The film adaptation would win four Oscars.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">Irene was certainly a powerhouse, she went toe-to-toe with the indomitable Kazan when they worked on <i style="mso-bidi-font-style: normal;">Streetcar </i>(perhaps second nature to her by now, after dealing with her father and husband). In fact, Tennessee Williams had a habit of referring to her as “Dame Selznick,” apparently acknowledging her pedigree and her demeanor. </span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha_EoFSz_IBCsllX0mDZUzx7GMg_rk0iagvVvPnMyPBf89rVC7GcQ6cWs0b5csGVDZZWXFJuJ3aXogc_oGbxWj8nv3TLN_PxX7_oNKl7UPKbYO0Q19f5T3mi0hZXfMaPmNxjqBgkpgyC_f/s1600/Bell+with+Palmer+and+Harrison.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha_EoFSz_IBCsllX0mDZUzx7GMg_rk0iagvVvPnMyPBf89rVC7GcQ6cWs0b5csGVDZZWXFJuJ3aXogc_oGbxWj8nv3TLN_PxX7_oNKl7UPKbYO0Q19f5T3mi0hZXfMaPmNxjqBgkpgyC_f/s1600/Bell+with+Palmer+and+Harrison.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Bell, Book and Candle </i>on Broadway</td></tr></tbody></table><span style="font-family: "Trebuchet MS"; font-size: 11pt;">Irene produced several more Broadway plays. Her production of <i style="mso-bidi-font-style: normal;">Bell, Book and Candle</i> in 1950 starred Rex Harrison and Lilli Palmer and was <span style="color: #cc0000;"><a href="http://www.imdb.com/title/tt0051406/" target="_blank">adapted to film</a></span> in 1958 and became a hit starring James Stewart and Kim Novak. Irene’s production of <i style="mso-bidi-font-style: normal;">The Chalk Garden </i>in 1955 brought her a Tony nomination; <span style="color: #cc0000;"><a href="http://www.imdb.com/title/tt0057933/" target="_blank">the film adaptation</a></span> starred Deborah Kerr.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">In her memoirs Irene described her life as a play in three acts, the first as her father’s daughter, the second as wife to her husband, and the third act was her career in the theater. She wrote, “With perseverance I’ve gotten this far. Now, with a little more luck, I’d like to grow very old as slowly as possible.” She died in New York in 1990 at age 83.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">I’ve really enjoyed this, CFB, and want to thank you for inviting me to discuss Irene Mayer Selznick's incredible story with you.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Trebuchet MS"; font-size: 11pt;">CFB:</span></b><span style="font-family: "Trebuchet MS"; font-size: 11pt;"> You're welcome. Detailing her amazing theater work – which many people may not know  of – is a wonderful way to wrap up a conversation about Irene. She wasn’t just the daughter of mogul Louis B. or the wife of wunderkind David O. She was a tough, sharp and respected Broadway producer, and her stage work alone represents a strong legacy. </span><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiaDBO6AoKQjkJ5XaAj7NMJQGGqmHlQHQj0uJCLPwCmZWUezoNqWOR9qtFME8UOgyi4fqHPwiSKDcPfmllaDwb1z8D1NzuNj8zqqR3xdeGkXDHH6qlv4GWDZYawRgHtklILMRgJqAS-35i/s1600/irene+solo+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiaDBO6AoKQjkJ5XaAj7NMJQGGqmHlQHQj0uJCLPwCmZWUezoNqWOR9qtFME8UOgyi4fqHPwiSKDcPfmllaDwb1z8D1NzuNj8zqqR3xdeGkXDHH6qlv4GWDZYawRgHtklILMRgJqAS-35i/s320/irene+solo+1.jpg" width="230" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Irene Mayer Selznick</td></tr></tbody></table><div style="text-align: center;"></div><div style="font-family: "Trebuchet MS",sans-serif; text-align: left;"><i>Following is an audio clip of a 1948 radio program that begins with Elia Kazan and Irene Mayer Selznick accepting the New York Drama Critics' "Best American Play" Award for Tennessee Williams. The program goes on to feature portions of the play itself, with narration by Kazan and scenes performed by the original Broadway cast - including Marlon Brando, Kim Hunter and Jessica Tandy:</i> </div><div style="text-align: left;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="345" src="http://www.youtube.com/embed/wmpjP-ZKDvg" width="420"></iframe></div><br /><span style="font-family: "Trebuchet MS"; font-size: 11pt;"><a href="http://www.classicfilmboy.com/" style="color: #cc0000;">Click here</a><span style="color: #cc0000;"> </span>to visit <span style="color: #cc0000;">Classicfilmboy's Movie Paradise</span>. <a href="http://eves-reel-life.blogspot.com/2011/05/en-route-to-elysian-fields.html" style="color: #cc0000;">Click here</a> to learn more about the evolution of <i>A Streetcar Named Desire.</i></span></div>

A Streetcar Named Desire Bell Book and Candle Classicfilmboy David O. Selznick Elia Kazan Irene Mayer Selznick Katharine Hepburn Louis B. Mayer Tennessee Williams The Lady Eve (author) Take 2: Irene Mayer Selznick, a Life in Three Acts

Classic Film Boy and The Lady Eve Discuss the Fascinating Irene Mayer SelznickWelcome to Take 2, a conversation about Irene Mayer Selznick, the daughter of MGM studio head Louis B. Mayer and first wife of famed producer David O. Selznick. Both Classi…

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