Casablanca with the San Francisco Symphony

<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCaao2WsBJaRUE6eq0HYGCOqMvQglQvJxqaSCU5GInNh9C3d2u6_ENv-E_eCU5aOdet63sTZLm6VaGT2j0QsleSxVA5tIJnNuvGxiuO019oIKNzYK1rZhhM3OQOg_oKG2T1jDMXFJXgK8x/s1600/casablanca+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCaao2WsBJaRUE6eq0HYGCOqMvQglQvJxqaSCU5GInNh9C3d2u6_ENv-E_eCU5aOdet63sTZLm6VaGT2j0QsleSxVA5tIJnNuvGxiuO019oIKNzYK1rZhhM3OQOg_oKG2T1jDMXFJXgK8x/s640/casablanca+1.jpg" width="496" /></a></div><br /><span style="font-family: Verdana,sans-serif;">Last Friday night I attended a very special screening of "<i>Casablanca </i>with the San Francisco Symphony" at Davies Hall. Conductor Michael Francis led the orchestral accompaniment and a full house spent the evening in thrall to Warner Bros.' sublime 1942 film classic and composer Max Steiner's unforgettable score. </span><br /><div style="text-align: center;"><br /></div><div style="text-align: right;"></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/AVvXsEhXlUFpCDDLBk5tOllk0Z_5Zq4qsN0DMW2Mv7mRp21QEdzm_h5qbsovP1BtPhM4Es0sr39yhqnAgHydK518WT_GfUgSZ3q4e4D_U9543Tej2j1DWG7XjI40V9lCYaeBFWf3zsZz-QDNjYSM/s1600/davies_symphony_hall.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXlUFpCDDLBk5tOllk0Z_5Zq4qsN0DMW2Mv7mRp21QEdzm_h5qbsovP1BtPhM4Es0sr39yhqnAgHydK518WT_GfUgSZ3q4e4D_U9543Tej2j1DWG7XjI40V9lCYaeBFWf3zsZz-QDNjYSM/s400/davies_symphony_hall.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Davies Symphony Hall, San Francisco</span></td></tr></tbody></table><span style="font-family: Verdana,sans-serif;">The sell-out audience of 2,800 or so was a mix of film and music lovers of every generation. Some of the young and old attended in full 1940's attire; most spent time sipping champagne and cocktails on the mezzanine before the program got underway...</span><br /><a name='more'></a><br /><span style="font-family: Verdana,sans-serif;"></span><br /><span style="font-family: Verdana,sans-serif;">When the lights flickered and muted tones chimed,  it was time for my friend and I to take an elevator to the second tier balcony. From blissfully comfortable seats we spied a huge screen at center stage surrounded by the symphony orchestra. Mr. Francis entered, stepped to the podium, picked up his baton, glanced into a small monitor next to his sheet music and in a moment the hall reverberated with those oh-so-familiar notes that herald the start of a Warner Bros. picture. Then came Max Steiner's almost as familiar score:</span><br /><br /><div style="text-align: center;"><span style="font-family: Verdana,sans-serif;"><br /></span></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/0KGOB1WIjRs" width="560"></iframe></div><br /><br /><span style="font-family: Verdana,sans-serif;">The San Francisco orchestra interpreted Steiner's music a bit more gently, with less bombast, than the original movie soundtrack. The experience of a live score lent both immediacy and charm to the viewing experience and it was interesting, from time to time, to steal a look at the musicians as they accompanied familiar scenes. The harpist was fascinating to watch and listen to during the Paris flashback sequence. The essence of magic that is new love seemed to float from her strings.</span><br /><br /><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/AVvXsEg-QrOXHgjZPQgvMyXDKir3-Eq1IIHVkoAMqJrPGn8YjvSHjR2IDYCPWtlhFNmLLoUjEbbNQLjq32ZihLYauVevQedqq0cMmvdbERcWfP_eeMlvkDrfTo843iqUTrlU6Yj15QlzSbS0w0Eh/s1600/madeleine+lebeau+2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-QrOXHgjZPQgvMyXDKir3-Eq1IIHVkoAMqJrPGn8YjvSHjR2IDYCPWtlhFNmLLoUjEbbNQLjq32ZihLYauVevQedqq0cMmvdbERcWfP_eeMlvkDrfTo843iqUTrlU6Yj15QlzSbS0w0Eh/s320/madeleine+lebeau+2.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">...at <i>Rick's</i>, Bogart, Madeleine Lebeau and Leonid Kinskey</span></td></tr></tbody></table><span style="font-family: Verdana,sans-serif;">I've loved and admired <i>Casablanca </i>for years but it wasn't until I sat watching from high in Davies Hall that a particular thought occurred and recurred in my mind..."this film is perfect." In every respect...direction, cinematography, set design, screenplay, dialogue, wardrobe, score, editing - and the cast. <i>This</i> is Bogart at his apex as a romantic lead, Bergman at her most beautiful and pure - along with a most eloquent supporting cast: Claude Rains, Paul Henreid, Conrad Veidt, Peter Lorre, Sydney Greenstreet, S.K. Sakall, Madeleine Lebeau (the last cast member still living), Dooley Wilson, Joy Page and Leonid Kinskey. It's no surprise that <i>Casablanca</i> was honored with eight Academy Award nominations and won for Best Picture, Best Director (Michael Curtiz) and Best Screenplay (brothers Julius and Philip Epstein and Howard Koch). Humphrey Bogart was nominated for Best Actor, Claude Rains for his supporting role, Max Steiner for his score, Arthur Edeson for cinematography and Owen Marks for editing.</span><span style="font-family: Verdana,sans-serif;"> </span><br /><span style="font-family: Verdana,sans-serif;">  </span><span style="font-family: Verdana,sans-serif;"> </span><br /><span style="font-family: Verdana,sans-serif;">Perusing the program during intermission, I came upon Larry Rothe's insightful write-up on the picture and read of many things I knew and didn't know about <i>Casablanca</i>...</span><br /><br /><span style="font-family: Verdana,sans-serif;">I found out that the timing of the film's release was auspicious. <i>Casablanca</i> premiered in New York in November 1942. The Allies had invaded North Africa earlier in the month - which was significant. Even more powerful was the fact that in January 1943 President Roosevelt and Prime Minister Churchill met in Casablanca to discuss the terms of an Axis surrender. This became headline news at the end of discussions, on January 24. <i>Casablanca</i> had gone into national release the day before...a windfall for Warner's PR team.</span><br /><table align="center" 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/AVvXsEhKNd6Zvfcp338PaEdj12pAPLUp4nqqsDrruTEV-42We1gIHVW2RlyfWDnqSLOUnsVoemQV4bq9jiFKvXIYkaGsZ7K7kNrTTj-jWBuNf_rr0j_g-WBGe-uf2aYe32YfN7_-ZV7RsaNkV9ml/s1600/casablanca+paris.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKNd6Zvfcp338PaEdj12pAPLUp4nqqsDrruTEV-42We1gIHVW2RlyfWDnqSLOUnsVoemQV4bq9jiFKvXIYkaGsZ7K7kNrTTj-jWBuNf_rr0j_g-WBGe-uf2aYe32YfN7_-ZV7RsaNkV9ml/s320/casablanca+paris.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Paris on the eve of the Nazi invasion</span></td></tr></tbody></table><span style="font-family: Verdana,sans-serif;"></span><br /><span style="font-family: Verdana,sans-serif;"> According to Rothe, Steiner wove four major musical themes through the film. The first, of course, is "As Time Goes By," a song that became immortal with <i>Casablanca</i>. The second is the romantic theme accompanying the flashback to Paris. The third theme is France's national anthem, the "Marseillaise," first played as part of the title sequence, but most memorably featured when Victor Laszlo leads the crowd at Rick's in a stirring rendition of the anthem. A conscience-stirring variation on the "Marseillaise," first heard when Ilsa tells Rick about her devotion to Laszlo and the Resistance, is the fourth theme.</span><br /><br /><span style="font-family: Verdana,sans-serif;">The entire night was thrilling (and I hope the fact that it sold out will persuade the symphony to do this again), but there was one moment I don't ever want to forget...listening to the San Francisco symphony play "Perfidia" as Bogart and Bergman dance (and he presses his face to hers) ...exquisite! </span><br /><div style="font-family: Verdana,sans-serif;"><br /></div><div style="font-family: Verdana,sans-serif;">Meanwhile, Max Steiner's day is not done in San Francisco. Friday, July 29, the Castro Theatre begins a seven-day, 13-picture program, "Legendary Composer: Max Steiner." Included in the series will be <i>Mildred Pierce</i>, <i>The Letter</i>, <i>Casablanca</i>, <i>Treasure of the Sierra Madre</i>, <i>Gone with the Wind</i>, <i>Now, Voyager</i>, <i>Dark Victory</i>, <i>White Heat</i>, <i>Angels with Dirty Faces</i>, <i>The Big Sleep</i>, <i>Key Largo</i>, <i>King Kong</i> and <i>The Searchers</i>. <b><a href="http://www.castrotheatre.com/coming-soon.html" style="color: #990000;">Click here</a></b> to learn more. </div>

Bogart Casablanca Casablanca with the San Francisco Symphony Claude Rains Ingrid Bergman Max Steiner Michael Curtiz Paul Henreid Peter Lorre Sydney Greenstreet The Lady Eve (author) Casablanca with the San Francisco Symphony

Last Friday night I attended a very special screening of "Casablanca with the San Francisco Symphony" at Davies Hall. Conductor Michael Francis led the orchestral accompaniment and a full house spent the evening in thrall to Warner Bros.' sublime 194…

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CMBA Movies of 1939 Blogathon - The Private Lives of Elizabeth and Essex

<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibGBYYaTT1CRE9TsYvka5ikTm7KxLkDdEYtcmUmIJIQpSBdCzBUVwZm3LIqBhHslng9CcpYCDUDrDbwCUPajCC8wE3CTjMzTrWVRTNhc1TTG9OTs2t84cmlSeqF6rrLBZ1wyHbH7Xx9NMS/s1600/bette+as+eliz+i.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" j8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibGBYYaTT1CRE9TsYvka5ikTm7KxLkDdEYtcmUmIJIQpSBdCzBUVwZm3LIqBhHslng9CcpYCDUDrDbwCUPajCC8wE3CTjMzTrWVRTNhc1TTG9OTs2t84cmlSeqF6rrLBZ1wyHbH7Xx9NMS/s400/bette+as+eliz+i.jpg" width="303" /></a></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /></div><div class="MsoNormal" style="margin: 0in 0in 0pt; text-align: left;"><span style="font-family: Verdana,sans-serif;">“In 1939, I secured my career and my stardom forever. I made five pictures in twelve months and every one of them was successful.” Bette Davis was referring to the string of movies she made in rapid succession, beginning with <i>The Sisters </i>in 1938 and followed by four more the next year – <i>Dark Victory</i>, <i>Juarez</i>, <i>The Old Maid </i>and <i>The Private Lives of Elizabeth and Essex</i>. If 1939 was a watershed year for Hollywood, it was, too, for the actress who was about to begin her reign as America’s top film actress.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /><a name='more'></a></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><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/AVvXsEi3Of6MJeEASW17UARIlA9Vz8TUukkQulfrs2F2c6GHrmjoM0bD8MWlcIpNC1iVhV6glLeegZ9WBA4BGAu784WhXQF2g8ZQdbvkQMjavYTkigo21CBV-w7DPySmKHzRT9OKoLWVs8MvXJxi/s1600/bondage.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" j8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3Of6MJeEASW17UARIlA9Vz8TUukkQulfrs2F2c6GHrmjoM0bD8MWlcIpNC1iVhV6glLeegZ9WBA4BGAu784WhXQF2g8ZQdbvkQMjavYTkigo21CBV-w7DPySmKHzRT9OKoLWVs8MvXJxi/s200/bondage.jpg" width="177" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Of Human Bondage </i>(1934)</td></tr></tbody></table><span style="font-family: Verdana,sans-serif;">Bette Davis spent most of the first half of the 1930s making her way through a series of mostly dreary film assignments, first for Universal and then for Warner Bros. Her startling performance in RKO's <i>Of Human Bondage </i>(1934) changed the course of her career. She won her first Best Actress Oscar for a downbeat role in <i>Dangerous </i>(1935), and her second for her turn as a headstrong Southern belle in <i>Jezebel </i>(1938).</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Verdana,sans-serif;">Maxwell Anderson’s <i>Elizabeth, the Queen</i>, a historical drama written in blank verse a la Shakespeare, opened on Broadway in 1930. It starred Lynn Fontanne and Alfred Lunt and ran for 147 performances. The production and Fontanne’s portrayal of Elizabeth I were legendary. Eight years after the play closed, an adaptation would make its way to the screen.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Verdana,sans-serif;">Based on events of Elizabeth’s late years, the story follows her relationship with the much younger Earl of Essex. After a victory against Spain at Cadiz, Essex returns to England a hero. Ambitious and overconfident, he is a favorite of the queen. However, the two are often at odds; she favors measured statesmanship and he is for bold action; both have a taste for power. Not surprisingly, the Earl is unpopular with the queen’s advisors who maneuver him into leading an ill-fated intervention in Ireland. Essex fails and returns to England in disgrace. Unable to bear ignominy, he attempts to raise a rebellion against the queen. This ends badly for Essex. </span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"> <br /><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/AVvXsEg17cwyXLxnTZf8u_Z5ZNoBB6m8pPtMjLWkvM7QV__pZLBUFpof8cFzsZ0iMJGWQBC_hZlYJhUBRFeLt8zJLRwfDn310BEJmCyc0O3v88jUXKKRj1S2D0SWydgisgkNgFIvIWuSlZGU5eWC/s1600/picture%255B1%255D.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" j8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg17cwyXLxnTZf8u_Z5ZNoBB6m8pPtMjLWkvM7QV__pZLBUFpof8cFzsZ0iMJGWQBC_hZlYJhUBRFeLt8zJLRwfDn310BEJmCyc0O3v88jUXKKRj1S2D0SWydgisgkNgFIvIWuSlZGU5eWC/s320/picture%255B1%255D.jpg" width="239" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Elizabeth I by Hans Holbein</td></tr></tbody></table><span style="font-family: Verdana,sans-serif;">When Bette Davis learned that producer Hal Wallis bought Anderson’s play for her, she was elated. “Elizabeth was my tankard of tea,” she later recalled. Familiar with the Broadway production and Fontanne’s performance, she saw in the part an exciting opportunity as well as a real challenge. Davis was only 31 at the time and she would be portraying Elizabeth in her 60s. Additionally, the script primarily consisted of complex blank verse dialogue. As was typical of her, Davis threw herself into the project completely. She began extensive research on the Elizabethan period and monarchy, and she was happily surprised when she saw in Holbein's portraits of Elizabeth a resemblance between herself and the queen.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /><span style="font-family: Verdana,sans-serif;">Davis campaigned for Laurence Olivier to be cast in the role of Essex. “He was perfect for the part…he <i>was </i>arrogant, beautiful, virile and talented,” she remembered years afterward. Olivier was in between <i>Wuthering Heights</i> (1939) and <i>Rebecca </i>(1940) at the time, but Jack Warner wasn’t enthusiastic. Olivier was not yet a star in the U.S. (though he was on the very brink) and Warner felt the film required a box office powerhouse equal to Davis. The adaptation of Anderson’s play was a big picture for Warners in 1939 and Jack Warner wanted Errol Flynn, the studio’s hottest leading man, for Essex. Flynn had completed <i>The Adventures of Robin Hood</i>, <i>The Dawn Patrol</i> and <i>Dodge City</i> all within the past year and was at the height of his popularity. Davis was not convinced. She did not think Flynn had the experience to cope with blank verse or the professionalism to work at it. But Warner prevailed; Flynn it would be. Davis was deeply disappointed. Perhaps the fact that Flynn was being paid twice as much as she amplified her disappointment…</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /><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/AVvXsEhRPbgyo0KMcIZs3nVRiaVesajV7gzhNvPRFE-F33_KyyQ3tlTt_jPx9omcjXSERvme6sxlq7EJYoSSVTrUP15fd_218bc0SIYPU6iX2QUe5CNApFVQfsRBClxEdjWAWYz-zVgUtsk8vywT/s1600/curtiz+and+queen.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" j8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRPbgyo0KMcIZs3nVRiaVesajV7gzhNvPRFE-F33_KyyQ3tlTt_jPx9omcjXSERvme6sxlq7EJYoSSVTrUP15fd_218bc0SIYPU6iX2QUe5CNApFVQfsRBClxEdjWAWYz-zVgUtsk8vywT/s320/curtiz+and+queen.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bette Davis and Michael Curtiz on the set</td></tr></tbody></table><span style="font-family: Verdana,sans-serif;">Warner Bros. veteran Michael Curtiz was tapped to direct. Though Curtiz and Flynn collaborated on several popular films, the dynamic between them was not ideal. Curtiz viewed  Flynn as little more than a blank slate, referring to the actor as “my beautiful puppet.” </span><span style="font-family: "Calibri","sans-serif";"><span style="font-family: Verdana,sans-serif;">On the other hand, Davis put up with nothing from Curtiz on this set, she would not  forgive or forget his dismissive treatment of her before she was a star.</span></span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Verdana,sans-serif;">The supporting cast was steeped in solid character actors: Donald Crisp, Henry Daniell, Vincent Price, Henry Stephenson, Leo G. Carroll, Alan Hale and James Stephenson. Olivia de Havilland appeared intermittently and young Nanette Fabray (Fabares) made an affecting screen debut as ladies in waiting. </span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Verdana,sans-serif;">Though Davis anticipated the film and her role as “a dream come true,” the production did not go smoothly.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /><span style="font-family: Verdana,sans-serif;">It might seem logical that in making a film of a famed stage drama, the name of the play would remain intact. But Flynn did not like it that his character was not mentioned in the title and insisted on a change. <i>The Knight and the Lady </i>was proposed. For Davis, whose character was the centerpiece of the drama, that was unacceptable. <i>The Lady and the Knight</i> was offered as an option. No one liked this, including Davis. The success of Alexander Korda’s <i>The Private Life of Henry VIII </i>(1933), an Oscar-winner for Charles Laughton, inspired the film’s eventual title.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><div class="separator" style="clear: both; text-align: center;"></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/AVvXsEiFTm6KRxNik69VbaP79gJEHuOy3WETwMXhblpCTjWALq_k-eN7CRDlY5OEUga8ymk-tumpHCevxYY6iTP9SVY2vZHDCuoufe-gibySidWCoJECzy65dQ6fk5537ynD11YqENx53Yy5CBRB/s1600/eliz+and+essex.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" j8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFTm6KRxNik69VbaP79gJEHuOy3WETwMXhblpCTjWALq_k-eN7CRDlY5OEUga8ymk-tumpHCevxYY6iTP9SVY2vZHDCuoufe-gibySidWCoJECzy65dQ6fk5537ynD11YqENx53Yy5CBRB/s320/eliz+and+essex.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bette Davis and Errol Flynn</td></tr></tbody></table><span style="font-family: Verdana,sans-serif;">When Olivia de Havilland arrived to begin work, she was still doing retakes for <i>Gone With the Wind</i>. She claimed that she wasn’t ready to start, she couldn’t play two characters at the same time. Jack Warner convinced her, at least to some extent, that she could.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Verdana,sans-serif;">Davis insisted on authentic costume design, but Curtiz thought that authentic costumes would be “too much for the camera” and wanted them scaled down. According to Davis, designer Orry-Kelly made two complete sets of Elizabeth’s costumes – the first conforming to Curtiz’s edict, the second historically accurate. Davis tested in the first set and played her role in the second. “Tricky is the determined female,” she later mused.</span><br /><br /><span style="font-family: Verdana,sans-serif;">Makeup artist Perc Westmore worked closely with Bette Davis to achieve Elizabeth’s age and appearance. He remarked on her dedication to the part but said that he had to walk a fine line to create what Davis wanted while not exceeding what Jack Warner would tolerate.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /><span style="font-family: Verdana,sans-serif;">As it turned out, Davis’s concerns about Errol Flynn were well-founded. Notes in the film’s production reports mention the actor’s difficulty with the dialogue. Flynn apparently protested, “I can’t remember lines like that,” and screenwriters Aeneas MacKenzie and Norman Reilly Raine simplified his lines by rewriting them out of verse.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Verdana,sans-serif;">In one famous scene (and infamous incident), Davis gave Flynn a hearty slap across the face with her heavily jeweled hand. Flynn called it a “right hook” and reportedly never forgave her for it. Davis did not seem to think she’d done anything out of character…</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /></div><div align="center" class="MsoNormal" style="margin: 0in 0in 0pt;"><iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/lgo-7Wu2llM" width="425"></iframe></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /><span style="font-family: Verdana,sans-serif;">Orry-Kelly, Perc Westmore, art director Anton Grot and cinematographer/d.p. Sol Polito, all masters of their respective cinematic arts, worked inspired magic. Polito was especially valuable on the production for his wizardry with Technicolor.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /><span style="font-family: Verdana,sans-serif;">Anton Grot’s lavish sets are an eyeful. At times Elizabeth seems to exist as if within an enormous chest of jewels, so surrounded is she by plush shades of amethyst, turquoise, ruby, emerald and gold. And Grot creates an evocative mood...in vaulted candle-lit chambers, a massive fireplace blazes and flickering shadows leap across dim walls.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><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/AVvXsEiTkgpGYUwbopIboiLg4uigqwmaM1V5jw2kz9rbtKcYma_mjjPji79XwCFRLus4QaLunVxV5O9AxeM-By2QqCeZJ0XVwteiLd2qtspu1bOh7Hmxe2NcEVuc-LUpLLuK1Bp4HFW5NAdGiZge/s1600/anton+grot.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="157" j8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTkgpGYUwbopIboiLg4uigqwmaM1V5jw2kz9rbtKcYma_mjjPji79XwCFRLus4QaLunVxV5O9AxeM-By2QqCeZJ0XVwteiLd2qtspu1bOh7Hmxe2NcEVuc-LUpLLuK1Bp4HFW5NAdGiZge/s200/anton+grot.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Art Director Anton Grot</td></tr></tbody></table><span style="font-family: Verdana,sans-serif;">Anton Grot dominated art direction at Warner Bros. from the late '20s through the 1940s and is often credited for the realism of "the Warner Bros. look" of the 1930s. He was known for his interest in the expressive qualities of light on film, and his work was influenced by European modernism. Nominated for five competitive Oscars, Grot was given a special technical achievement award in 1940 for his design of a "water ripple and wave illusion machine." His films include <i>Little Caesar</i>, <i>Anthony Adverse</i>, <i>A Midsummer Night's Dream</i>, <i>Captain Blood</i>, and <i>Mildred Pierce</i>. The UCLA Library houses a collection of Grot's original sketches (see below and <a href="http://potulentpalaver.blogspot.com/2007/01/anton-grot.html"><span style="color: #660000;"><b>click here</b></span></a> to see more).</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><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/AVvXsEiWWVhrIZ2OKpcG1YMp2DEJQBN62lpb0Tq5u07hyS89OEJw2oVRtZRrhvE5JTM1dYjQ4bLwuHFr62O0R_Qo9JiE60bY1EfNmjA9eACQiag3tl2WuomjEZZwadwGjaXjI3T7gxZg0u9xPQV6/s1600/Anton+Grot+sketch++Eliz+and+Essex.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="212" j8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWWVhrIZ2OKpcG1YMp2DEJQBN62lpb0Tq5u07hyS89OEJw2oVRtZRrhvE5JTM1dYjQ4bLwuHFr62O0R_Qo9JiE60bY1EfNmjA9eACQiag3tl2WuomjEZZwadwGjaXjI3T7gxZg0u9xPQV6/s320/Anton+Grot+sketch++Eliz+and+Essex.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Anton Grot's sketch of the court of Elizabeth I</td></tr></tbody></table><br /><span style="font-family: Verdana,sans-serif;">Bette Davis in an intriguing performance is the finest of the film's<i> </i>fine qualities. In his <i>Great Stars</i> monograph on the actress, David Thomson wrote of Davis that she "often moves like a beast fearful of being leashed." As Elizabeth, her erratic gestures and movements, her voice and her eyes are alive with frustration and exasperation, insecurity and rage. At times she seems to prowl the queen's quarters like a caged cat. Davis captures the spirit of a weary but wily and indomitable monarch, a woman trapped in the power she has fought hard to hold.</span><br /><br /><span style="font-family: Verdana;">While I don't think Flynn was up to this script, it isn't hard to imagine an aging queen (or any woman) falling victim to his many obvious charms. It's true that Olivier's brooding charisma along with his mastery of Shakespeare might've made for a compelling Essex - and I'm very sure he would have held his own with Bette Davis. But many among the film's cast and technical crew were veterans of Curtiz/Flynn action adventures and that may have something to do with why, overall, </span><span style="font-family: Verdana;"><i>Elizabeth and Essex</i> plays as a slightly off-balance marriage between historical drama and swashbuckling epic.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><div class="separator" style="clear: both; text-align: center;"></div><br /><span style="font-family: Verdana,sans-serif;"><i>The Private Lives of Elizabeth and Essex</i> was a moneymaker for Warner Bros. <i>Variety</i> reported, “Bette Davis dominates the production at every turn…” and pointed out it was the first picture to be released using fast new Technicolor methods. The picture's "slow spots" were discounted as minor shortcomings.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><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/AVvXsEgh99gq21O3db8RU_BwrN9YfrquFiBkqizXLru4rgxNxyyWHmPKtSYp8oRKH1IDSIRyqwr_C6a2Rs7FiTEdbdBHRGqUX8k2oOGRNJg1Mc_t2rk6tjyIMlNiJlivuE3m7bmogdc_PQu2Kgv0/s1600/Private_Lives_of_Elizabeth_and_Essex_%25281939%2529_4%255B1%255D.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" j8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh99gq21O3db8RU_BwrN9YfrquFiBkqizXLru4rgxNxyyWHmPKtSYp8oRKH1IDSIRyqwr_C6a2Rs7FiTEdbdBHRGqUX8k2oOGRNJg1Mc_t2rk6tjyIMlNiJlivuE3m7bmogdc_PQu2Kgv0/s320/Private_Lives_of_Elizabeth_and_Essex_%25281939%2529_4%255B1%255D.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bette Davis and Errol Flynn</td></tr></tbody></table><span style="font-family: Verdana,sans-serif;">Frank S. Nugent of the New York Times, voicing a complaint common among critics that Flynn was a weak Essex, observed that Davis delivered “a strong, resolute, glamour-skimping characterization against which Mr. Flynn’s Essex has about as much chance as a beanshooter against a tank.”</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Verdana,sans-serif;">Bette Davis needed a rest at this point. “I weighed 80 pounds when I discarded Bess’s ruff and hoop for the last time. I was really exhausted. I knew I must take a holiday and recharge the battery…” </span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Verdana,sans-serif;"><i>The Private Lives of Elizabeth and Essex</i> received five Academy Award nominations - for art direction, color cinematography, special effects, music score and sound recording. Davis was nominated for <i>Dark Victory</i> instead.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><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/AVvXsEgWKUJBJf4BJmvFJ6I_lfUpRj0iAyvFJRHqTNKBIwZFU8mpcreDn0JkmlJ8-4kSv4LqaORaGL3vZ3MgzBK1YCFha-EclXuWJ3Ecmn7QHroxyQDSB7PUxBz1_1DZ3nnr5XQWtkZpbTPOHKgc/s1600/essex1%255B1%255D.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="256" j8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWKUJBJf4BJmvFJ6I_lfUpRj0iAyvFJRHqTNKBIwZFU8mpcreDn0JkmlJ8-4kSv4LqaORaGL3vZ3MgzBK1YCFha-EclXuWJ3Ecmn7QHroxyQDSB7PUxBz1_1DZ3nnr5XQWtkZpbTPOHKgc/s320/essex1%255B1%255D.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Nominated for art direction, cinematography, effects, score and sound</td></tr></tbody></table><span style="font-family: Verdana,sans-serif;">Forty years after the film’s release, the actress told a biographer, “I have very mixed emotions when I see it.” She questioned whether she had, young as she was at the time, enough life experience to draw upon for the role. And she admitted that she had “secretly” been a bit unsure about playing Elizabeth.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Verdana,sans-serif;">In her 1962 autobiography, <u>A Lonely Life</u>, Bette Davis recalled a moment that stood out in her memory of the production. One day Charles Laughton visited the set. It was her first meeting with an actor she admired very much.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Verdana,sans-serif;">“Hi, Pop,” she greeted him, playfully referring to his role as Henry VIII.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Verdana,sans-serif;">“Ah, it’s my favorite daughter,” he replied.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Verdana,sans-serif;">As they talked, Bette mentioned that perhaps she had a lot of nerve to be trying to play Elizabeth. Laughton’s response was something she never forgot.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Verdana,sans-serif;">“Never stop daring to hang yourself, Bette,” he told her.</span></div><span style="font-family: Verdana,sans-serif;"></span><br /><div style="text-align: center;"><span style="font-family: Verdana,sans-serif;"></span>~</div><span style="font-family: Verdana,sans-serif;"></span><br /><span style="font-size: small;"><b><a href="http://clamba.blogspot.com/2011/04/classic-movies-of-1939-blogathon-may-15.html" style="color: #990000;">Click here</a></b><i> for a full list of links to blogs participating in CMBA's "Classic Movies of 1939" blogathon.</i></span><br /><br /><span style="font-family: Verdana,sans-serif;"></span><br /><div class="MsoNormal" style="margin: 0in 0in 0pt;"><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/AVvXsEhjjPkNY3g2YA_JM99NkIAA7a98sPn89HJnWEQ9C-rkGaONao6SKOyn846fiOriIn4yfBPCOLnGGmKhUy6XoaPbMhMOHedYGFgAtWdMoAyEzZJad5nHdKQRGDk0LRAU7PAVhRWAsI4XRx8/s1600/Cimba+Best+Film+Review+Drama+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjjPkNY3g2YA_JM99NkIAA7a98sPn89HJnWEQ9C-rkGaONao6SKOyn846fiOriIn4yfBPCOLnGGmKhUy6XoaPbMhMOHedYGFgAtWdMoAyEzZJad5nHdKQRGDk0LRAU7PAVhRWAsI4XRx8/s320/Cimba+Best+Film+Review+Drama+2.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana,sans-serif;">The Classic Movie Blog Association honored this post with the 2011 CiMBA award for Best Film Review (Drama) </span></td></tr></tbody></table><br /><span style="font-family: Calibri;"><b>Sources:</b></span><br /><span style="font-family: Calibri;"><u>The Lonely Life</u> (1962) by Bette Davis, </span><span style="font-family: Calibri;"><u>The Girl Who Walked Home Alone: Bette Davis, A Personal Biography</u> (2006) by Charlotte Chandler, </span><span style="font-family: Calibri;"><u>Dark Victory : The Life of Bette Davis</u> (2007) by Ed Sikov, <u>B</u></span><span style="font-family: Calibri;"><u>ette Davis</u> (2009) by David Thomson (<i style="mso-bidi-font-style: normal;">Great Stars </i>series)</span></div>

Anton Grot Bette Davis Donald Crisp Errol Flynn Jack Warner Michael Curtiz Orry-Kelly Sol Polito The Private Lives of Elizabeth and Essex CMBA Movies of 1939 Blogathon - The Private Lives of Elizabeth and Essex

“In 1939, I secured my career and my stardom forever. I made five pictures in twelve months and every one of them was successful.” Bette Davis was referring to the string of movies she made in rapid succession, beginning with The Sisters in 1938 and …

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