A Chill in the Air - Part II

<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></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/AVvXsEgtU3r4ymgl3c8HqG62HGScsDStDOlTRKLT1xWLYuZ_C6vqTScNwOQOGFjsxgyO0T1ncSqFrS_VMQJJ9RLUkTDq8aqW95T2VHnTPjLULXtZtoWeAasJTtgNPcQOFN9bC47_ERKS1d9tBw3V/s1600/uninvited+and+eerie+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtU3r4ymgl3c8HqG62HGScsDStDOlTRKLT1xWLYuZ_C6vqTScNwOQOGFjsxgyO0T1ncSqFrS_VMQJJ9RLUkTDq8aqW95T2VHnTPjLULXtZtoWeAasJTtgNPcQOFN9bC47_ERKS1d9tBw3V/s1600/uninvited+and+eerie+2.jpg" /></a></div><br /><span style="font-family: Verdana,sans-serif;">For a few years now, Turner Classic Movies has traditionally aired <i>The Uninvited </i>(1944) during Halloween season. A gothic mystery/romance with a lighter heart than <i>Rebecca </i>(1940), <i>The Uninvited </i>is another of my cold night favorites.</span><br /><br /><a name='more'></a><br /><span style="font-family: Verdana,sans-serif;">Though lacking any gun or knife, let alone even a drop of blood or a hint of gore, <i>The Uninvited</i> can subtly spook the unsuspecting viewer. The action begins jauntily enough as a pair of vacationing Londoners, brother and sister, hike the cliffs of Devon and Cornwall and find, fall in love with and purchase a long-empty mansion overlooking the sea. The two later come to the realization that their new home is haunted and that their new friend, the former owner's lovely granddaughter, is a target of the malevolent apparition who inhabits the house. This is a phantom whose arrival, sometimes partially materialized, brings with it a penetrating chill that terrorizes all who encounter it...including the family pets. And there is the sudden overpowering scent of mimosa that signals an unseen presence as it fills a room. Heightening these spine-tickling proceedings is a rapturous score by Victor Young with a haunting motif that later became the popular standard, <a href="http://eves-reel-life.blogspot.com/2011/10/haunting-melody-of-uninvited-1944.html" style="color: #990000;">"Stella by Starlight."</a> The film was directed by Lewis Allen and photographed by cinematographer Charles Lang (<i>Midnight</i>, <i>A Foreign Affair</i>, <i>The Magnificent Seven</i>, <i>Charade</i>) who was Oscar-nominated for <i>The Uninvited</i>.</span><br /><br /><span style="font-family: Verdana,sans-serif;"><i>The Uninvited</i> stars Ray Milland, one of Paramount's most charming and enduring players, and Ruth Hussey as the brother and sister duo. Donald Crisp is the former owner of 'Windward House,' and Gail Russell appears in her first film role as his granddaughter, Stella. Cornelia Otis Skinner portrays one Miss Holloway, a sinister creature reminiscent of <i>Rebecca</i>'s Mrs. Danvers - and any number of characters played by Gale Sondergaard...</span><br /><br /><div class="MsoNormal"><div style="text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/Ow1eaETb9ec" width="420"></iframe></div><div style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;">Cornelia Otis Skinner as Miss Holloway</span></span></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">This year in tandem with watching <i>The Uninvited</i>, I read the book on which it was based. Irish author Dorothy Macardle's novel was first published in 1942, four years after du Maurier's smashing success, <u>Rebecca</u>, appeared in print and two years after the enormously popular Hitchcock/Selznick 'picturization' was released. It, too, is of the modern gothic genre with roots reaching back to Bronte's <u>Jane Eyre</u>.</span></span></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG5j1JbwhG1Whyk2nFJwPFImfzyMOWsnyuIKShgGsEhq3oREaVGFpsqWLJxBhHtwK1XDSXIHFrkpnpkkdg_aRC5AFDwoHr97EfZK6KzoLpvrAOdnIZvZuSeV7-sn8eGuSoP0LdGFfeU1lk/s1600/uninvited+and+eerie+2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Macardle's book is engaging, lively and, though not equal to du Maurier's classic in any sense, it entertainingly transports today's reader to a time, place and world view now several decades gone. Macardle could weave a tale and hold one's attention, telling her spooky story of warring spirits from the first person perspective of the protagonist, Roderick Fitzgerald, a London journalist whose move to the seaside brings with it hair-raising adventure, a new turn in his writing career and new love.</span></span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><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/AVvXsEg1JP6_f-avQBkD-8cIFS4NDcjzyl0QWZRW2VTuo8eWP6o-WQG1MDpNDJsKSP5LdmjlSppfl86QU1_wnxP4bM-QODeWIB9PhfiWZ9ozA0I5VFNE7dwH6OA88rp2euYVMOFJzK4aK_1n4vy_/s1600/dorothy+macardle.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/AVvXsEg1JP6_f-avQBkD-8cIFS4NDcjzyl0QWZRW2VTuo8eWP6o-WQG1MDpNDJsKSP5LdmjlSppfl86QU1_wnxP4bM-QODeWIB9PhfiWZ9ozA0I5VFNE7dwH6OA88rp2euYVMOFJzK4aK_1n4vy_/s1600/dorothy+macardle.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Dorothy Macardle</td></tr></tbody></table><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Author Dorothy Macardle, I discovered, was involved in far more than writing novels during her 69 years (1889 - 1958). Born in Ireland into a well-heeled brewing family, she taught after graduating from college but was soon involved in political and social activism. She gained an international reputation as an Irish nationalist writer and was an intimate associate of Eamon de Valera, a leader in Ireland's fight for independence and president of country from 1959 to 1973. Macardle is best known today for her historical opus, the nearly 1,000 page <u>The Irish Republic</u>, an account of Ireland's struggle for freedom between 1916 and 1923. Quite amazing that the woman could also write a plausible ghost story in her spare time...</span></span><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span></div><div style="text-align: left;"><div style="text-align: left;"></div><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">The adaptation from novel to screen is largely faithful. The book is peopled by a greater variety of characters and the back story of each principal is more detailed. On screen, the haunted mansion's name changed from 'Cliff's End' to 'Windward House,' Roderick Fitzgerald is referred to as 'Rick' rather than 'Rod' and Miss Holloway's role is expanded. Fitzgerald's profession was changed from writer to composer - perhaps in order to ease giving Victor Young's "Stella by Starlight" its center-stage moment in the film.</span></span></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br /></span></span></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Young's theme for <i>The Uninvited</i> enhances the film's romantic and mysterious story. By comparison, Franz Waxman's score for <i>Rebecca</i>, though also dramatic and powerful, seems to me, at times, overwhelming. I knew Bernard Herrmann had, when he was with CBS Radio, scored an earlier radio presentation of <i>Rebecca </i>and I found this intriguing given his later association with Hitchcock.</span></span><br /><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> In December 1938 Orson Welles' <i>Campbell Playhouse </i>(formerly the <i>Mercury Theatre on the Air</i>) premiered and featured the first radio adaptation of <i>Rebecca</i>; it starred Margaret Sullavan as the second Mrs. de Winter, Welles as Maxim de Winter and Mildred Natwick as Mrs Danvers. Bernard Herrmann provided the score:</span></span></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span></div><div style="text-align: left;"></div><div style="text-align: left;"></div><div style="text-align: center;"><br /></div></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/GU__UqhFxw4" width="420"></iframe></div><br /><span style="font-family: Verdana,sans-serif;">In the end, the music Herrmann scored for <i>Rebecca </i>eventually made its way to the screen; much of it was used in <i>Jane Eyre</i> (1943<i>) </i>starring Orson Welles and Joan Fontaine.</span><br /><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/AVvXsEgByIvTf6IL3nqBRw2XDAGGLrxEp-0MqzyVOSJuqcVPhkENJnqyJ53LSGWZ184xlZ-ILQTVbYwpFxJAomDjnn15tMmXMpua91xHT_xZt5ZPZd9iUCCuMscgAc0VH4v-73veOHfFJK1YOrw2/s1600/gail+russell.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgByIvTf6IL3nqBRw2XDAGGLrxEp-0MqzyVOSJuqcVPhkENJnqyJ53LSGWZ184xlZ-ILQTVbYwpFxJAomDjnn15tMmXMpua91xHT_xZt5ZPZd9iUCCuMscgAc0VH4v-73veOHfFJK1YOrw2/s200/gail+russell.jpg" width="164" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gail Russell</td></tr></tbody></table><span style="font-family: Verdana,sans-serif;">19-year-old Gail Russell, in her screen debut </span><span style="font-family: Verdana,sans-serif;">as Stella Meredith, is another high point in <i>The Uninvited</i>. Fresh-faced, with dark, tousled hair and long, thick lashes, Russell projects a fetching mixture of fragility and intensity as a young girl faced with a deadly threat just as she experiences first love. Russell followed <i>The Uninvited </i>with a role in <i>Our Hearts Were Young and Gay</i> - coincidentally, she portrayed Cornelia Otis Skinner in the film (she played Skinner again in <i>Our Hearts Were Growing Up</i>). In 1945 Russell was cast in a quasi-sequel to <i>The Uninvited </i>called <i>The Unseen</i> (with Joel McCrea), and she made a number of films co-starring with John Wayne, who befriended her when they made <i>Angel and the Badman </i>in 1947. But Russell's life and career were blighted by serious personal demons. A beautiful teenager who'd been embarrassed by the nickname "The Hedy Lamarr of Santa Monica High," she had long suffered from crippling shyness. When Paramount Pictures came calling she agreed to pursue a movie career; her mother had insisted, the family needed money.  Russell</span><span style="font-family: Verdana,sans-serif;"> developed a habit early on of drinking before she faced the cameras - it helped steady her nerves</span><span style="font-family: Verdana,sans-serif;">. This habit developed into a deadly addiction that shortened her life; she died in 1961 at age 36.</span><br /><br /><span style="font-family: Verdana,sans-serif;">The characters of Stella Meredith in <i>The Uninvited </i>and <i>Rebecca</i>'s second Mrs. de Winter are fairly similar - both are young, inexperienced and in need of  protection and guidance. But one character evolves more than the other. Throughout <i>The Uninvited</i>, Stella remains a maiden in need of rescue by older, wiser Roderick Fitzgerald. In <i>Rebecca</i>, the second Mrs. de Winter begins as an awkward, coltish young lady utterly intimidated by all that her new status as bride of an aristocrat brings. But when Maxim de Winter confesses his role in Rebecca's death and reveals his vulnerability, her transformation into a more confident, assured woman begins. Fontaine's portrayal of this maturing is seamless.</span><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/AVvXsEjNy4tu5RO4fx93ddtDfAYMbRMugP4_94b5alb8jnOtWB4AfBTqDJ5AJgaiS5khnu-m7uaxmXZ1HiZswpnKGxT9Q8lUWNne8mhKQaqJHpEBvMrGeimjy4XjKcf5JiqbIcfy3zn6gdaYpyZy/s1600/joan+fontaine.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNy4tu5RO4fx93ddtDfAYMbRMugP4_94b5alb8jnOtWB4AfBTqDJ5AJgaiS5khnu-m7uaxmXZ1HiZswpnKGxT9Q8lUWNne8mhKQaqJHpEBvMrGeimjy4XjKcf5JiqbIcfy3zn6gdaYpyZy/s200/joan+fontaine.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Joan Fontaine as the second Mrs. de Winter</td></tr></tbody></table><span style="font-family: Verdana,sans-serif;">Joan Fontaine, who became a star with <i>Rebecca</i>, enjoyed continued success. Cast again by Hitchcock in 1941's <i>Suspicion</i>, with Cary Grant, she won a Best Actress Oscar for her performance. Other noteworthy films include <i>Jane Eyre</i> in 1943 with Orson Welles and Max Ophuls' stunning <a href="http://eves-reel-life.blogspot.com/2010/11/max-ophuls-letter-from-unknown-woman.html" style="color: #990000;"><i>Letter From an Unknown Woman </i></a>(1948). She continued to work in film and on TV until the mid-1990s and just recently celebrated her 94th birthday; she and her older sister Olivia de Havilland, however, remain estranged...</span><br /><br /><span style="font-family: Verdana,sans-serif;">My meanderings through <i>Rebecca </i>and <i>The Uninvited </i>on page and screen began as I sought enjoyable ways to spend the crisp, dark evenings that come with the late months of the year. This quest brought several cozy nights charged with chills, thrills and romance and now I'm tempted to continue...perhaps with another foray into the realm of the gothic  -  once defined as the Cinderella story gone very wrong...</span><br /><br /><span style="font-family: Verdana,sans-serif;">In the meantime, I've been trying out different hot drink confections to help fend off the chill. My latest experiments involve a <i>healthier</i> cocoa mix called 'WonderCocoa' and a new twist on the hot toddy called 'The Laureate.' <a href="http://evesreellife.wordpress.com/2011/11/08/something-warm-to-drink-on-a-cold-dark-night/" style="color: #990000;">Click here </a><u></u>for ideas on what to sip to stay warm on a cold, dark night...</span><br /><span style="font-family: Verdana,sans-serif;"><i></i> </span><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXE92X596NryYmPGGlzQf77k9Bt5MRg-nnuRUXxOdw-tzGwie_TLjNBaT-U7xQpyJ7SB5fMaR5-66OhoQZhltdl5PdK1cRT9bf32PYj893vYMc49foVyRPP2Hy9XDXYbL9mAc_cgOGTfY9/s1600/cat+by+the+fire.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXE92X596NryYmPGGlzQf77k9Bt5MRg-nnuRUXxOdw-tzGwie_TLjNBaT-U7xQpyJ7SB5fMaR5-66OhoQZhltdl5PdK1cRT9bf32PYj893vYMc49foVyRPP2Hy9XDXYbL9mAc_cgOGTfY9/s400/cat+by+the+fire.jpg" width="400" /></a></div>

Cornelia Otis Skinner Daphne du Maurier Donald Crisp Dorothy Macardle Gail Russell Joan Fontaine Ray Milland Rebecca Ruth Hussey The Lady Eve (author) The Uninvited Victor Young A Chill in the Air - Part II

For a few years now, Turner Classic Movies has traditionally aired The Uninvited (1944) during Halloween season. A gothic mystery/romance wi...

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A Chill in the Air - Part I

<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/AVvXsEiljz9D6sCL93zCfYdMa3doUmO6pQkkeIG1aKybxyeI-KzzTgIDa0TEsiwJI1GQvnrCBMeGEOrxRMYOekIKwkAbsxXoCptUD7P06ff_dcKIQ2_jCqbesPPtSolfa_L4XQOQzbXAqCDjA1dX/s1600/manderley+x4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiljz9D6sCL93zCfYdMa3doUmO6pQkkeIG1aKybxyeI-KzzTgIDa0TEsiwJI1GQvnrCBMeGEOrxRMYOekIKwkAbsxXoCptUD7P06ff_dcKIQ2_jCqbesPPtSolfa_L4XQOQzbXAqCDjA1dX/s1600/manderley+x4.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><br /><br /><div style="font-family: Verdana,sans-serif;">Halloween has come and gone, a time change looms (“fall back”) and winter is just around the corner. Early twilight and cool evenings are here and it seems to me that when the weather starts getting nippy and night falls early, nothing satisfies like a crackling fire, something either steaming or iced to drink and a well-chosen book or movie to settle into. What I'm reading and watching as autumn deepens this year are books and the films that were made of them.</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;"><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/AVvXsEhHfAAJbwa0K7t57fHOI3BRxJf3v5OJysoauno47bSLcGQw1bDQx_Byba8LyhgvCbp18PZ5ds8OyTQW511i1U8WPZIwzIQnyoQ_agtguK42bi5GgZpu-R0nmbBZI5fdZ1mLNoXTQTOisT8D/s1600/uninvited+france+2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHfAAJbwa0K7t57fHOI3BRxJf3v5OJysoauno47bSLcGQw1bDQx_Byba8LyhgvCbp18PZ5ds8OyTQW511i1U8WPZIwzIQnyoQ_agtguK42bi5GgZpu-R0nmbBZI5fdZ1mLNoXTQTOisT8D/s200/uninvited+france+2.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>The Uninvited</i>, 1944</td></tr></tbody></table>I’ve been reading Dorothy Macardle’s classic ghost story, <u>The Uninvited</u>, a novel that made its way to film by way of Paramount Pictures in 1944. I’d seen <i style="mso-bidi-font-style: normal;">The Uninvited</i> again recently and became curious about its original source material.  I’ve also picked up Daphne du Maurier’s romantic thriller <u>Rebecca</u> once more and have happily revisited the 1940 Hitchcock-directed Selznick production. </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><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/AVvXsEjykCG3Df2PSUH0QjM_8b0SGWgPYt-PTbr2posE1-kzVhYofvAzyS_nStRLOg2KdIcK3Zx66FxFP-k5MtuRo8kw7b8EsWuuV9puZj-F3CsQX819718TBc8qDn3_PBFm02PuynLRxBZzicfy/s1600/rebecca-1-1024+2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjykCG3Df2PSUH0QjM_8b0SGWgPYt-PTbr2posE1-kzVhYofvAzyS_nStRLOg2KdIcK3Zx66FxFP-k5MtuRo8kw7b8EsWuuV9puZj-F3CsQX819718TBc8qDn3_PBFm02PuynLRxBZzicfy/s200/rebecca-1-1024+2.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Rebecca</i>, 1940</td></tr></tbody></table>I don’t know how old I was when I first read the words, “Last night I dreamt I went to Manderley again,” but do know I was young because, when I came upon du Maurier’s description of 50-foot rhododendrons I didn’t know what they were or how to pronounce the word (...if only I could remember what I called them in my imagination back then...). As I re-read <u>Rebecca</u>, I realized how completely Hitchcock’s Oscar-winning film had supplanted the book, erasing nearly all but the opening line and “rhododendrons” from my memory.</div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">The film is a generally literal adaptation, barring Production Code-dictated changes (most notably, Rebecca's death is accidental in the film rather than outright murder as in the book) and a few other alterations. This is largely thanks to producer David O. Selznick, who was wary when it came to tinkering with literature.</div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><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/AVvXsEjFQLLYsDLKq4JzEI58zMnbKv7rYsf4RqVlGMzFdSoE5VBEUq_EQPqwOKEQEMgy4G8t7UyaYQFpR7Q9hHgsBmgR56wqS1qBL_4aXEAlL5owURiX7vjz-Xkz6j3LKH2HK4njiAIo6QzXJCi_/s1600/1940+Oscars.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFQLLYsDLKq4JzEI58zMnbKv7rYsf4RqVlGMzFdSoE5VBEUq_EQPqwOKEQEMgy4G8t7UyaYQFpR7Q9hHgsBmgR56wqS1qBL_4aXEAlL5owURiX7vjz-Xkz6j3LKH2HK4njiAIo6QzXJCi_/s320/1940+Oscars.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Selznick, Fontaine & Hitchcock at Academy Awards dinner</td></tr></tbody></table>Hitchcock and Selznick weathered a famously rocky collaboration on <i style="mso-bidi-font-style: normal;">Rebecca</i>, Hitchcock’s first American film and his first under contract to Selznick International Pictures. The director counted himself lucky that Selznick was still involved with <i style="mso-bidi-font-style: normal;">Gone with the Wind</i> - which lessened his interference on <i style="mso-bidi-font-style: normal;">Rebecca </i>to some extent. For his part, Selznick was flabbergasted by the director’s stubborn habit of shooting very little ‘coverage’ – or extra footage, effectively “editing in camera” (filming only what he wanted for the final cut). Once Hitchcock completed the shoot, the producer did what he could to more explicitly stamp the production as his own. In particular he supervised the film’s score, having music added to almost every scene – which accounts for intermittent intrusions of musical bombast. Selznick biographer David Thomson writes that the producer learned that no matter how involved he was, “there were secrets of craft, nuance and meaning that only a director controlled.” According to Thomson, <i style="mso-bidi-font-style: normal;">Rebecca </i>had been a battle between director and producer that left Selznick feeling defeated.</div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">He should not have been so glum.<i style="mso-bidi-font-style: normal;"> Rebecca </i>is plainly a Selznick project, a glossy and rich first rate production. The film was an unqualified success and brought the producer his second Best Picture Oscar in a row, one of the two Oscars <i>Rebecca </i>won out of the eleven total nominations it received. But Selznick was accustomed to dominating his directors and Hitchcock had outfoxed him… </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">Despite the fact that <i style="mso-bidi-font-style: normal;">Rebecca</i> has been called the least ‘Hitchcockian’ of the director's films and that Hitchcock later virtually disowned it, it bears unmistakable signature touches. The character interpretations of Florence Bates (Mrs. Van Hopper) and George Sanders (Jack Favell) are darkly witty comic turns - entirely in the Hitchcock tradition. And from relatively inexperienced Joan Fontaine in the central role, the director determinedly mined the performance of her young life. Judith Anderson’s iconic Mrs. Danvers, a brilliantly shaded tour de force, evolved out of a collaboration between actress and director about which she remarked, “I knew I was in the presence of a master; I had utter trust and faith in him.”<br /><div style="text-align: center;"><br /></div><div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/V6mt0ChEPLY" width="560"></iframe></div></div><div style="text-align: center;"><span style="font-family: Verdana,sans-serif; font-size: x-small;">Judith Anderson and Joan Fontain in <i>Rebecca</i></span></div><div style="font-family: Verdana,sans-serif;"><br /><i>Rebecca</i>'s visual style also bears the recognizable imprint of its director<i>.</i><i> </i>Hitchcock and cinematographer George Barnes concocted a persistently foreboding atmosphere that permeates the film from its first frames.  In fact, the film's opening images - of Manderley's ornate iron-gated entrance, its misty landscape and the mansion's ghostly silhouette - are often cited as an influence on <i>Citizen Kane</i>. Hitchcock and Barnes also notably and inventively contrived to create a character, or the presence of a character, who never once appears onscreen - the titular Rebecca. The scene above beautifully illustrates...</div><div style="font-family: Verdana,sans-serif;"><br /></div><div style="font-family: Verdana,sans-serif;"><div class="separator" style="clear: both; text-align: center;"></div><table align="center" 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/AVvXsEhwKK1pFchhlv7rMWPrWhpagaX5T-hIwag2EL7wq8wtURfc2TlcWqNnHNEXaaQ3lvXz1V8SYCWmqqx5B6fj6xYO6cap3WKn5g8ZqycBETGZKDCjvnfHAAW9Fo95Qk7TOVXevI9GS275dRn3/s1600/Menabilly+-+Daphne+duMaurier+2.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/AVvXsEhwKK1pFchhlv7rMWPrWhpagaX5T-hIwag2EL7wq8wtURfc2TlcWqNnHNEXaaQ3lvXz1V8SYCWmqqx5B6fj6xYO6cap3WKn5g8ZqycBETGZKDCjvnfHAAW9Fo95Qk7TOVXevI9GS275dRn3/s1600/Menabilly+-+Daphne+duMaurier+2.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Daphne du Maurier and her children at Menabilly</td></tr></tbody></table>Daphne du Maurier once described <u>Rebecca</u>,<i> </i>her most well-known and popular novel,  as a study in jealousy. Many have offered opinions on what inspired the plot - was it du Maurier's relationship with her mother and father? Was it based on the writer's insecurities about her husband's beautiful, glamorous, dark-haired former fiancee? It is known that du Maurier spent time during childhood at two grand country mansions, Milton Hall in Cambridgeshire and Menabilly (which she later owned) in Cornwall, and that the two estates were both likely models for Manderley and its grounds. Regardless of conjecture about du Maurier's inspirations, few have questioned that <i>Rebecca</i> is a triumph of its genre - it has been continuously in print over the eight decades since its original publication.<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/AVvXsEgP-xmvlVcsDLFcc2tEtCwq1ItG6DXOQy1EQ26z0AVnFSvWHHIvOaCcY3WT-JneDZsqClWqMxT5foVV9t6WuzDWcNxpdqM0WF8lFnzbBBhzGB8HznFpkDRESEIR6jFHHWnrWs-XqBG1A3yk/s1600/du+maurier.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/AVvXsEgP-xmvlVcsDLFcc2tEtCwq1ItG6DXOQy1EQ26z0AVnFSvWHHIvOaCcY3WT-JneDZsqClWqMxT5foVV9t6WuzDWcNxpdqM0WF8lFnzbBBhzGB8HznFpkDRESEIR6jFHHWnrWs-XqBG1A3yk/s200/du+maurier.jpg" width="174" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Daphne du Maurier</td></tr></tbody></table>Du Maurier's <u>Rebecca</u> is a shrewd, seductive 20th century update on the gothic mystery/romance. Its persistent lure is dream-like imagery and a vulnerable narrator's voice throbbing with melancholy and hinting at dark secrets and heartbreak. Soon enough the reader is trapped, like the second Mrs. de Winter, in the world of psychological torment that is Manderley.<br /><br />For me, du Maurier's novel and the Hitchcock/Selznick film are, taken together, an unbeatable way to greet the season's chill...<br /><br /></div>

Alfred Hitchcock Daphne du Maurier David O. Selznick Dorothy Macardle George Sanders Joan Fontaine Judith Anderson Laurence Olivier Rebecca The Lady Eve (author) The Uninvited A Chill in the Air - Part I

Halloween has come and gone, a time change looms (“fall back”) and winter is just around the corner. Early twilight and cool evenings are he...

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Max Ophuls' Letter From an Unknown Woman (1948)

<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIn17zfCso9-cQRJYidC9uEZyIE5hqT0DVwOuQIM6RKHy5wuYZ0iU0sOb4j8IhvFgzcebZj9ZlV-8IH3xn-ArIOtmpAmTFdrhAvlU-bqZAlEVs1cenZbla_4RgzUKVRtnX_cvmWkL7hATO/s1600/letter+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIn17zfCso9-cQRJYidC9uEZyIE5hqT0DVwOuQIM6RKHy5wuYZ0iU0sOb4j8IhvFgzcebZj9ZlV-8IH3xn-ArIOtmpAmTFdrhAvlU-bqZAlEVs1cenZbla_4RgzUKVRtnX_cvmWkL7hATO/s320/letter+3.jpg" width="320" /></a></div><div class="separator" style="clear: both; margin: 0in 0in 12pt; text-align: center;"></div><div class="separator" style="clear: both; margin: 0in 0in 12pt; text-align: center;"></div><div class="MsoNormal" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; margin: 0in 0in 12pt;"><span style="font-family: "Trebuchet MS",sans-serif;">It is turn-of-the-century Vienna, the wee hours of a wet night. A man alights from a horse-drawn carriage and jokes with companions about the duel at dawn to which he has been challenged. Entering his flat alone he tells his manservant he will leave before morning, "Honor is a luxury only gentlemen can afford." But the mute servant indicates a letter awaiting him and, as he prepares for his departure, the man opens it and begins to read...</span></div><div class="separator" style="clear: both; margin: 0in 0in 12pt; text-align: left;"><span style="font-family: "Trebuchet MS",sans-serif;">"By the time you read this letter, I may be dead," it says, and the voice of a woman, the letter writer, begins to narrate her story.  Her tale unfolds in flashback as the man immerses himself in the letter.</span></div><a name='more'></a><br /><div class="separator" style="clear: both; margin: 0in 0in 12pt; text-align: left;"><span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3U4pJ0nhrIOJxsc-AvOYcKHTzn7mMMAzep1MCiCQPO5Fm0CwU0vC2AdAeWTcded1J_FJTB4xuJlrVGfPoKkN5Wy8glcKY9MBAH-dCCxG1zy85S79LktZu7PWAMrNZxSMRBa7iil2kkqiW/s1600/letter+from+an+unknown+woman+2.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "Trebuchet MS",sans-serif;"><img border="0" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3U4pJ0nhrIOJxsc-AvOYcKHTzn7mMMAzep1MCiCQPO5Fm0CwU0vC2AdAeWTcded1J_FJTB4xuJlrVGfPoKkN5Wy8glcKY9MBAH-dCCxG1zy85S79LktZu7PWAMrNZxSMRBa7iil2kkqiW/s1600/letter+from+an+unknown+woman+2.jpg" /></span></a></span></div><div class="MsoNormal" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; margin: 0in 0in 12pt;"><span style="font-family: "Trebuchet MS",sans-serif;"><b>Letter From an Unknown Woman</b> tells of Lisa Berndle (Joan Fontaine) who, as an adolescent, becomes enthralled with up-and-coming concert pianist Stefan Brand (Louis Jourdan) when he moves into the building where she lives with her parents. Though the suave virtuoso is unaware of her, Lisa privately harbors a fantasy that they are destined to be together. Many years later their moment does come, but it is brief, Stefan is soon gone and Lisa is left with something more than her memories of him. Eventually she marries a wealthy man and years go by before, by chance, she and Stefan meet again. His has been a self-indulgent life and his career has failed, but Lisa is unable to resist and goes to him again in spite of an ultimatum from her husband. It is only then that she understands Stefan's true character. As Stefan, who has been sincerely moved by Lisa's story, comes to the end of her letter, he notices an official stamp on the last page and realizes its significance. By this time dawn has come and he makes another fateful decision.<br /><br />The storyline may be melodrama, but this  lyrical, dream-weaving film is a keen reflection on love, illusion and human nature. </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-BxnknjMUCE_sjbbiLqPusL4TL2Ff1cosV3uVEsHUoTKAJyiTCe0p6haPwITeTjiEXX_e-I00wsgeM6OEeQ6GE3O4Le-J8WpiKdba6zLza3ZbOZHVFNyAUbpp8ck1UhyidSO8uznNSOwD/s1600/Letter-From-An-Unknown-Woman+1.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: "Trebuchet MS",sans-serif;"><img border="0" height="156" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-BxnknjMUCE_sjbbiLqPusL4TL2Ff1cosV3uVEsHUoTKAJyiTCe0p6haPwITeTjiEXX_e-I00wsgeM6OEeQ6GE3O4Le-J8WpiKdba6zLza3ZbOZHVFNyAUbpp8ck1UhyidSO8uznNSOwD/s200/Letter-From-An-Unknown-Woman+1.jpg" width="200" /></span></a><span style="font-family: "Trebuchet MS",sans-serif;">As the film moves from present to past to present again, it becomes clear that both Lisa and Stefan have lived lives steeped in unreality; Lisa by holding fast to her idealized vision of Stefan, and Stefan by relentlessly seeking his romantic ideal night to night. John, Stefan's mute valet, perhaps mirroring director Max Ophuls' viewpoint, observes the all-too-human folly around him and serves as a silent, compassionate witness.</span></div><div class="MsoNormal" style="margin: 0in 0in 12pt;"><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><span style="font-family: "Trebuchet MS",sans-serif;">Ophuls, known for his bold and graceful camera movement and use of extended takes, shapes <b>Letter From an Unknown Woman </b>with both sophistication and a light touch. Visually and structurally fluid throughout, the film seems to turn in elegant circles from beginning to end, subtly evoking themes enhanced rather than obscured by its glittering surface.</span><br /><span style="font-family: "Trebuchet MS",sans-serif;"><br /></span><span style="font-family: "Trebuchet MS",sans-serif;">Produced by actor/producer John Houseman, screenplay by Howard Koch (<b>Casablanca</b>), cinematography by Franz Planer (<b>Roman Holiday</b>), edited by Ted Kent, with original music by Daniele Amfitheatrof (<b>Song of the South</b>) and gowns by Travis Banton. As characters undone by desire, both Joan Fontaine and Louis Jourdan achieve moving eloquence.</span></div></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Mv6ox-6_vDHZW0qBs7iXJxWKVJjo9mJNAyI9UoqPbIb638noQNWxFw-M2vZUI7r_DmTIWAutgvjo_VFvc2sgdlTqdfqJkzZPuYP0PnX1Gh4otloCDyfl92bMDTSZXj1YtEvWfTkuKcAA/s1600/letter-from-1-copy%255B1%255D.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="188" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Mv6ox-6_vDHZW0qBs7iXJxWKVJjo9mJNAyI9UoqPbIb638noQNWxFw-M2vZUI7r_DmTIWAutgvjo_VFvc2sgdlTqdfqJkzZPuYP0PnX1Gh4otloCDyfl92bMDTSZXj1YtEvWfTkuKcAA/s320/letter-from-1-copy%255B1%255D.jpg" width="320" /></a></div></div>

Joan Fontaine Letter From an Unknown Woman Louis Jourdan Max Ophuls The Lady Eve (author) Max Ophuls' Letter From an Unknown Woman (1948)

It is turn-of-the-century Vienna, the wee hours of a wet night. A man alights from a horse-drawn carriage and jokes with companions about th...

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