“I’m likely to have my share of flops as well as successes…as long as I don’t have to wriggle my nose for eight years again.”

Today, Elizabeth Montgomery is remembered for portraying Samantha Stephens, the beautiful young witch, who married a common ordinary mortal and resided at 1164 Morning Glory Circle, but after eight years of occupying the famous residence, Elizabeth decided to permanently abandon her magic spells and zap herself into a whole new dimension, where witchcraft is a mythology, and mortals are in the domain of human crisis.

Bewitched propelled Elizabeth Montgomery to super-stardom and brought her worldwide fame, but with the triumphant success and recognition she generated throughout its eight-season run, the series also served as the catalyst for her career growth and her future endeavors as an actress. By 1972, Montgomery was yearning to break free from being typecast. She wanted to shed her wholesome image and pursue more challenging roles. Supporting her decision was the fact that the detritus of her crumbling marriage to William Asher was starting to seep into the foundation of their working environment. No longer able to navigate the strains of their tumultuous union and the psychological affects it had on their professional relationship, Elizabeth decided not to continue on with Bewitched in spite of the series being renewed for two more seasons.

After Elizabeth and William Asher’s divorce was finalized in 1973, Elizabeth embraced her own personal freedom. She emerged from the shadow of Samantha Stephens and was filled with ambition. She gravitated towards roles that would allow her to tap into the realms of immorality and charter territories that were a far cry from life at Morning Glory Circle.

The cancellation of Bewitched was bittersweet for many, but for Elizabeth, the feeling was not mutual. Now that she had come to the end of her journey as Samantha, she felt a sense of reprieve. Her main priority at this point was settling into comfortable domesticity with her three children. Although she was eager to expand her talents, work and money were never at the root of her happiness. If an opportunity for a dramatic role arose, she would campaign for the part, but she certainly did not want her career to thwart her personal life as a parent and curtail her flexibility.

Elizabeth made her foray into crime and criminology in the fall of 1972 when she played a ‘woman in peril’ in the made for television movie The Victim. The film was the springboard for greater opportunities that would allow Elizabeth to further develop her skills as a dramatic actress. At the end of the following year, Elizabeth started work on Mrs. Sundance for the same network. During filming, Elizabeth met Robert Foxworth, who was also a member of the cast. The two became close friends and through time their relationship reached the grounds of intimacy. After living together for twenty years, Elizabeth and Robert Foxworth married in 1993.

There were a myriad of qualities that endeared Elizabeth to Robert Foxworth. In addition to his rugged sex appeal and his lack of familiarity with Bewitched, Robert encouraged Elizabeth to embrace diversity. He influenced her decision to utilize her talents and tackle the challenging genres the industry had to offer. The fact that she was in total compliance with Robert’s wishes coupled by her unwillingness to conform to Hollywood’s beliefs of pigeonholing, Elizabeth punctured the stereotypical ideals and transcended boundaries. Her determination to appear in more ‘issue oriented’ productions and films that focused on the plight of real-life people in history like Ellen Harrod in 1974’s A Case of Rape or Lizzie Borden, the acquitted axe murderer in the 1975 adaptation of The Legend of Lizzie Borden really exemplifies her career aspirations.

The trial and acquittal of Lizzie Borden was not only of historical importance to Elizabeth, the genealogical background of the suspected notorious killer echoes Montgomery’s ancestral roots. According to research amassed by Rhonda McClure, both women are descendants of John Luther, a 17th-century resident of Massachusetts, which makes them sixth cousins, once removed. Although she was unaware of her heritage at the time, Elizabeth felt a deep yet unexplainable personal connection to Borden that harkened back to her childhood. This tenuous linkage with the infamous character was a pertinent reason why Elizabeth was desperate to hatch onto the role. Rhonda McClure later quipped, “I wonder how Elizabeth would have felt if she knew she was playing her own cousin.”

While Elizabeth was deeply rooted in faith and optimism, her father Robert Montgomery was reportedly upset when Elizabeth informed him that she was playing Lizzie Borden. For years Elizabeth and Robert were trying to combat a complex and conflicting relationship, but the news of his daughter’s involvement with the Borden movie further exacerbated their problems. A few aspects of Lizzie Borden’s story bore a distressing semblance that rendered it difficult for him to accept. Robert Montgomery remembered the turmoil he was embroiled in when he divorced Elizabeth Allen on December 5th, 1950, and married Buffy Harkness a week later. Elizabeth vehemently resented the marriage and constantly scorned Buffy with hostility. For Elizabeth, the separation and the new union left emotional wounds that would never heal.

In spite of her father’s bitter dissention and gradual discord, Elizabeth was not going to yield to his demands and withdraw from the project. This was a role she was passionate about playing and she was determined to make it work. Her main intent was accuracy. If she was going to embody a complex and multi-dimensional figure from history, who was accused of committing a sinister crime, she wanted to capture her true essence. To successfully imbue her characterization of Lizzie Borden with authenticity, Mongomery conducted extensive research and delved heavily into her trial and acquittal while trying to uncover the many myths surrounding the woman behind the legend.

The life and trial of Lizzie Borden has been closely examined, studied and imitated in various movies. In terms of validity and integrity, the 1975 version is the most factual retelling of the famous and highly publicized murder case that shocked the nation. Directed by Paul Wendkos and written for the screen by William Bast, the film chronicles the chapter of events that occurred on August 4th, 1892, in Fall River, Massachusetts. At the heart of the story is Lizzie Borden (Elizabeth Montgomery), a New England spinster, who is accused of brutally murdering her father and stepmother. Following the double homicide, Lizzie is ostracized around town for being a ‘sphinx of coldness’ and wearing inappropriate attire to the funeral. The fact that Lizzie and the family maid Bridget Sullivan (Fionnula Flanagan) were the only people present in the house at the time Andrew and Abby were killed further intensified suspicions. A week later on August 11th, Lizzie is arrested and incarcerated until after the trial where she is found ‘not guilty’ and acquitted.

“Lizzie what’s wrong?“

“Oh Mrs. Churchill, do come in. Someone has killed Father.“

Fast forward to June 5th, 1893. Lizzie Borden is subsequently put on trial in New Bedford, Massachusetts. Testimonials at the preliminary hearing reveal that on the morning of their murders both Andrew and Abby had errands to run downtown. Alice Russell, a friend of the family testified and provided a shred of evidence that could have helped solve the crime. Russell implied that Lizzie had told her that her father had been enshrouded in complications with his business associates and was concerned for his safety. She also stated that the house was broken into in broad daylight. These revelations about Mr. Borden and the burglary may have attributed to Lizzie’s innocence, but if Alice Russell’s words did help in influencing the final verdict, a mark was made against Lizzie when the local chemist sworn in his testament that Lizzie attempted to purchase prussic acid a few days before the homicide took place. However, there seems to be a bit of a discrepancy with these claims and ostensibly, Lizzie wanted to use prussic acid to clean a sealskin cape. Other testimonials made by forensic experts indicate that the wounds on Andrew and Abby’s skull match a broken hatchet that was found by the police, but when the skulls and the hatchet are presented at the court Lizzie collapses when a successful demonstration show that the hatchet perfectly fits the wounds on their skull. The only constant at the trial was Lizzie’s sister Emma Borden (Katherine Helmond), who remained a pillar of strength to Lizzie all throughout the case.

Much of the plot focuses on Lizzie’s plight and her quest to prove innocent. In spite of the many inconsistencies in her inquest testimonies, the film unveils Lizzie’s dysfunctional family dynamic and paints a revealing portrait of a woman scorned by incessant frugality and deprived of the simple everyday luxuries like indoor plumbing and electricity. History has written Andrew Borden as being wealthy, tyrannical, controlling and extremely parsimonious. The movie captures this very essence and weaves other tales of his cruelty and his unconventional acts of asceticism into the story.

The case of Lizzie Borden serves as a playground for speculation. Was Lizzie wrongly accused of the murders? Was she capable of committing such a gruesome crime? or was she guilty of slaughtering Andrew and Abby with an axe? These are questions that continue to surface, yet to this day the answer still remains unknown. There is certainly enough motive to believe that she did kill the Borden’s but given his reputation and shady business dealings we can also postulate that the culprit could have been any one of his acquaintances. Even though many of his colleagues were influential names in the Fall River community, a large majority of them could have been competent enough to carry out an assassination.

Photo 1: The real Lizzie Borden (July 19th, 1860 – June 1st, 1927)

Photo 2: Elizabeth Montgomery as Lizzie Borden

Photo 3: The Lizzie Borden house in Fall River.

When you bring Abby into the equation though, our perspective on the situation may slightly change depending on your beliefs. Did Andrew’s business associates have a reason to kill Abby? Did everyone have a strong and intense hatred for Abby that permeated the entire community, or did they just want her dead because she was present in the house at the time, and they feared that she may talk if they didn’t? Some claim that the characteristics and personality traits of Abby have often been misaligned. While it is clearly obvious that Lizzie harbored animosity towards Abby, her nature and relationship with the other residents of Fall River has not been documented. Few believe that Abby was a respected citizen around town. According to relatives she was sympathetic and put the needs of her family first, but in all actuality, the story behind Abby Borden is a mystery. The only known fact is that there is a myriad of contributing factors of why Lizzie would want to impose harm and death on to Abby.

Despite the intricacies of the real-life murder case, Lizzie Borden is a ubiquitous figure in pop culture. The lasting fascination with the slayings even spawned the famous nursery rhyme that still circulates in school yards to this day. Interestingly, Lizzie Borden also took high precedence in Elizabeth Montgomery’s life when the star herself demanded that people call her ‘Lizzie’. The sudden name change created an unbridgeable gap in Elizabeth’s complicated relationship with her father. Many believe it was an act of rebellion on her part, but another contributing factor is Elizabeth’s association with the role.

Elizabeth Montgomery obtained an Emmy nomination for her performance. In the years that succeeded, Montgomery always maintained that Lizzie Borden was the role she was most proud of. Portraying Fall River’s most infamous resident who will forever be cast as a notorious killer whose violent crime carved her a place in history is no easy feat. It takes a special kind of actress to tackle such a heavy and controversial subject, but Elizabeth dived into the challenge with an air of self-assurance. As Lizzie Borden, Elizabeth Montgomery really shows the depths of her versatility and solidifies her position as a dramatic player.

Following her acquittal, Lizzie Borden continued to live in Fall River, and she remained there until her death on June 1st, 1927, at the age of sixty-six. Coincidentally, her sister Emma died nine days later. In the years that followed, the iconic residence has become a famous attraction. In 1996, the Borden house was transformed into a museum and bed and breakfast, where guests can stay overnight and experience the alleged hauntings and paranormal activities. For the not so faint hearted, US Ghost Adventures organizes ghost tours and ghost hunts for visitors to learn more about the cultural significance and history of the house.

After the success of The Legend Of Lizzie Borden, Elizabeth Montgomery continued to pursue a diverse range of serious roles that didn’t mirror the amiable persona of Samantha Stephens. The following year she played Katherine Merrill, a television producer who is diagnosed with a terminal illness in Dark Victory, a made for television remake of the 1939 movie of the same name starring Bette Davis and George Brent. At this point in her career, Elizabeth seized every opportunity that would propel her to great heights. Even though she had already redefined herself as a dramatic actress, she was eager to charter different territories. The avenues she followed led to new environments and many levels of society. The characters she portrayed came from all walks of life. In 1977, she was cast alongside O.J. Simpson in A Killing Affair, where she played a white police detective who helps a black detective investigate a series of vicious murders. Her most acclaimed appearance from this period was in the 1978 television miniseries The Awakening Land, an historical saga that depicts the struggles of one family during the late 18th and 19th-century in Ohio. Elizabeth received her ninth Emmy nomination for her portrayal of the central protagonist.

All throughout the 1980’s, Elizabeth Montgomery continued to create a rich tapestry of iconic performances that were woven together by her unyielding determination, innovative thinking and her ability to morph into any character. Early on in her career, Elizabeth cultivated a resilient mindset. She expected roadblocks and she learned not to be defeated by whatever obstacle she faced. With boundless tenacity and a strong drive, Elizabeth transformed adversity into success. This philosophy stuck with her for the rest of her life, and her determination to shed that wholesome image and break free from the grueling pressures of Bewitched took her a long way. A decade after putting Samantha Stephens to rest, Elizabeth was now permanently affixed to exploring different realms, but even though she had already embarked on her journey, there was still room for her to feed her innate desire to strengthen her craft and challenge herself creatively. Her diversity manifested itself when she delved into villainy for her role as a sadistic nurse who abuses and murders the patients of a senior citizens home in the 1985 made for television movie Amos. Scott Osbourne from Entertainment Tonight stated that “Elizabeth found fun in stretching herself as an actress and not feeling safe all the time.” Elizabeth herself also spoke of her eagerness to step out of her comfort zone and quite often claimed that she felt she did her best work whenever she took risks and embraced the unknown. She believed that a proper actor should never be afraid to expand their horizons and show their true potential. In an interview with Kathleen Sullivan on Good Morning America, she expressed her deep aversion to constantly playing the same part. Versatility and adaptability are primary attributes for building a strong foundation and Elizabeth relied heavily on both qualities to help her push the boundaries. Her sense of adventure when it came to exploring different avenues is a testament to her talent.

By the time the 1990’s rolled around, Elizabeth had amassed a comprehensive resume that encompassed all genres from light-hearted situational comedy and suspense thrillers to intense drama. The body of work she produced was impressive, but Elizabeth was not satisfied with all she had achieved and was determined to fully unleash her creativity. After appearing on Broadway alongside her future husband Robert Foxworth in a production of Love Letters in 1989, she returned to the screen in 1990 to star opposite Foxworth in Face to Face. The following year she appeared in Sins of the Mother, a film that presents us with a searing look at the injustices of the family unit. Elizabeth portrays Ruth Coe, a prestigious socialite, who constantly showers her son with highly corrosive vitriolic criticism that ultimately starts to bleed into his emotions. In spite of Elizabeth’s enthusiasm to challenge societal biases that is dominant in the movie industry, audiences were not always ready to accept her defying her established image and making bold career choices that didn’t echo back to the sweet natured Samantha Stephens. When Sins of the Mother was released in 1991, fans had difficulty adjusting to the idea that America’s favorite witch could play such a cold and duplicitous person. One such individual wrote to the Television Times, pining for Elizabeth to return to her “happier days on screen and her most beloved role.” In a letter from August 1986, Bob Thompson from Burbank, California, addressed his issues with Elizabeth’s continual plunge into darkness and stated “Amos with Kirk Douglas and Elizabeth Montgomery had to be the most brilliant television movie I’ve seen this year. Montgomery displayed her true talent for portraying a witch. Her performance was incredible. However, with all the reunion movies on television lately, I would love to see a revival of Bewitched. All I’ve seen Montgomery do in the last decade is heavy drama. Enough already. Let’s see some comedy. I believe it to be her forte. Isn’t it harder to make people laugh than cry anyway? What I’m trying to say, I guess, is … Samantha, where are you?” Other reviewers, however, were quick to defend Elizabeth and supported her decision to reinvent herself as an actress without consenting to have her creativity stifled by the studios and their conceived notion that stars should be typecast and molded into variations of their most identifiable characters.

The negative responses from audiences regarding Elizabeth’s career choices sparked a minor media frenzy, but Elizabeth withstood these protests with an unabashed demeanor and a strong resistance to rebel against their wishes. The opposition she faced only fueled her motivations. She spent what little time she had left in an endless pursuit of dramatic fare. The most notable of her later work were her two acclaimed appearances on the Edna Buchanan detective series. Her last acting venture was in 1995 when she played a barmaid in an episode of Batman: The Animated Series. The episode aired posthumously after her death.

In addition to her heavy work schedule and her duties on the home front, Elizabeth was a devout political activist and philanthropist. Her mission was to leave behind a legacy of compassion and generosity. She was a strong supporter of Animal welfare, women’s rights, AIDS awareness and gay rights. The cornerstone of her last years on earth were her charitable endeavors. She took great pride in volunteering at the Los Angeles Unit of Learning Ally, a non-profit organization that produces educational audio books for the blind, dyslexic and disabled. Elizabeth worked tirelessly to make academic tutoring more accessible for those with disabilities. In 1994, Elizabeth brought her humanitarian pursuits to the forefront when she conducted a myriad of radio and public service announcements that appeared on television. Her altruistic act was once again made prominent in January 1995, when she recorded the 1952 edition of A. A. Milne’s best-selling book of poetry entitled ‘When We Were Very Young‘ for people in need.

“I hope to continue to live my life so that my children will be proud of me. I don’t mean as an actress, but as a mother, and as a human being.”

Elizabeth Montgomery’s ascent to the upper echelon of Hollywood was a compelling journey that was marked by commitment and dedication. Sadly, her road came to an abrupt end when she discovered that she was beset with the same disease that her father succumbed to fourteen years earlier. While filming Deadline for Murder: From the Files of Edna Buchanan, she became ill, but not knowing the true nature of her condition, she dismissed all warning signs and continued working. Fellow cast and crew members noticed that some unspecified sickness was plaguing Elizabeth. On set she appeared tired and weak. There were days when she was extremely pale and required some color before she could get in front of the camera. It was clear that beneath the surface something was severely wrong when Elizabeth suddenly lost a significant amount of weight. Robert Foxworth and William Asher along with her three children urged her to see a doctor, but she was in denial about her current health status and remained recalcitrant. When she finally did agree to go to the hospital, she underwent exploratory surgery, and the worst-case scenario was confirmed: Elizabeth had terminal colon cancer and due to the late diagnosis, the cancer had metastasized to her liver.

After learning of her fate, Elizabeth harnessed the power of positivity and optimism. At first, she was shocked and angry, but instead of living the last weeks of her life inside a torture chamber, she decided to embrace her final chapter with dignity, grace and courage. When Elizabeth did come to terms with her mortality, she wanted to die in the peace and comfort of her own home. Her wish was granted, and those close to her made sure that the end of her journey was buoyed by the unconditional love of her family and the joyful times she spent with them. On the night of May 17th, 1995, the pain exacerbated, and her distraught children listened in horror as her uncontrollable and hopeless cries echoed throughout the house. Suddenly her screams were interrupted by the ominous sound of the death rattle. By the early hours of the morning, she was engulfed in the tranquil depths of serenity. A few hours later, the clock struck 8:23 am, the glistening rays of sunlight was penetrating through the window and while the birds were chirping on the trees outside, Elizabeth Montgomery passed away peacefully with Robert Foxworth and her three children waiting quietly in the living room. She was sixty-two years old.

In a career that spanned five decades, Elizabeth cultivated an influential legacy that continues to inspire future generations. On screen she epitomized the essence of a true chameleon, but away from the cameras, she possessed the virtues of philanthropy and instilled the love of humanity into her children. The personification of elegance and charm, and a venerating symbol of television, Elizabeth Montgomery will forever have audiences under her powerful spell.

CAST

Elizabeth Montgomery: Born, Elizabeth Victoria Montgomery on April 15th, 1933, in Hollywood, Los Angeles, California. Died: May 18th, 1995, in Beverly Hills, California. Aged: 62.

Fritz Weaver: Born, Fritz William Weaver on January 19th, 1926, in Pittsburgh, Pennsylvania. Died: November 26th, 2016, in Manhattan, New York. Aged: 90.

Katherine Helmond: Born, Katherine Marie Helmond on July 5th, 1929, in Galveston, Texas. Died: February 23rd, 2019, in Los Angeles, California. Aged: 89.

Helen Craig: Born, Helen Craig on May 13th, 1912, in San Antonio, Texas. Died: July 20th, 1986, in New York City. Aged: 74.

This post was written for ‘The On The Spot Blogathon‘, which was hosted by Rebecca from Taking Up Room.

“Paul Henreid did a beautiful job as director, especially the way he shot the split screen. It was even better thought out than the split screen in A Stolen Life.”

Throughout the years, the Hollywood movie industry has been populated by stars who hailed from all walks of life. Some of the more notable residents were continuously at the top of their profession, while others strove for prominence and were trying to propel themselves toward success. Situated in the upper echelon of the community was Bette Davis, an icon, whose unbridled fearlessness and fierce determination kept her in a class of her own.

The word “legend” is often bandied about in show business circles, but very rarely is it applied in its truest context. When it comes to Bette Davis however, nobody is more deserving of that moniker. Remarkably talented and evidently larger than life, Davis scripted her own brand of unique artistry and crafted a triumphant career that spanned over fifty years. On screen she epitomized female empowerment and resilience, but away from the cameras her indestructible persona masked her hidden feelings of insecurity and loneliness. To further contextualize on the subject of Davis’ career, we have to go beyond the scope of her most discussed films. When putting together the strands of her profession we are confronted with a vast terrain of work that encompassed almost every genre in motion picture history. While researchers focus on the tapestries of her ground-breaking roles that helped cultivate her super-star status, very few articles have given us a glimpse into her obscure productions or those that were made past her prime.

Hollywood often subscribed to the belief that stars had an expiry tag attached to them. The studios tended to focus all their energy on the young rising actresses, while the established veterans fell into the trap and started to receive inferior scripts once they reached a certain age. We can easily affirm to this viewpoint when discussing Bette’s case. After the unexpected success of 1962’s Whatever Happened To Baby Jane?, the industry took a backseat approach to her career. To capitalize on her latest victory with Joan Crawford, Davis was cast in a succession of Gothic horror films. The most talked about of these is 1964’s Hush…Hush, Sweet Charlotte, which was initially intended to be a follow up to Whatever Happened To Baby Jane? with Davis and Crawford in the titular roles. But before appearing in the latter, Bette Davis made another plunge into the world of macabre when she played twin sisters in a suspenseful thriller titled Dead Ringer (1964)

When Bette Davis made her splash in the horror genre, she was ascending to greater heights and chartering different territories that she was eager to explore. The 1964 film Dead Ringer is irrevocable proof that Davis was one actress who managed to rise above the mediocre material that was being offered to older players. Contributing to the film’s success was the close affinity Davis had with director Paul Henreid. The two had previously co-starred together in 1942’s perennial classic Now Voyager and 1946’s Deception. Although, Henreid was not prominently established in the directorial industry, he still acquired enough credentials to efficiently helm a production.

The renowned screenwriter and author Rian James penned an intriguing story that tapped into the enigma of criminality and murder. In 1946, James’ absorbing tale was adapted into a Mexican movie entitled La Otra, which starred Dolores del Rio. Eighteen years later Albert Beich and Oscar Millard weaved together thriller and mystery to create a chilling screenplay that was punctuated with suspense and razar-sharp dialogue. Headlining the production is Bette Davis, who crafted a stunning spectacle of revenge and stolen identity. At the films opening, audiences are transported to a cemetery. A menacing tone is emanating throughout, and ominous clouds are looming in the sky while a funeral procession is taking place down below. Here, we are introduced to Margaret deLorca and Edith Phillips, a pair of identical twin sisters, who are polar opposites to each other. The wealthy widow Margaret is attending the memorial service of her late husband Frank DeLorca, but on the other hand, Edith is present that day to pay respects to the man she was once romantically involved with. Due to past events, the two have been estranged for eighteen years, and even though decades have passed, Edith is still hostile and distant from Margaret. Through a series of arguments, we learn that Edith cannot forgive Margaret for luring Frank into marrying her by using pregnancy as the motive.

Tensions arise when Edith discovers that Margaret trapped Frank into marrying her by concocting a false pregnancy story. Incensed over the whole situation and resentful that Margaret is enveloped in opulence while she leads a stifled existence in a dilapidated dwelling above a cocktail lounge, in which she is forced to evacuate due to severe financial struggles, Edith immediately wants to seek revenge on her sister. Her idea of retaliation is achieved by taking drastic measures. That night she summons Margaret to her residence, where she callously murders her and assumes her identity.

On the surface, Edith does not appear to be a deplorable person, but her festering hatred and resentment she harbors for her sister forces her to commit a sinister crime. Looking in from the outside, Margaret was leading an idyllic lifestyle in complete luxury. Due to Frank’s wealth, she will be financially secure for the rest of her life while Edith would be struggling to find her footing after she is evicted. The thought of having a bleak future ahead of her and the uncertainty of where her next residence will be only intensifies her desire to steal her identity and seize occupancy of the DeLorca mansion.

Masquerading around as Margaret DeLorca is rendered impossible, but Edith sees it as a golden opportunity. Assuming her identity means that she can elude her existing troubles and lead a lifestyle that is rooted in luxury and free of financial burden. What she doesn’t realize is that impersonating Margaret imposes a huge risk and trying to adapt to the completely different environment proves to be more difficult than she anticipated. Complications soon arise when Jim (Karl Malden), a perspicacious police detective, who displays intimate feelings for Edith starts to interrogate her with a series of questions and when Margeret’s lover Tony (Peter Lawford) enters the picture and instigates tribulation. Will Edith manage to keep up with the guise or will her secret be discovered?

Margaret DeLorca: “You really hate me, don’t you? You’ve never forgiven me in all these years.“

Edith: “Why should I? Tell me why I should.”

Margaret DeLorca: “Well, we’re sisters!”

Edith: “So we are… and to hell with you!”

Playing dual roles is often a testament to the actors’ ability and can symbolically enhance their career. Bette Davis was no stranger to this concept. Eighteen years earlier, Davis played identical twins in the 1946 film A Stolen Life, where Davis portrays sisters who are plunged into a nightmarish situation that closely mirrors the synopsis for Dead Ringer. In spite of the fact that both films are inextricably linked, they are two completely different starring vehicles for Bette Davis. While A Stolen Life is a melodrama infused with many elements of Film Noir, Dead Ringer is a psychological gothic horror with Film Noir undertones.

The film paints a clear portrait of sibling rivalry. Animosity and intense hatred between sisters are a common trope in Bette Davis’ movies. In Whatever Happened To Baby Jane?, Joan Crawford tries to navigate the challenges of the heated on-going conflict she has with Jane Hudson, but in Dead Ringer, Edith has exhausted all her coping mechanisms, and she grapples with her emotions. The only way she can resolve her issues is through revenge.

Bette Davis perfectly embodied the estranged sisters. Throughout her career, Davis portrayed a multitude of characters, but due to her cantankerous nature, she was often identified for playing villains or self-destructive women, who defied societal norms and challenged convention. For the dual roles of Edith and Margaret, Davis imbued the two twins with their own special qualities, distinct mannerisms and personality traits. Edith is embittered and scorned by the affluent wealth and insentient behavior of Margaret, who has entangled her in a web of lies and deceit. Margaret, on the other hand is, nonchalant, manipulative and very much unscrupulous.

Working with Paul Henreid was always a highlight of Bette Davis’ career. The two had a special friendship that transcended time and distance. Due to their close relationship and admiration for each other, Davis and Henreid collaborated on all aspects of the shooting process and provided guidance to the rest of the crew whenever a difficult situation arose. Paul Henreid’s daughter Monica, who played maid Janet in the movie has often maintained that Bette fulfilled the role of a second mother to her. Bette had been a part of her life from the moment she was born, and all throughout her childhood and teenage years, Bette remained her pillar of strength and tower of comfort.

Paul Henreid later stated that making the film was “a wonderful experience”. Bette Davis on the other hand was initially appalled with the original script. The problems stymied production until both Davis and Henreid amended the screenplay and made it plausible. Further altercations obstructed their plans when Warner Bros. condescended the films ending and demanded that the last scene be reshot to their standards. Bette Davis expressed her concerns over the changes and was dissatisfied with the finished product.

The flaws with the script were not the only problem that marred production. At the time of filming, Peter Lawford was too engulfed in the detritus of his personal life to fully embrace his role. Both Davis and Henreid felt that he was detached and not attuned to the nuances of his character and the plights of his fellow cast members. After a few late arrivals and absences, Henreid took matters into his own hands and instilled in him some self-respect and moral values that helped him create a strong foundation that was built upon commitment, integrity, loyalty and dedication. For the remainder of his time on the set, Lawford managed to manifest his inner strengths and foment stability, but his emotional walls would soon come crashing down when he was thrust in the throes of a bitter divorce and rapidly declining health.

Bette Davis suggested Paul Henreid’s daughter Monica for the role of the maid at the DeLorca residence. The thought of making her film debut was marked by pure elation and fervency. While most aspiring young actresses are apprehensive at first and often feel intimidated by the presence of the seasoned veterans on the set, Henreid found herself in a state of equilibrium. Working in a production that was anchored by her father and Bette Davis made her feel right at home. Any nervousness that she may have had didn’t have a chance to seep through, and when she was in front of the camera all her worries were grounded.

A few sources have implied that there were two dogs used in the movie. One of these was a two-pound poodle puppy that supposedly belonged to Monica. The accuracy of these stories is fictional. In many scenes that featured Bette, a Great Dane whose real name was Thor was present. In the film however, the Great Dane was Frank DeLorca’s dog Duke. When asked about these articles, Monica quashed any rumors about owning a poodle and stated that her pet dog was a Lhasa Apso, who she called Charlie.

Although it has never been stated, Duke has a titular role in Dead Ringer. His presence is purposely interwoven in the story. Unlike the other characters, Duke immediately senses that Edith is not Margaret. The film often hints at the strong aversion Duke had for Margaret. The residents of the DeLorca mansion are well aware of the animosity, but when Edith enters the picture, they notice that Duke has warmed to Margaret. Monica and the rest of the servants who inhabit Margaret’s world automatically assume that Frank’s passing serves as the catalyst for Margaret and Duke’s harmonious relationship.

Production was due to start in the Spring of 1963, but with other commitments clashing with the commencement date, Bette Davis really had to orchestrate her schedule. At the same time, Bette was promoting Whatever Happened To Baby Jane? in Europe as well as fulfilling important radio engagements. In addition to her burgeoning workload, she was required to break an obligation she had made with Robert Aldrich before she could start shooting Dead Ringer. Fortunately, the Aldrich project was not a missed opportunity. The role Bette was slated to play was a small supporting cameo that would have failed to make a dent on her resume. Bette felt a sense of reprieve when Robert Aldrich granted her a release. The only regret was not being able to share the screen with Victor Buono again, but on the other hand, she considered working with Paul Henreid a consolation prize.

To represent the authenticity of the film, Dead Ringer was shot at various locales in Los Angeles and Beverly Hills. The interior scenes of the opulent DeLorca residence were filmed at the Greystone Mansion in Beverly Hills and the grounds were used for the outdoor shooting. Edith’s cocktail bar was situated on the corner of Temple and Figueroa Streets in Downtown Los Angeles and the funeral of Frank DeLorca took place at Rosedale Cemetary.

Renowned drummer Kenny Dennis and electronic organist Perry Lee Blackwell composed the jazz tunes at Edie’s bar. Interestingly, Blackwell was the lounge singer in Pillow Talk, the 1959 romantic comedy starring Doris Day and Rock Hudson in their first collaboration.

Dead Ringer is notable for being the final film of cinematographer Ernest Haller. During the annals of his career, Haller worked in all departments of silent film before rising to the top of the ladder. He is best remembered by cinephiles for his work in Gone with the Wind as well as his professional collaborations with Bette Davis, Joan Crawford and Ingrid Bergman. Bette attributed a lot of her success to Haller and held him in high regard. She admired how he solidified his foundation and became a virtuoso in his field. In 1965, he temporarily retired, but to fulfill obligations he returned to the screen briefly to film the second pilot of the Star Trek episode entitled Where No Man Has Gone Before, which aired on September 22nd, 1966. Four years later on October 21st, 1970, Ernest Haller died tragically in a fatal car accident in Marina Del Rey, California. He was 74 years old.

In addition to Ernest Haller, Jean Hagen made her final film appearance in Dead Ringer. Plagued with alcoholism for most of her life, Hagen struggled with her dependency all throughout her career and was hospitalized during the 1960’s and placed under strict medical care. On August 29th, 1977, at the age of 54, Jean Hagen lost her battle with esophagus cancer.

Bette Davis was notorious for refusing to conform to conventions. She punctured Hollywood’s ideals of a movie star, but due to her unmitigated audacity and obstinacy, she became a symbol of veneration and an icon on her own terms. The legacy she cultivated is both enduring and influential. In the years that preceded her passing in 1989, Bette has been constantly imitated, channeled by modern day actresses, rivaled by many and surpassed by nobody.

CAST

Bette Davis: Born, Ruth Elizabeth Davis on April 5th, 1908 in Lowell, Massachusetts. Died: October 6th, 1989 in Neuilly, Sur Seine, France. Aged 81. Cause of death: Breast Cancer.

Karl Malden: Born, Mladen George Sekulovich on March 22nd, 1912, in Chicago, Illinois. Died: July 1st, 2009, in Los Angeles, California. Aged 97.

Peter Lawford: Born, Peter Sydney Ernest Aylen on September 7th, 1923, in London, England. Died: December 24th, 1984, in Los Angeles, California. Aged: 61.

This article is a 2024 CMBA winner.

Welcome to the third edition of the Judy Garland Blogathon. This event is designed to honor the legacy of the iconic star of the stage and screen whose inimitable prowess cannot be surpassed. Judy was born on June 10th, 1922. For the occasion, a talented array of writers will be paying tribute to Judy during the course of the next three days. Let’s make Judy’s birthday bash memorable.

For those bloggers who are participating in the blogathon, please send your entries to either Kristen or myself and we will showcase them as soon as we can. Thank you.

THE ENTRIES

Gill at Real Weegie Midget Reviews shares her thoughts on the 1978 Judy Garland biopic Rainbow

Rebecca at Taking Up Room joins the birthday bash with Judy in Summer Stock (1950)

Andrew at The Stop Button analyzes one of Judy’s most serious roles in Judgement At Nuremberg (1961)

Le at Critica Retro has a date with Judy at The Clock (1945)

Maddy from Classic Film And TV Corner also visits Judy at The Clock (1945)

Thoughts From The Music Man charters the world of animation with Judy in Gay Purr-ee (1962)

Sally from 18 Cinema Lane talks about Judy and Gene Kelly’s first collaboration – For Me and My Gal (1942)

Kayla at Whimsically Classic joins the party with The Harvey Girls (1946)

The word ‘legend’ is often bandied around in show business circles, but this honorary title is only worthy to be bestowed upon a very few stars. One such individual who is deserving of this epitaph is Judy Garland, the beloved icon of the stage and screen whose unparalleled virtuosity continues to transcend generations.

Judy Garland is known as the ‘World’s Greatest Entertainer’. Her enduring legacy and indelible impact are immeasurable. Frank Sinatra captured her very essence when he stated, “The rest of us will be forgotten, but never Judy.” His words continue to echo through the ages and his sentiments will forever resonate with me too.

Judy Garland has shaped my life in a myriad of ways. She was my stepping-stone into the golden age, and she opened up a whole new world for me. At a time when I was desponded, I could always rely on Judy to propel me to happiness. Throughout the years, Judy has become the foundation for many important aspects concerning me and she continues to succeed in every way possible. It is for this reason that Judy is the recipient for my latest blogathon that I am co-hosting with my friend Kristen from Hoofers and Honeys, and I’m elated to be honoring Judy once again.

Kristen and I are hoping this event is successful. If you wish to take part in the blogathon, there are a few ground rules that must be adhered to. Please read the following.

THE RULES

1. Bloggers are welcome to write about any topic that pertains to the life and career of Judy Garland. For example, you can write about a film starring Judy, one of her numerous concerts, a profile/life story, personal tribute, her collaborations and friendship with Mickey Rooney or her relationship with her children. The choices are endless.

2. Due to the diversity of the subject matter, we are allowing two duplicates per topic. If you wish to write more than one post, that’s fine. However, we are limiting it to three entries per blog. 

3. To coincide with Judy’s birthday on June 10th, the blogathon commences on June 8th and will run through to June 10th. Please submit your entries on either of these days or early if you wish. For those of you posting early, just remember that your entry won’t be linked until the event starts.

4. This blogathon is a loving tribute to Judy Garland. All bloggers are welcome to participate, but we will not accept any post that appears derogatory or disrespectful to Judy.

5. All contributions must be new material only. Previously published posts will not be accepted.

6. To express your interest in participating in the blogathon, leave a comment on my blog or on Kristen’s blog. Please provide the name and URL of your blog, and the subject you wish to cover. If you wish to register by email, you can message me at: [email protected]. For those of you registering by email, please be sure to include the name and URL of your blog, and the topic you wish to cover. Once you get confirmation, please spread the word about this blogathon by selecting one of the banners below and advertising it on your blog. See you next month.

THE ROSTER

IN THE GOOD OLD DAYS OF CLASSIC HOLLYWOOD – JUDY AT CARNEGIE HALL AND TBD

HOOFERS AND HONEYS – ZIEGFELD GIRL (1941) AND TBD

CLASSIC FILM AND TV CORNER – THE CLOCK (1945)

REAL WEEGIE MIDGET REVIEWS – RAINBOW (1978) – JUDY TV BIOPIC

WHIMSICALLY CLASSIC – THE HARVEY GIRLS (1946)

THOUGHTS FROM THE MUSIC MAN – GAY PURR-EE ( 1962)

CRITICA RETRO – THE CLOCK (1945)

ONE GAL’S MUSINGS – HOW JUDY INFLUENCED BARBARA STREISAND’S CAREER

TAKING UP ROOM – SUMMER STOCK (1950)

THE STOP BUTTON – JUDGEMENT AT NUREMBERG (1961)

18 CINEMA LANE – FOR ME AND MY GAL (1942)

Welcome to the third edition of the Agnes Moorehead Blogathon. This event coincides with the 50th anniversary of Agnes’ passing from uterine cancer on April 30th, 1974. For the next three days, an array of talented bloggers will be paying tribute to this great Lady, who conquered all corners of the entertainment industry and continues to spawn her magic and bewitch us all half a century after her death.

For those bloggers who are participating in the blogathon, please submit your entry on the comment section below or via email, and I will showcase it on this post as soon as possible. Thank you.

This is for you Aggie. Rest In Peace beautiful lady. In your honor, I’ve changed my font colour to lavender.

THE ENTRIES

Gill from Real Weegie Midget Reviews kicks this off with Aggie in her final screen role in Rex Harrison Presents – Stories of Love (1974)

Terence from A Shroud Of Thoughts discusses Aggie’s performance in the third Bogie and Bacall collaboration – the underrated Dark Passage (1947)

Le from Critica Retro revisits Aggie’s prestige prison classic – Caged (1950)

Andrew from The Stop Button shares his thoughts on what I consider to be one of Aggie’s greatest performances on the Twilight Zone Episode: The Invaders (1959)

Virginie from The Wonderful World Of Cinema shines the spotlight on Agnes in the Fourteen Hours (1951)

Kristen from Hoofers and Honeys shares her thoughts on the 1945 film Keep Your Powder Dry.

Rebecca at Taking Up Room discovers the largely forgotten 1962 film Jessica.

Karen at Shadows and Satin joins us with Agnes in Caged (1950)

Kayla at Whimsically Classic highlights Agnes’ role in Dark Passage (1947)

To many, she was Endora, the flamboyant witch and Samantha’s meddling mother on the 1960’s television sitcom Bewitched, but to me, she is Agnes Moorehead, an inimitable and highly sought-after character actress whose magic transcended decades and all corners of entertainment.

This coming April 30th marks the 50th anniversary of Agnes’ passing from uterine cancer in 1974. In honor of this incredible human being, I’ve decided to bring back my Agnes Moorehead Blogathon for a third edition. Hosting a blogging event is the most fitting tribute for Agnes whose rich and immortal legacy has endured the test of time.

I hope there will be many participants. Agnes deserves the recognition, and I endeavor to make her proud. If you wish to take part in the blogathon, there are some rules that must be adhered to.

THE RULES

1. Bloggers are welcome to write about any topic that pertains to the life and career of Agnes Moorehead. For example, you can write about a film starring Agnes, an episode or episodes from Bewitched (only episodes featuring Agnes as Endora are allowed), a profile/life story, personal tribute, her radio work, her involvement with Orson Welles and the Mercury Theatre or her friendship with Debbie Reynolds. There is absolutely no restriction on subjects, and I encourage writers to think outside of the square.

2. Due to the diversity of the subject matter, I am only allowing two duplicates, so if you have a topic in mind act fast. If you wish to write more than one post, that’s fine. However, I am limiting it to three entries per blog. 

3. To coincide with the 50th anniversary of Agnes’ passing on April 30th, the blogathon will take place on April 30th and will run through to May 2nd. Please submit your entries on either of these days or early if you wish. For those of you posting early, just remember that your entry won’t be linked until the event starts.

4. This blogathon is a loving tribute to Agnes Moorehead. All bloggers are welcome to participate, but I will not accept any post that appears derogatory or disrespectful to Agnes.

5. All contributions must be new material only. Previously published posts will not be accepted.

6. To express your interest in participating in the blogathon, leave a comment on my blog along with the name and URL of your blog, and the subject you wish to cover, or you can always register by email at: [email protected]. For those of you who wish to register by email, please be sure to include the name and URL of your blog, and the topic you wish to cover. Once you get confirmation, please spread the word about this blogathon by selecting one of the banners below and advertising it on your blog. Thanks in advance.

THE ROSTER

IN THE GOOD OLD DAYS OF CLASSIC HOLLYWOOD – TBD

REAL WEEGIE MIDGET REVIEWS – AGNES IN ‘REX HARRISON PRESENTS – STORIES OF LOVE’

THREE ENCHANTING LADIES – 14 HOURS

THE STOP BUTTON – THE INVADERS (AGNES’ EPISODE ON THE TWILIGHT ZONE)

HOOFERS AND HONEYS – KEEP YOUR POWDER DRY (1945)

POP CULTURE REVERIE – TOMORROW, THE WORLD! (1944)

CRITICA RETRO – CAGED (1950)

TAKING UP ROOM – JESSICA (1962)

SHADOWS AND SATIN – CAGED (1950)

WHIMSICALLY CLASSIC – DARK PASSAGE (1947)

A SHROUD OF THOUGHTS – DARK PASSAGE (1947)

Welcome to the third edition of the highly anticipated blogging event entitled ‘The Marathon Stars Blogathon’. For the next three days an array of talented writers will be submitting articles featuring the stars they decided to discover and the filmographies they wanted to explore.

Virginie, Samantha and I hope that your chosen actor or actress met your expectations. For movie enthusiasts, discovering a new star is the equivalent to stumbling across a pot of gold. There are a myriad of celebrities who are hidden in the shadows in our conscious mind, but when we bring them into the light and start unleashing the talents that these stars possessed, the experience is rewarding, and we can’t help but spread the word.

For those bloggers who are participating in the blogathon, please submit your entries to either blog. We have decided against the three of us hosting a separate day each, and we would prefer if you send your contributions to all our blogs – so we can be sure that each host will receive your entry. Thank you.

THE MARATHON STARS BLOGATHON ENTRIES

Gill from Real Weegie Midget Reviews discovers the films of Romy Schneider

Karen from Shadows and Satin unearths the immense talents of Gloria Swanson

Virginie at The Wonderful World of Cinema delves into the filmography of William Haines

Samantha at Musings Of A Classic Film Addict dives into the filmography of Gena Rowlands

Nitrate Glow examines the career of Anna May Wong

Shawn from The Everyday Cinephile looks back at the career of Edmund Lowe

Ruth from Silver Screenings joins us with a profile on Mary Pickford

Rebecca from Taking Up Room plunges into the filmography of Jane Powell

Erin from Cinematic Scribblings discovers the work of Gerard Philipe

Jess at Box Office Poisons digs into the filmography of Tuesday Weld

Le from Critica Retro discusses the work of Sessue Hayakawa

Kayla from Whimsically Classic joins the party with Paulette Goddard and Bob Hope

The Marathon Stars Blogathon is back!!

“The British never seem to do anything until they’ve had a cup of tea, By which time it’s too late.”

After the death of Humphrey Bogart in 1957, Lauren Bacall followed a path that would lead to a career lapse before embarking on a treacherous train journey through rebel-held territory in British India.

Legendary actress Lauren Bacall endured a successful tenure in motion pictures. Although she is best remembered for her story-book marriage to Humphrey Bogart, Bacall was steeped in acclamation outside of their relationship. After her four-film collaboration with Bogart, Bacall decided to nurture a solo career of her own. It was during this period that she starred in such classics as, How To Marry A Millionaire ( 1953 ), Written on the Wind ( 1956 ) and Designing Woman ( 1957 ), in which she made while Humphrey Bogart was deteriorating from esophagus cancer.

While Lauren was celebrating the success of Designing Woman, tragedy struck the home front when Humphrey Bogart passed away on January 14th, 1957 from esophagus cancer at age 57. In spite of the tragic turn of events that eclipsed all the fond memories of making the film, Bacall often reminisced about her time on the set and her lifelong friendship with co-star Gregory Peck.

Humphrey Bogart’s death caused major heartbreak in the family, and with all the emotional turmoil she was enduring, Lauren found her career capsizing. For the rest of the decade, Bacall would only appear in two more films. In 1958, she starred alongside Robert Stack in The Gift of Love, a remake of the 1946 film, Sentimental Journey, and the following year she was cast in the British production, North West Frontier, titled Flame Over India in the United States. Both films were positively received at the box-office, especially the latter, which was a major hit in Britain.

North West Frontier is one of those films that plunges straight into adventure. Masterfully directed by J. Lee Thompson, and starring Lauren Bacall, Kenneth More and Herbert Lom, this glorious technicolor production came from the pen of Robin Estridge and Frank S. Nugent, who provided a screenplay that was infused with an undercurrent of suspense and razor-sharp dialogue.

The film opens in British India in the year 1905. The country is at the brink of rebellion. The moral focus is five-year-old Prince Kishan, the leader of the Hindu population. After Kishan’s father is killed, the young boy becomes the target for Muslim rebels whose motive is to end the family line by murdering Kishan. All plans prove to be impenetrable when Captain Scott ( Kenneth More ) is assigned the dangerous task of rescuing Kishan and taking him to safer territory in Kalapur. The adventurous escapade begins the next morning when Captain Scott along with the boy’s governess Catherine Wyatt ( Lauren Bacall ), two upper-class British aristocrats, a Dutch journalist and potential traitor, plus a team of others embark on a perilous journey through enemy lines on board a dilapidated old train. With the rebels in full pursuit and an engine that is liable to break down, the question is – will the Empress of India manage to successfully escape through firing lines? or will they be vanquished by the enemies?

Two years before the film went into production, Kenneth More announced that he was planning to play a romantic adventure part in a film adaptation of Night Runners of Bengal, but when the film never came to fruition, legend has it that More transitioned into a similar role in North West Frontier, where he portrayed Captain Scott, who is charged with the duty of escorting a young Indian prince to safety.

Initially, Olivia de Havilland was scheduled to play the female lead, but at the time de Havilland was tied to other work commitments and was unable to break her contract. Finding another actress whose talents closely mirrored Olivia’s was an erroneous task. The films requirements would not be suitable for all stars, and almost all possible candidates were attached to other motion picture engagements.

Finally the unquestionable search was over when Lauren Bacall was approached about taking on the role. For Bacall, the timing couldn’t be more perfect. When she was handed a copy of the script, Lauren was enduring hardships back home in Los Angeles. She was still mourning over the death of Humphrey Bogart, and she had recently ended her relationship with Frank Sinatra, but while she was struggling to come to terms with her series of mishaps, the news of the tragic passing of her aunt Rosalie who was killed in an air-line disaster fueled even greater problems.

Along with all the excitement about filming abroad, came the worries that was attached to this sort of assignment. Bacall realized from the onset that it was not going to be easy making a movie outside of her native country. After all she had two young children to care for, and it would be hard on them when their mother is jumping between cities for work, but after much consideration, she enrolled Stephen and Leslie at the American School while she lent her efforts to the film.

Despite the fact that she was carrying a burgeoning load on her shoulders, Lauren Bacall embraced the project with utmost enthusiasm. Work was her soul focus at this point and being in front of the camera gave her a sense of security that she felt was lacking in her personal life. The most challenging obstacle she faced was the separation from her children, but as much as she wanted to have Stephen and Leslie with her, she also felt that it would help prepare them for the future.

Adding to the worries of leaving her children for a few months were the emotional strains inflicted by a house robbery that left her tormented. Although, Bacall knew she had a trusted confidante in Stephen and Leslie’s carers, she still feared for the safety of the kids after hearing that the burglar had reportedly entered through Steve’s bedroom window late one night while he was sleeping. What disturbed her the most though, is that she was warned that there was a strong possibility that another home invasion might occur. To ensure that Steve and Leslie wouldn’t be exposed to danger, Bacall hired a detective to watch over the house at night, but fortunately, no other event of this sort came to fruition.

“You’ll have to forgive me for speaking my mind. I happen to believe that’s what it’s for.“

By now the films commencement date was fast approaching. In order to prepare for the location shooting, Bacall conducted many hours of research into the destinations she was visiting. She was especially interested to learn more about the Indian culture and after her studies she was left with an ingrained knowledge on the subject. Her astuteness transcended the vast information that the rest of the cast and crew had on hand, and the fact that she was transmitting all sufficient details onto them sure made her feel like she was embodying the image of a consummate professional.

The thought of filming in foreign territory could be nerve-wracking, but nothing hints at Lauren displaying even the slightest fears of the project. If anything, she was marred with waves of excitement, which was caused by meeting the Queen Mother at the Royal Command performance of The Horse’s Mouth prior to shooting. This particular moment was forever etched in her memory, and for a long time after she realized that her life was beginning to be re-shaped.

After undergoing rehearsals in London, the cast and crew sprang right into action. The first destination was Bombay, which is now known as Mumbai. This lively city is nestled in the state of Maharashtra, and is famous for being the second most populous city in India and the fourth most populous in the world. For Lauren Bacall, India was a world away from home. The country was unlike anything she ever envisioned. If Lauren wasn’t initially apprehensive about visiting India, she soon lost her equilibrium on her arrival. In her autobiography By Myself and Then Some, Bacall reflected back on the experience and wrote “I felt the impact of a totally different world. There is no way to imagine it – veiled women in saris, red dots in the center of their foreheads; colored turbans on men dressed in white; cows – sacred, of course – walking in the street. The streets teeming with humanity. In India, awareness grows of how many people are alive on this earth. We get so caught up in our own worlds, we forget. And some of us never know.”

No photo could capture the exotic beauty of India. You have to physically be there to witness the many natural wonders the country has to offer and to appreciate its majestic charm. The destination is surreal, and its culture is so linguistically diverse. Lauren Bacall was that transfixed that she thought about eschewing all work commitments to explore the region as a tourist. Fortunately, the production allowed the cast and crew time to sight-see. Lauren took great advantage of the opportunity and devoted all her free days to embarking on an odyssey of discovery. As their time in India drew to a close, Lauren and Kenneth More wanted to avail themselves to one last final picture-perfect day before that chapter of their journey ended.

That final picture-perfect moment was captured in front of one of the world’s most iconic monuments. The Taj Mahal is the main tourist attraction in India. Millions of visitors’ flock to the famous landmark each year. Built with an optical illusion and perfect symmetry, the red stone and gleaming white marble facade dazzles any time of the day, but it is believed that the Taj Mahal is even more magical at dawn or dusk when the colors glisten over the moonlit waters. Based on recommendations from natives, Lauren and Kenneth More made sure they were present at the prominent architecture at the aforementioned hours. The Tah Majal as Lauren describes was “breathtakingly beautiful and better than she had ever imagined.”

“I went to see a woman in Delhi who told my fortune – she was so convincing I almost believed I might really be a blade of grass or a butterfly next time around. And I met a wise old man who sat guru-like on a raised platform in his house, greeting people who had been sent to him or whom he had known in another world.“

( Lauren Bacall )

Most of the India locales were filmed in Jaipur, the capital and largest city in the state of Rajasthan. Voted in a 2008 survey the seventh most popular city to visit in Asia, this exotic destination offers a wide array of cultural activities for tourists. One of the main attractions are the desert themed buildings, an artifact that adorns almost every vicinity. The uniqueness of the area provokes a strong interest in many visitors. Lauren Bacall perfectly captured the essence of Jaipur in her autobiography and considered it to be the highlight of her journey.

Lauren Bacall may have enjoyed her time on Indian soils, but Kenneth More on the other hand, was on a different wavelength. In his memoirs, More recalled how physically grueling the filming process was. The many obstacles that the cast and crew endured were intensified with frequent bouts of illness. Almost every member of the cast was sick with Dysentery and other health issues. This meant that production was often delayed until everyone was well enough to resume work. The constant hold-ups were a major impediment – especially since location shooting was a key component and that relied heavily on time.

The rail sequences took six weeks to complete. The filming of these scenes commenced in the Province of Granada on May 10th, 1959. Finding the perfect locales was often time consuming, but the dry Arid Steppe was an ideal backdrop for British India. The Anchurón Bridge that crosses over the Solanas de la Carreta, situated near the hamlet of Belerda in Granada was used for the bomb-damaged bridge in one of the films most electrifying scenes. After the work in Spain came to a close, the cast and crew returned to London for final preparations. Lauren Bacall looked back on the making of the picture as an experience of a lifetime. Although the long separation from her children was a challenge, the six-week shooting schedule in India was monumental for her.

While Lauren Bacall enjoyed basking in all the Indian glory, she was anxious to return to London to spend time with her children before traveling to Spain for the rail sequences. It was during her time in Granada that Bacall started plotting her next move. She knew that it would be impossible for her to live in California and face the same hardships she endured after Bogart’s death. What she really wanted was another career path to follow. Her problem was solved when Leland Hayward called and told her that he was producing a stage play titled Goodbye Charlie, and asked her to read it.

If Lauren Bacall pursued a part in Goodbye Charlie, she would be stepping out of her horizons – though she soon realized that in order to further succeed in her career she would have to charter different territories. The idea of appearing on Broadway had always appealed to Lauren. After all, the theatre was her initial destiny, and chasing after her unfulfilled dreams was one of her most pivotal goals. This sort of work also meant that Lauren would not have to return to Los Angeles – a city that she could no longer bare to live in. She saw the idea as her one way passage to New York, where she was serious about setting up permanent residency.

At last, Lauren Bacall felt like she was back on the radar. She had just attained a role in Goodbye Charlie, and she was elated about reestablishing herself as a New York citizen. Perhaps her biggest thrill though, was the news that North West Frontier was a major success in the United Kingdom, and was considered to be among the six most popular films of the year. Considering that Bacall’s last few pictures had floundered at the box-office, this was quite an achievement, and many believe that it helped set the next chapter of her career in motion.

Although it is believed that North West Frontier made a significant impact on her career, the 1960’s would hardly be considered a monumental decade for Lauren Bacall. This period was particularly notable for her successful venture on the stage in the 1965 production of Cactus Flower, which earned her critical acclaim and would help pave the way for her future work in the theater. The very few films she did appear in did nothing to enhance her motion picture work, and instead she decided to embrace a more domesticated life on the home front by caring for her son Sam Robards, who was born in December of 1961.

At the mention of Lauren Bacall or Kenneth More, North West Frontier is never the first film that springs to mind. Audiences consider it a viewing experience that will always be embedded in their memory and the stars who made it call it a great picture with a lousy title.

CAST

Lauren Bacall: Born Betty Joan Perske on September 16th, 1924, in The Bronx, New York. Died: August 12th, 2014, in New York. Aged 89.

Kenneth More: Born Kenneth Gilbert More on September 20th, 1914, in Gerrards Cross, Buckinghamshire, United Kingdom. Died: July 12th, 1982, in Fulham, London. Aged 67.

——————————————————————————————————————–

This post was written for the 2022 edition of the Rule, Britannia Blogathon, hosted by Terence at A Shroud Of Thoughts.

“To fulfill a dream, to be allowed to sweat over lonely labor, to be given a chance to create, is the meat and potatoes of life. The money is the gravy.“

( Bette Davis )

Bette Davis was one of the most celebrated actresses to ever grace the silver screen. Her indomitable presence coupled by her sheer intensity were among her greatest assets that helped signify her reputable star status, but as powerful as she was, Davis had to struggle and fight her way to the top of the ladder.

From the moment she arrived on Hollywood soil in the Winter of 1930, Bette Davis discovered that she would have to reach high for her dreams. As she was growing up, Davis had become accustomed to getting things her way, but in the early days of her cinematic career, Bette soon realized that Hollywood was not willing to cater to her strong demands.

For years, young Bette Davis had dreamed about visiting Hollywood and conquering the world, but on her arrival in the sun-drenched paradise with the palm-tree lined streets, Davis could feel her dreams shattering. Los Angeles was not the place she had envisioned. She had expected to receive full movie-star treatment and a warm welcoming. Instead, she disembarked the train at foreign territory with no studio cars there to greet her.

Bette Davis’ entrance into motion pictures can be described as tumultuous and often times humiliating. After the harrowing train station ordeal when Davis and her mother Ruthie stepped foot on an empty platform and were forced to find their own way to the studio, Davis was summoned to the office of Carl Laemmle who immediately quipped, “She has as much sex appeal as Slim Summerville”. Episodes like this really bruised her confidence, but as the criticisms mounted, Bette learned that the only way to survive in Hollywood was to be tough.

Hollywood was always eclipsing talent and experience with sex appeal and beauty. When Bette Davis arrived on the scene, she was viewed as awkward, unattractive and automatically she was made to feel like a misfit trapped behind those iron gates of Universal. All she wanted to do was act, but when nobody wanted her, she desperately searched for a way to elude her miserable situation and return to New York, but the problem was, she was tied to a three month contract.

As hard as it was, Bette managed to endure the boredom. She spent her days posing for photos and doing screen-test after screen-test until Carl Laemmle announced that he was considering terminating Davis’ contract. Bette couldn’t be happier when she heard the news. Her experience in Hollywood was full of misfortunes, and with no acting roles being offered, she wanted to leave. Coincidentally, Karl Freund had other ideas. He thought Davis had unique eyes, and wanted her for the role of Laura Madison in The Bad Sister ( 1931 ). 

After spending weeks biding her time on the studio lot, Bette Davis finally made her film debut in The Bad Sister, a Hobart Henley directed production that also brought Humphrey Bogart to the spotlight. Neither Davis or Bogart made a considerable impression, but it did land them roles in other films, though success and critical acclaim was not imminent.

Her film appearances that followed failed to do anything to enhance Bette’s reputation, and after making a total of six unsuccessful films, Universal decided to terminate Davis’ contract. Bette Davis had once conjured up the highest fantasies of becoming a prominent and extremely revered motion picture actress, but here she was, despondent and ashamed that her days in Hollywood were over. She would have to return to New York a failure.

The chapter of events that ensued next are the stuff of legend. As the story goes: A teary eyed Bette and her mother Ruthie were packing their cases ready to return to New York that same day when suddenly the telephone rang. On the other end of the phone was legendary actor, George Arliss, who told Bette that she would be the ideal female lead to play opposite him in The Man Who Played God ( 1932 ) and wanted her to report to Warner Bros. that afternoon.

George Arliss not only rescued Bette from destruction. He became the instrumental force behind the resurrection of Bette Davis. If it was not for Arliss saving her that day, Davis would have returned to New York, and the world may have never discovered the unparalleled unique artistry that Bette possessed.

In the years that proceeded, Davis always credited George Arliss for establishing her career. The Man Who Played God garnered Bette the recognition that she so rightly deserved, and Warner Bros. was that impressed with her performance that they signed her to a five year contract.

For the next eighteen years, Bette Davis called Warner Bros. her home. She would go on to make some of her most acclaimed productions with the studio, but like a large majority of newcomers, immediate prosperity was not on the doorstep. She was cast in a succession of films that fared moderately at the box-office, though Bette Davis was yearning to be acknowledged.

After appearing in sixteen films for the studio, Bette Davis made her breakthrough performance as Mildred in Of Human Bondage ( 1934 ). The film was a hit at the box office, and Davis’ performance was revered by both critics and the general public, but to get this far, Bette had to be loaned out to RKO to attain the accolades that she was desperately seeking. Initially, Jack Warner was reluctant about sending Bette to RKO. He thought that playing a shrewish character like Mildred would destroy her glamorous image, but to his amazement, the film restored Bette’s reputation.

Of Human Bondage cemented Bette Davis in a reputable position on the cinematic charts, and for the first time in her life, she felt that success was looming. Davis couldn’t have been more correct. The following year she received an Academy Award for Dangerous. In the film Davis played Joyce Heath, a washed-up former Broadway star whose destructive path of alcoholism sends her on a downward spiral.

Her next project was The Petrified Forest ( 1936 ), which teamed her with Leslie Howard and Humphrey Bogart, her co-star from The Bad Sister. The film was based on the 1935 Broadway production that featured both Howard and Bogart in his first leading theatrical role. On it’s release, the film garnered critical acclaim, and helped established Bogart’s career in motion pictures.

Despite the success of The Petrified Forest and all of her previous achievements, Bette Davis was cast in a series of undistinguished films that had the capability of decimating her eminent status. After attaining her first Academy Award, Davis had confidence in herself, and her hopes of starring in a prestige production had elevated, but when she was obtaining mediocre scripts, her dreams began to unravel.

Shortly after, she was assigned the role of Valerie Purvis in Satan Met A Lady ( 1936 ), an uninspiring adaptation of Dashiell Hammett’s novel, The Maltese Falcon, which was remade into an enduring classic five years later with Humphrey Bogart as the lead. Upon reading the script, Bette was incensed. She vied for quality material and did not want to have anything to do with the film. The only way to escape the project was to consult with Jack Warner, who assured her that she would have pivotal assignments on the horizon if she agreed to make the film.

Once again, Bette had developed high hopes, but was let down with the arrival of the next script for a film titled, God’s Country and the Woman. This time Bette was not about to let anyone persuade her to star in the picture. As much as Jack Warner enticed her, Bette continued to stay firm on her promise. As a result, her salary was stopped and she was put on a three months suspension, but Bette didn’t care. Instead, she embarked on a vacation to Leguna Beach while the cast and crew for God’s Country and the Woman left for location shooting in Washington.

After a long vacation at Leguna Beach, Bette refused to leave. If she couldn’t influence decisions and have full control of her career, she was not about to crawl back to the studio that never gave her the power of selectivity. For a while she considered accepting other offers from production companies that would allow her the freedom she yearned for, but with the standard contract that she was currently on, this was deemed impossible.

In her absence, Warner Bros. was having a field day. Fabricated stories that depicted Bette as a greedy and ungrateful antagonist were being printed. These articles left Davis feeling like a villain instead of a victim who was constantly relegated to secondary roles in menial low-budget productions. This kind of publicity was degrading and could have easily sabotaged Davis’ career if the delicate situation was not handled appropriately.

The altercations between Bette and Warner Bros. were only exacerbating with each printed article. She tried to reason with Jack Warner by requesting a new deal – a one year contract that came with the option of renewing for another five years. The salary would be $100,000 for the first year and rising as high as $220,000 as the years progressed. This deal also came with other bonuses that included: Three months of vacation, a work schedule that would allow her to star in no more than four films per year. After designing her proposed contract, Bette stated that if her terms were not approved, she would refuse to work until something more plausible gets set in concrete.

Unfortunately for Bette, Jack Warner was not about to accept her proposal. His reply came in the form of a three month suspension notice. This ordeal also spawned a deluge of printed publications that painted Bette Davis as an overly demanding and rebellious star whose most pivotal goal was to chase after a large sum of money. The accusations that were made against Bette threatened to thwart her career as well as putting her in a bad light. As a result of all this, her chances of being hired by any other producer in the country was impossible – nobody wanted to be embroiled in a legal showdown with Warner Bros.

The chapter of events that happened next have been documented that many times. As the story goes – Bette was left in a quandary, and with nobody willing to take their chances on her, she had to pursue other avenues. Her next venture was to make movies abroad, but with all the tarnishing publicity that she was receiving, this could have easily been plagued with difficulties.

By now, all the unfavorable publicity was running at full speed. The only way to elude all the chaos was to flee the country and hide out in solitary. Finally, a wave of hope headed in Bette’s direction when the Anglo-Italian movie mogul, Ludovic Toeplitz entered the picture at the height of all the drama.

Ludovic Toeplitz was in Hollywood to save Bette Davis from destruction. From the moment he approached her, Davis had a slight inkling that something positive was around the corner. She didn’t exactly know what was going to happen, but she knew that Ludovic had plans for her. Bette was right about this – Ludovic Toeplitz had mapped out a two picture deal for her. This deal would have Bette filming one movie in Italy and the other in France. She was offered twenty thousand pounds plus both scripts would have her stamp of approval.

At last, Bette had found the answer to all her problems. After a long suspension, she was eager to work, but in order to do so, she had to step foot into foreign territory before she would reach her final destination. The prospect of making pictures in Europe seemed exciting to Bette. She had never traveled outside of the United States, and she was euphoric to see what the other corners of the world had to offer.

Now that Bette had made up her mind, she was not going to let anybody prevent her from pursuing that offer. She was anxious to get her career back on track, and fortunately her mother Ruthie supported her decision, and encouraged her to sign the contract with Ludovic Toeplitz. That was exactly what she did. Shortly after Bette and her then husband, Harmon Nelson flew to Vancouver late one Saturday night, where they were to travel to Montreal by train. Once in Montreal, Bette and Harmon boarded the Duchess of Bedford and embarked on their journey to England.

From the onset, Bette maintained that there was something special about this vacation. She didn’t utilize the entire holiday for work related activities. She used it as part honeymoon for her and Harmon. Bette and Harmon arrived in Europe on their fourth anniversary, and more than anything, she wanted to spend quality time with Harmon, something that she was often denied with her profession.

The first destination was the Firth of Clyde at Greenock in Scotland. Bette and Harmon were greeted by a deluge of fans and critics, who welcomed them with a warm reception. In her autobiography The Lonely Life, Davis states that the Scottish press called her an “unemployed movie star”. At the time those words didn’t seem to phase Bette – she was more impressed by her popularity and her worldwide fame than her current employment status.

After a memorable visit to Scotland, Bette Davis and Harmon Nelson touched down in Liverpool. This was perhaps the most fascinating place Davis had seen during the vacation. She had heard so much about Liverpool in the past, and now she found herself right in the heart of the city. Bette later summed it up as an amazing experience and embraced all the sights with child-like enthusiasm.

Bette Davis had anticipated the entire vacation to be memorable. Her biggest thrill was that she was privileged enough to be working under the strings of Ludovic Toeplitz, but along with all her excitement was a devastating piece of news that instantly confirmed that part of her dreams were crashing down. The last thing that Davis was expecting was an injunction notice from Warner Bros. that prohibited her from working anywhere and under the guidance of any director. Needless to say, Bette was incensed with anger. The thought of being denied the advantage to work under the helm of a top European director deeply perturbed her.

Bette Davis was known for exuding fierceness and being intractable. She realized from the start that her latest crisis with Warner Bros. was not the end of the world, and she was certainly determined to put up a fight. Bette had reached the point in her career where she was not about to play a puppet on a string to Warner Bros. If they were going to put a huge restriction on her, she was going to free herself from their restraints. As a result, Davis stuck to her initial plan and met with Toeplitz and Monty Banks at the Claridges Hotel in London to discuss her upcoming work schedule. 

To the chagrin of Warner Bros., Bette finalized her contract with Toeplitz. She was scheduled to begin her first picture in a few weeks, which meant that Davis had ample time to continue on with her honeymoon. While they were away, the news of Davis’ meeting with Toeplitz spread fast, and soon Jack Warner himself was on his way to Venice to have the most unpleasant consultation with Ludovic Toeplitz.

It didn’t take long for Bette to find out about Jack Warner’s meeting with Ludovic Toeplitz. From the moment she heard word of their consultation, she knew something was fishy and that Jack was only in town to sabotage her chances of working in Europe. As it turns out, Bette couldn’t have been more correct. Warner was irascible when it came to Davis’ legal obligations and wanted to take the matter to the English courts. The whole situation indicated trouble. Bette realized that there was no easy road out. Every avenue she could possibly follow contained many uncertainties. Defying Warner Bros. and remaining under contract to Toeplitz would jeopardize her career, but if she returned to California there was a chance that she would still be relegated to secondary productions that lacked prestige. No matter what it could have cost her, Bette was a hard target. She constantly thought about her position as an actress and where she wanted to stand on the pedestal. Instead of swallowing her pride and taking Jack Warner’s advice, Bette finally arrived at the decision to stand her ground and stay in Europe.

“I had been living abroad in the naive knowledge that I was about to prosper with the now maligned Signor Toeplitz. See you in court! I was so cocksure of myself. Right always triumphed.“

( Bette Davis: The Lonely Life )

Bette Davis’ decision was met with dissatisfaction from Warner Brothers. To prevent Bette from seeking temporary work, Messrs, Denton, Hall and Burgin, solicitors for Warner Bros. and First National Pictures, issued Bette an Ex Parte Injunction on September 9th of that year. Meanwhile Jack Warner and his wife Ann had set up momentary residence at William Randolph Hearst’s commodious property outside of London. Convinced that the whole situation was being blown out of proportion, Mrs. Warner earnestly tried to persuade her husband to put a stop to the action, but Jack remained adamant about going ahead with proceedings. As a means to confirm his power, Jack Warner enlisted Sir Patrick Hastings as the barrister. Noted as one of Britain’s most renowned barristers, Hastings served as a model for Sir Wilfrid Robarts, the lawyer in the 1957 film Witness For the Prosecution.

If Jack Warner was going to hire a barrister of authority, Bette made sure that her lawyer would be of equal supremacy. Signor Toeplitz recommended Sir William Jowitt, one of the best legal minds in the country. Bette was impressed with Jowitt’s experience in the field and felt confident about him handling her case. However, she soon found out that attached to his services was a ten-thousand-dollar retainer. In Hollywood, Bette was the subject of criticism. Gossip moguls for newspapers and magazines had continuously contextualized on Bette’s affluent wealth and had painted her as a spoiled rich girl, but in truth, she was financially broke. That kind of money was out of reach for Bette. There was no way that she would be able to afford the cost of hiring Jowitt without assistance. To make matters worse, both Bette and Ham were receiving no income. The only way out of this perplexing situation was for Ham to return to New York to try and pursue employment as a means to acquire money to help support his wife. Although Bette largely depended on Ham, she soon realized that Ham’s decision was the most sensible thing to do. In the meantime, Bette had to survive on the minimal savings she did have, and this meant downsizing to a tiny cell at the Park Lane, where she insisted on absolute silence.

Since Ham’s departure, Bette seemed to dwell over the court case. She knew she was facing an uphill battle. The entire motion picture industry would be backing Warner Bros. Given her notoriety for declining scripts that she deemed inferior, no other studio in Hollywood were willing to take a chance on her. What some of these top movie producers didn’t understand is that Bette cared about her career. She just wanted to be treated equally like a star and have more control over her projects. If any form of slavery on her part was to continue, Bette would not fulfill Warner Bros. demands. Trying to get Jack Warner to understand this was the hard part. He constantly underestimated Bette’s dedication to her craft. It was only on the day of the trial that Jack Warner would come forth and openly admit that Bette was a serious actress who fully embraced her work.

On the day of her hearing, Bette felt like she was pitted against top authority figures. As she entered the large English courtroom that was fitted with wood-paneled walls and leaded windows, Bette began to cower. The entire room emanated a foreboding and intimidating ambiance. Years later, Davis described the situation as one of the most painful experiences of her life. It was clear from the start that Bette would have to fight hard. She was dealing with the elite who succeeded in tearing shreds out of your self confidence. Throughout the hearing, Bette was depicted as being spoiled, uncooperative and demanding. These words were demoralizing. Bette had worked like a slave driver for the studio and now she discovers that Jack Warner displayed no ounce of gratification for her services. It was obvious that Warner had failed to look at the big picture. Bette was eager to appear in films that had substance and that was guaranteed to be financially successful, but she refused to work against her will in what was destined by critics to be a disastrous flop.

The entire court battle lasted three full days, but for Bette Davis the nightmare seemed to be never-ending. During this time everyone involved had a chance to express their plight in a open court room. Amidst this on going crisis a lawyer named Gerald Gardiner appeared out of nowhere and proceeded to close in on Sir Patrick. He was representing Signor Toeplitz. According to Davis’ autobiography The Lonely Life, Gardiner was condemned to silence. His speech was deemed irrelevant and his presence there was highly unnecessary. Before he could utter another world he was quickly reminded that his client was not on trial and was not among the parties concerned in the case.

Sir William was the perfect representative for Bette’s case. He delivered his speech with such heart and really fought for his clients rights. Although he was no authority in the acting industry, he clearly understood Bette’s plight and addressed the fact that it was wrong to force an actress or any employee to work against their will. Perhaps the most crucial point was when he detoured away from Bette’s impotency in choice of material and evoked the topic of freedom. He distinctly outlined that the studio was holding Bette prisoner. It was acceptable for a contract to come with a few stipulations, but he viewed Bette’s contract as a life sentence. Among the rules that were reinforced was that Bette was denied access in to any theatrical shows and was banned from making private appearances. Even a simple candid photograph taken at home was deemed improper and considered an appearance or arranging a party for a charity was more or less breaking the guidelines. Whatever Bette wished to pursue she would be required to seek permission before proceeding. At the core of this scenario was that Jack Warner owned Bette, which often made her feel like she was his guardian.

In The Lonely Life, Bette remembered that Sir William’s speech stultified both Jack Warner and Sir Patrick. Deep down Jack Warner knew he was partly to blame, but he was not one to openly admit that he was at fault. Instead he sat through the entire hearing looking uncomfortable. As Sir William hammered every aspect of the contract, he cringed more and more. Patrick Hastings looked as though he was ready to tear Bette apart, but the only way he could unleash his feelings was by taking off his wig and throwing it across the courtroom. He’s actions caused quite a commotion and its a scene that was permanently ingrained in Bette’s mind.

The verdict came as no surprise to anyone. It was decided that the final decision would be announced after the weekend. The thought of waiting to hear the unwelcoming news only increased Bette’s anxiety. She knew she was going to lose, but she would have preferred to hear of her defeat sooner rather than later. During this time Bette was residing at the Tudor Close in Sussex. Her mini apartment was less expensive than her previous dwellings and its ideal location boasted absolute seclusion and privacy, an aspect that was a necessity at this particular period in her life. In an attempt to elude her frustration and anguish, Bette found pleasure in taking leisurely walks along the beach. Coincidentally, Bette was basking in the sunshine at the beach when the results of the court case were reported. Although she had an inkling of what was going to happen, she was still overcome with sudden waves of melancholy. Her biggest worry was her financial status. She owed a large fortune to Sir William for his services and coupling this was the fact that she was morally bound by law to pay Jack Warner’s costs, which alone would make a tremendous dent in her bank account. After taking all this into account, Bette regretted her decision to fight. She wished she could turn back the clock, but that was not possible.

During her time of despair, Bette relied on a great support team to help carry her through. Her savior at this point was her mother Ruthie. Although Ruthie was back in the United States, she was a pillar of strength for Bette and remained her tower of comfort. This experience certainly made her realize the importance of a mother. Absolutely nobody could fulfill Ruthie’s role. She always replied to Bette’s letters, offering her sage advice and assuring her that everything will turn out alright in the long run. Ruthie tried her hardest to instill positivity in her daughter. Her words may not have fully alleviated Bette’s feelings, but they were a tremendous help.

Back in Hollywood, the studios were having a field day celebrating Bette’s defeat. The sardonic behavior of others really increased Bette’s dysphoria. She was determined to fight the case, but her current loneliness was weighing a heavy burden on her. At that instance she called her mother and insisted that she come over and stay with her while she appealed. Ruthie never gave it a thought nor did she need convincing. Her place at that moment was with Bette and that was the only thing that mattered. Those days before Ruthie’s arrival were punctuated with sorrow. Bette was alone and depressed. When she wasn’t walking along the beach or cycling she was hounded by the press who kept descending upon her tiny hotel situated by the sea.

In the midst of this gloomy situation entered an unexpected visitor who had arrived to rescue Bette from ruin. Standing in the lobby was no other than George Arliss, the man who was responsible for launching Bette’s career. Once again Arliss was here to release Bette from all her troubles. From that moment on, Arliss became the instrumental force behind Bette’s career resurrection. The two sat down and engaged in a long discussion. He advised Bette to return to the United States. She would be in a much better position if she accepted her defeat and went back and faced the music than if she decided to stay in the United Kingdom and fight for justice. Arliss convinced Bette that the key to success was positivity and failure is the root to negativity. Bette needed to have complete confidence in herself in order to further succeed in the acting business. These were the most encouraging words Bette had heard in a long time. Finally she came to the realization that George Arliss was right. Shortly after, Bette cabled her mother Ruthie about her homecoming and told her to stay in New York.

On a cold November day, Bette boarded the Aquitania and sailed to the United States. By the time she arrived home, Ham had released one record with Tommy Dorsey, but he was still adamant about launching a successful career of his own. Due to the very few opportunities Ham had in California, the most sensible thing to do was remain in New York, where he had a greater prospect to achieve. This arrangement meant that Bette and Ham would be separated again, though that was the least of their worries at that point. Ham was more interested in making a name for himself and Bette was overwhelmed with nerves about what was awaiting her in Los Angeles.

During the flight home to California, Bette sat nervously next to Ruthie. She was constantly weaving different scenarios into the chapter of events that she depicted will happen when she arrived back in Hollywood. Ruthie kept reminding her to eclipse all negativity and focus on the positive. If Bette had a slight inkling of what was awaiting, she wouldn’t have the spent the entire journey in a worrisome state of mind. Fortunately, her return was met with surprising results. Not only did Warner Bros. give her a warm welcome, they relieved her of all financial pressure by paying for the Kings ransom and Sir William’s retainer. For once their feelings were shifted towards Bette. They knew that Bette was serious about her career and only wanted to accentuate her star power. They also realized the dire situation she would be in if she had to pay the large sum of money. Bette was comforted to know that she was an asset to the studio and not just another employee. This sort of reception really made her change her outlook on her future as an actress.

At first the court situation threatened to thwart any plans that were on the horizon, but in the long run, Bette was not completely vanquished. Failure was a word that was not in Bette’s vocabulary. Success was her destiny and she was determined to conquer the world. That was exactly what she did.

“In a way, my defeat was a victory. At last we were seeing eye to eye on my career. I was aching to work and they were eager to encourage me.”

Instead of feeling restricted, Bette was now experiencing the newfound joys of being a Warner Bros. employee. Compatibility in the workplace is important. If your boss is not compliant of your every wish, it often impacts your ability to succeed or furthermore, forces you to become demoralized and lose inspiration. In Bette’s case, the close affinity between her and Jack Warner was a stepping stone to eminence. Bette’s career was her life’s blood. She was yearning to get back in front of the camera and the studio made sure that there were no barriers in her way.

In 1937, Bette Davis made her motion picture comeback with Marked Woman. Warner Bros. had recently purchased the screen rights for a film based on the Italian born gangster and bootlegger Lucky Luciano. Jack Warner reportedly found inspiration in the story and envisioned it to be the perfect material to bolster Davis’ career. Upon reading the script, Davis herself was impressed and seen Marked Woman as the springboard to endless dramatic possibilities that will enhance her potential as an actress. The predictions were right. The public reacted positively to Bette’s performance and Warner was generally pleased with her ascending popularity.

Marked Woman was of symbolic importance to Bette Davis’ career and opened up doors that led to a world of opportunities. Her next picture was 1937’s Kid Galahad, a prizefighting film, which pitted her against acting veteran Edward G. Robinson. There are a myriad of parallels between these two productions. Both vehicles gave her the boost she needed to build her public image. Once she had generated enough favorable publicity, the studio decided it was time for her to make a splash in the comedy genre. Bette always maintained that she would have liked to have been given more of a chance to explore her comedic roots. When she did venture into that territory, she was cast in farcical roles that didn’t suit her type of acting. Although, Bette stated that farce was not her forte, she was elated to secure the part of Joyce Arden in It’s Love I’m After. This was the third movie she made with Leslie Howard and it was the first time she shared the screen with close friend and soon to be frequent co-star Olivia de Havilland.

After starring in a succession of critically acclaimed films, Bette Davis had a premonition that luck wouldn’t remain on her side. As it turns out, Davis’ forecast for the imminent future were accurate. That same year Warner Bros. cast her in That Certain Woman, a remake of Gloria Swanson’s 1929 film The Trespasser. The end result was disastrous. The picture was a financial failure. The only redeeming feature was that Bette was given Henry Fonda as her leading man. Bette had known Fonda from her early days in the theatre, but once they became famous they traveled down separate career paths. For Bette, working with Fonda was a real blessing, but the inferior script hindered any chance of success.

At the studio, Bette Davis was working on full speed and was ascending to the top echelon of players, but on the home front, Bette was fighting a tumultuous battle with her first husband Harmon ( Ham ) Nelson. Although their marriage had been crumbling for a while, Bette continued to cling to hope that a divorce would not come to fruition. Despite the fact that she still cared for Ham, the light had burned in their relationship. At the core of their marital crisis was Bette’s success and accomplishments. Ham was a struggling musician who was fighting for recognition. He often felt like he was competing against Bette and was losing the battle. Exacerbating these problems was Bette’s heavy schedule. Harmon’s perspective on married life was that a wife should be dutiful twenty-four hours a day, seven days a week. When Bette was unable to fulfill his wishes, he moved out of the Coldwater Canyon house they shared together.

Instead of staying home and letting her marital problems with Ham weigh on her, Bette returned to work in the midst of crisis. No man was ever going to try and tear her away from her career. Her determination knew no bounds and whenever an opportunity came along, Bette was always the first to pursue it. Around the same time Paul Muni was in preparation to play the titular role in 1937’s The Life Of Emile Zola. Bette’s latest endeavour was to land the small part of Nana in the film. Davis reportedly put forth her proposition to the studio and approached Muni himself, but her requests were denied.

Shortly after, a bigger and better opportunity arose. There was a nation wide search for the perfect actress to play the coveted role of Scarlett O’Hara in a civil war epic entitled Gone With The Wind. Warner Bros. had initially promised Bette the lead, but her hopes had vanished when Warners had dropped the option. Almost everyone in Hollywood had tested for the part. The hunt was over when Vivien Leigh was cast. Once again Bette’s feelings were crushed. This would have been a dream come true for Bette and now that chance was shattered. At this stage in her career, Bette was use to hard knocks, but what infuriated her the most was the broken promise. To Bette, this was pure robbery; though deep down she realized that Leigh exuded the fragility and all the right qualities that was needed to portray Scarlett.

As it turns out, Bette Davis’ screen test for Scarlett O’Hara served as a stepping stone to an opportunity that was on the horizon. Warner Bros. had recently acquired the rights for the 1938 production Jezebel. The films protagonist Julie Marsden closely mirrored Scarlett in many aspects. She embodied the manipulative Southern Belle, who defies societal rights and dominates everyone around her. When she missed out on the role of Scarlett, Bette felt like she was ascending to the bottom heap, but once she was assigned the part of Julie, she was taking a step in the right direction. Her consultation prize was a second Academy Award.

Throughout the years, Bette Davis often exclaimed that Julie Marsden was the best part she had since playing Mildred in Of Human Bondage. She also credited William Wyler for being the first director to make her realize that she was an actress with full potential and not just a personality. Wyler instilled a great deal of qualities in Bette and she was forever in debt to him for his sound advice and all that he taught her.

For Bette Davis, Jezebel was the beginning of a lot of things. It was the beginning of career fulfillment and happiness, but more importantly, it was the beginning of the triumphant path that she would follow for the rest of her life.

The story of the infamous court case battle weaves tales of hope, sacrifice and triumph to produce a compelling portrait of a great dispute that would ultimately end in victory. Less than ten years later a similar event transpired when Bette Davis’ close friend Olivia de Havilland challenged the studio system and took Jack Warner to court over an immoral suspension clause and won.

Bette Davis died on October 6th, 1989, at the American Hospital in Neuilly-sur-Seine in France, from breast cancer. She was 81 years old.

This post is dedicated to the memory of Patricia Nolan-Hall – known by many as Paddy Lee. She was a prolific blogger, a talented writer and a friend to all. Her passing on March 7th was a tremendous loss to the classic film and blogging community, but the many hours of reading she left behind is a gift to us bloggers. I will always value her constant support and encouragement. Rest In Peace Paddy.