Payday Loans
Michèle Morgan (1920-2016)

 

  1. Joan Fontaine, Suspicion, 1941. Hollywood agent and future producer Charles K Feldman arranged the French star's RKO contract in 1938. Michèle was a perfect Hitchcock heroine until she opened her mouth. He love all things French - except her accent.
  2. Ingrid Bergman, Casablanca, 1941.
  3.  Dolores Del Rio,  Journey Into Fear, 1941.   Universal  planned the WWII thriller for Morgan and Fred Astaire(!), Fred MacMurray or Robert Montgomery as the Nazi-hunted US businessman.  At RKO, Orson Welles and Joseph Cotten rewrote it for themselves, several back-room staff at Mercury Productions (including Welles’ secretary. Herb Drake)  and Orson’s lover, Dolores Del Rio.  He also  produced and possibly directed some scenes. Rapidly. Before shooting  off to Brazil to mak It’s All True, while still editing The Magnificent Ambersons. He lost control of them all - and the affair. Soon as the film opened, Dolores  was gone. It was that bad - even at a low 68 minutes. “I designed the film but can’t properly be called the director,” said Welles, adding that the ledge climax was directed by… whoever was closest to the camera.
  4. Madeleine Sologne, L’Eternal Retour, France, 1943.     From the outset, realisateur Jean Delannoy’s Nathalie (aka Isolde) opposite Jean Marais’ Patrice (aka Tristan) was Morgan. But she lived in America, far from WWII and, therefore missed sharing the Jeannot’s great movie breakthrough.On her retour, they made two films - Aux yeux de souvenir, 1948, Le Château de verre, 1950 - and were hailed as French Cinema’s Ideal Couple.  
  5. Ingrid Bergman, Joan of Arc, 1947.     Almost fetishistic about the role, Bergman formed Sierre Pictures with producer Walter Wanger and director Victor Fleming. Such heavyweights that London producer Alexander Korda canceled plans for a dual-language version with Morgan.
  6. Jane Wyman, Johnny Belinda,  1948.     Having spent a full year perfecting her English, Morgan was offered the role... of a mute!  Alors, non  merci! Studio boss Jack  Warner hated the film and sacked director Jean Negulesco - eventually one of  the 11 Oscar nominees.  Wyman, alone, won and forced Warner to take an ad in the Hollywood trades apologising to cast and crew for shelving the film. Morgan, pregnant by US husband, William Marshall, went home to renewed glory in La Symphonie  Pastorale, winning Best Actress at the first Cannes festival, 1946.
  7. Siobhan McKenna, Daughter of Darkness, 1947.     As Hollywood interest waned,  Britain's increased: she  quit  this  project for Alexander Korda's  production of  Graham Greene's novel, The Fallen Idol... when she famously claimed to be younger than her  nine-year-old co-stare, Bobby Henrey, because she was a Leap Year baby. At 28 she was, therefore, just seven!  
  8. Anna Neagle, Odette, 1950.      Another silly error. To reject the true saga of French resistance heroine Odette Churchill - a major triumph for Anna and film-maker husband Herbert Wilcox.  Yet, even Ingrid Bergman fled from  it.  
  9.  Danielle Darrieux, L'Affaire des Poisons, France, 1955.     Realisateur Claude Autant-Lara planned it for Morgan and Madeleine Robinson. Auteur Henri Decoin made it with his ex-wife and Vivian Romance.  
  10. Jeanne Moreau, Le dos au mur, France, 1958.       New  Wave film-maker Edouard Molinaro felt Michele's image too straight to be a rich, vain, arrogant wife involved in her husband's murder. Moreau had just done just that in  Ascenseur pour l'échafaud.  
  11. Marina  Vlady,  La  Princesse de Cleves, France,  1961.     Old Wave realisateur Jean Delannoy signed Morgan for Czech locations... in 1946.  By 1961, she was too old,  titularly. Only Jean Marais survived  the long  wait  - but  as the husband, no longer the  lover.  
  12.  Jeanne Moreau, La Notte, Italy, 1961.     "That was my fault. I didn't really know enough about [Italian director Michelangelo] Antonioni.And the script they gave me was not whatyou saw inthe film.But by then it was too late.”  
  13. Laetita Casta, Les âimes fortes, France-Belgium-Switzerland, 2001.      Veteran  realisateur Jean Delannoy planned a version of the classic Jean Giono tale for Morgan and Pierre Fresnay, but the Giono family re fused the proposition. Alexandre Astruc, The Uncle of the New Wave (said Godard), also had rotten luck. After he won the family’s approval and finished a script  with Eric Neuhoff,   the producer  gave the entire project to Chilean director Raoul Ruiz!  Result: “Little of substance to savour,” said Time Out.  NB: One website says Ruiz took it over after Astruc’s death. I’m writing this in May 2015 and Astruc is still with us!





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