Dame Olivia De Havilland – Crawley's Casting Calls

Anita Louise, Green Light, 1936. Leslie Howard, and Robert Montgomery were up for Errol Flynn’s young doctor ruining his life by taking the blame for his boss’ fatal error during an operation – and then falling for Louise as the dead patient’s daughter. Because all this emanated from a Lloyd C Douglas book, redemption was at hand. Olivia and Flynn made nine other films at Warner Bros.
Jean Arthur, You Can’t Take It With You, 1938. Unable to borrow De Havilland from Warners – or Howard Hughes, two-timing her with her sister Joan Fontaine! – director Frank Capra called up Mr Deeds’ girl. As usual, she was overly anxious, forever vomiting, requiring non-stop reassurance, as she continually fretted over her looks and got rid of teenage girl fans. “They’re so young and beautiful and I’m… not!”
Ann Sheridan, Dodge City, 1938. The fifth of nine films with Errol Flynn and for once ODH wanted to ditch her usual ingenue and be The Other Woman – a saloon chanteuse called Ruby. No way, said head brother Jack Warner, driving his star into “constant fits of crying and long days spent at home in bed,” said biographer Tony Thomas. “She was bored with her work and… she claims that she even had trouble remembering her lines.”
Brenda Marshall, The Sea Hawk, 1939. Gimme a break, said ODH… from swashbucklers’ ladies! (Not to mention, from Errol Flynn). Enter: Marshall, born Ardis Ankerson, and William Holden’s wife during 1941-1971 and numerous extracurricular affairs on both sides. Raoul Walsh, the director in the eye-patch, said Flynn and De Havilland were “the two most beautiful people I ever photographed.”
Virginia Bruce, Flight Angels, 1939. Suspension or no suspension,ODH refused to be among the airline stewardesses vying for the love of a dashing pilot with a girl in every (air)port. Hence, Warner suspended her.
Anne Shirley, Saturday’s Children, 1939. Jane Bryan, “Warners’ next big star,” quit to get married. Olivia de Havilland preferred suspension to the role. John Garfield refused a fourth film with Priscilla Lane. And when a never-named noviciate was dropped after two days, Shirley saved the day. Saturday’s child is the one working hard for a living.
Miriam Hopkins, Virgina City, 1940. She had had enough of Errol Flynn – although she swore nothing ever happened between them during eight movies together. He was, in fact, her “15th cousin twice removed.” Everyone knew it was a dumb Western, particularly Bogie… as a Mexican bandit!
Mary Astor, The Maltese Falcon, 1940. Who didn’t want to be Brigid O’Shaugnessy: “I’ve been bad, worse than you could know.” She was the film noir Scarlett O’Hara and three potential Scarletts were in the mix again: Joan Bennett, Paulette Goddard, Brenda Marhsall. Also delighted at being seen were: Ingrid Bergman, Olivia de Havilland (GWTW’s Melanie), Betty Field, Geraldine Fitzgerald, Janet Gaynor, Rita Hayworth. The rest were livid about not being good enough for bad Brigid… and her just desserts. “If you’re a good girl, you’ll be out in 20 years,” Bogie’s Sam Spade tells her. “I’ll be waiting for you. If they hang you, I’ll always remember you.”
Ann Sheridan, Honeymoon For Three, 1940. Surprising to find George Brent (who finished up as inert as Brian Donlevy) excelling in light comedics opposite Sheridan – as the couple first aimed at MacMurray and De Havilland. Then again, Brent and Sheridan married in 1942 – for exactly one year. (The 1933 couple had been Warren William and Joan Blondell).
Martha Scott, One Foot In Heaven, 1940. Head brother Jack Warner wanted her to co-star with Fredric March. Wary of his lecherous behaviour with his leading ladies, she got transferred to They Died with Their Boots On. With Errol Flynn. Oh no!!! Except she knew how to deal with in-like-Flynn. This was their ninth and last movie together in three years
Barbara Stanwyck, Meet John Doe, 1940. Passed on the newspaper woman opposite the titular Gary Cooper. Ann Sheridan had been first choice. Enter: Stanwyck. One of the two reasons Cooper accepted the film, script unseen. The other was the director. Frank Capra.
Merle Oberon, Affectionately Yours, 1940. De Havilland was shunted aside when, a third successive Bette Davis role passed to Oberon. As soon as Vincent Sherman (another of Bette’s director lovers) rejected it. He said she deeply distrusted men, needed but never enjoyed sex. “There wasn’t a great deal of foreplay… or afterplay.“
Bette Davis, The Bride Came COD, 1940. Some suggested COD meant Cagney over Davis as Warner Bros trumpeted the first co-starring of their top attractions. Or, that is the first time since Jimmy The Gent in 1933…! It had almost been Cagney over Olivia De Havilland, Ginger Rogers, Rosalind Russell or Ann Sheridan. “It was called a comedy,” snorted Bette. “All I got out of the film was a derriere full of cactus quills.”
Betty Field, Kings Row, 1941. De Havilland and Ida Lupino rejected the neurotic Cassandra that Bette Davis craved. (She suggested Field for the part). Laraine Day, Katharine Hepburn, Marsha Hunt, Priscilla Lane, Joan Leslie, Adele Longmire, Susan Peters were also seen for “the town they talk of in whispers,” full of murder, sadism, depravity And worse that had to be axed from Henry Bellamann’s 1940 novel: sex (premarital), sex (gay), incest, suicide… Peyton Place 16 years before Peyton Place!
Nancy Coleman, The Gay Sisters, 1941. “I need a vacation.” So Olivia was given a “technical suspension” and Coleman became Barbara Stanwyck’s sister, Susie Gaylord (her family was not unlike the Vanderbilt clan).
Bette Davis, The Man Who Came To Dinner, 1941. Bette Davis, The Man Who Came To Dinner, 1941. Eight guys were seen for the titular and acerbic critic, Sheridan Whiteside (the first time that Cary Grant and Orson Welles were considered for thje same role!). But just five ladies for Maggie Cutler (based on Dorothy Parker) – Jean Arthur, Bette Davis, Olivia De Havilland, Myfna Loy and Rosalind Russell. It was Bette who wanted John Barrymore as Whiteside, but he could no longer remember his lines. In their boom(ing) days, the Burtons were due for a re-make. But who would want Richard for dinner
Brenda Marshall, Footsteps in the Dark, 1941. The LA Times reported Errol Flynn’s usual co-star would join him in the murder mystery. So it had to be true (!). Flynn wanted a change from costume romops and Olivia wanted a change from Flynn! Enter: Brenda Marshjall, who wed William Holden that summer. The movie was not The Thin Man the brothers Warner thought it was.
Merle Oberon, Affectionately Yours, 1941. Often rivals ODH and Bette Davis refused Sue Mayberry – snared between Dennis Morgan and Ralph Bellamy. Oberon was terrific but Rita Hayworth, sill far from Cover Gilrl and Gilda, stole every scane she was in.
Karen Verne, All Through The Night, 1942. Olivia and George Raft was the (odd) idea for the “Nazi comedy” (!) about New York mobsters tackling German spies in the Big Apple. (It actually happened!). Raft passed to Bogart (as usual), and De Havilland surrendered the zero role of suspect chanteuse Leda Hamilton to Verne – Berlin-born as Ingeborg Catherine Marie Rose Klinkerfuss. Oh and Humphrey Bogart replaced George Raft. As usual.
Ida Lupino, The Hard Way, 1942. Helen Chernin was based on Ginger Rogers’ formidable stage momma, Lela E Rogers. Davis could never understand… “How did I let that one get away?” Idem for ODH. That gave them plenty to anguish about 20 years later while co-starring in Hush… Hush, Sweet Charlotte.
Teresa Wright, Shadow of a Doubt, 1942.
The Sisters – Olivia De Havilland and Joan Fontaine – were short-listed by Alfred Hitchcock. But they were otherwise engaged. He couldn’t get Cary Grant or William Powell for the murderous Uncle Charlie, either. Yet the result always remained Alfred Hitchcock’s favourite Hitchcock movie. ‘We all know that,” I said when we finally met… when… Hitch looked like he was nodding off me after his good lunch. Help! What to do…? “Hey,” I said, “but what’s your second favourite?” He woke up, didn’t even take time to blink. “The Trouble With Harry,” he cried. “But,” I yelled, “that’s my favourite!” From then on he loved me. The interview was a breeze – a terrific experience! Much of Doubt was shot in Santa Rose, next door to San Francisco – where years later I would interview another idol… at ! Snoopy Villas! Charles Schulz. The father of Charlie Brown, Snoopy and the rest of the Peanuts comic-strip gang. Happy daze.
Joan Fontaine, The Constant Nymph, 1942. Arriving for lunch at Romanoff’s, director Edmund Goulding stopped by Brian Aherne’s table to chat with his pal. (He’d starred in the 1933 UK version). Goulding said it was impossible to find the lead girl. He’d tried Bette Davis, Wendy Barrie, Olivia De Havilland, Jennifer Jones, Joan Leslie, Eve March, Merle Oberon, Margaret Sullivan. Head brother Jack Warner craved A Star. “She has to be consumptive, flat-chested, anemic, and 14!” “How about me?” said the the freckled miss sitting with Aherne. “Who are you?” asked Goulding, somehow not recognising his friend’s wife in a leather flight suit and pigtails (they had just flown into LA from their Indio ranch). “Joan Fontaine.” “You’re perfect!” She was 25. So what! She signed next day and called it “the happiest motion-picture assignment of my career.” Oscar nomination, included. Well at 25, she was, remember, playing a 14-year-old infatuated with Charles Boyer (in her husband’s ’33 role). And they complained about Lolita..
Miriam Hopkins, Old Acquaintance, 1942. The rejected role was Bette Davis’ old friend – played by her old enemy. Director Edmund Goulding had a “heart attack” to escape the Davis-Hopkins feud. Davis just loved the scene where shook Hopkins and threw her into a chair. And never worked with her again. Although, she was the guilty party – having had an affair with Hopkins’ husband, director Anatole Litvak.
Miriam Hopkins, Old Acquaintance, 1942. Seconds out of the ring… Bette Davis wanted Norma Shearer or “Livvy” De Havilland as her co-star – but got Miriam Hopkins, her arch nemesis… well, second only to Joan Crawford. They posed for a publicity photo in boxing gloves. Bu they were no joke on the set. In fact, director Edmund Goulding couldn’t face them and passed the chair to Vincent Sherman. In one scene, Hopkins accused Davis of stealing her husband. And that actually happened in real life, when Davis had an affair with him – director Anatole Litvak.. After failing on this movie, Davis started an affair with Sherman during their next film. Always good tp have the director on your side when a film is called Mr Skeffington and you’re playing Mrs…
Teresa Wright, Shadow of a Doubt, 1942. The rival sisters, ODH and Joan Fontaine, were Alfred Hitchcock’s first choices for the girl who has doubts about Uncle Charlie. They were not free. Hitch’s third notion called it the favourite of her 82 screen roles. It was his favourite, as well. Shot in Santa Rosa, where Charles M Schulz lived and worked on his Peanuts comic strip… at #1 Snoopy Villas. I know because I interviewed him there.
Ingrid Bergman, Saratoga Trunk, 1943. Head bro Jack Warner shelled out $175,000 for the rights to Edna Ferber’s latest huge (ie rambling) novel – for an Errol Flynn-Olivia De Havilland reunion. Or Errol Flynning Bette Davis, Nina Foch, Vivien Leigh, Eleanor Parker, Ann Sheridan or the Russian Tamara Toumanova as the aristocratic Creole Clio Dulaine. It also loomed large as the Dutch-born Nina Foch’s debut, although she was ten years younger than most candidates. However, Sam Wood got the gig and used his Hemingwayesque couple from the 1942 For Whom the Bell Tolls: Cooper and Ingrid Bergman as a Swedish Creole! In Hollywood, any accent is the right accent. Sam’s assistant director was… Don Siegel.Warners later bought another Ferber novel, also aimed at De Havilland. Giant.
Ann Sheridan, One More Tomorrow, 1943. When Olivia refused to play photographer Christie Sage, she was suspended by Warner Bros – for the fifth time in three years! Consequently, she sued the studio and won a landmark case about showbiz contracts that is still known (and used) as The De Havilland Law. Or, more officially, California Labor Code Section 2855. Shot in 1934, the mo vie was so good it wasn’t released until 1946.
Ann Harding, Mission To Moscow, 1943. ODH and Frederic March, as Roosevelt’s ambassador to Russia and his cereal heiress-wife, Marjorie Post, wound up as Harding and Walter Huston. US philosopher John Dewey, who had headed an inquiry into Stalin’s 1936-1938 purge trials, attacked the film (ordered by FDR) as “the first instance in our country of totalitarian propaganda for mass consumption… which falsifies history through distortion, omission or pure invention of facts.”
Joan Crawford, Mildred Pierce, 1945.
“The Kind of Woman that most men want – BUT SHOULDN’T HAVE!” Smelling another comeback, Crawford campaigned hard for the killer – a role touted for Barbara Stanwyck after Bette Davis spurned it. Also considered: Olivia and sister Joan Fontaine. Plus Myrna Loy, Rosalind Russell, Ann Sheridan. Crawford simply complied with Mildred’s line: “I don’t know whether it’s right or whether it’s wrong, but that’s the way it’s gotta be.” Director Michael Curtiz didn’t want to be lumbered with an old “has-been” like Crawford (as difficult as her shoulder pads). She shook him by agreeing to test, winning him over – and Oscar on March 7 1946. Bette always maintained that Crawford (and Miriam Hopkins) lusted after her body as well as her success. Bette played Joan, or a script based on her – with plenty of her “Bless you!” lines thrown in by Davis – in The Star, 1952.
Alice Faye, Fallen Angel, 1945. Another whodunnit for director-ogre Otto Preminger – indeed another murder of a girl obsessed over by most men around her. So he got most of his Laura team to help pull it off – led by another hard-boiled ‘tec from Dana Andrews, although he thought it was in bad taste. There were two leading ladies and head Fox Daryl Zanuck said no star would ever agre to be June while Linda Darnell’s (slain) Stella stole the action. And the film, the way Zanuck recut it – resulting in Faye storming out of a studio screening, speeding off the Fox lot, hurling her dressingroom key at the security guard… and never returning for 17 years!
Irene Dunne, Anna and the King of Siam, 1945. “If David comes off his high horse,” said production chief Darryl F Zanuck about dealing with David O Selznick, “we will use [Dorothy] McGuire; if not, we will have practically the pick of the industry for this role”: Jean Arthur, Bette Davis, Vivien Leigh, Myrna Loy and Merle Oberon, and ODH asked Ernest Lubitsch to intercede on her behalf. Then, DFZ added: “I forgot to mention Irene Dunne although in my opinion she is too old for it.” Doh!
Teresa Wright, The Best Years Of Our Lives, 1946.
Gene Tierney, The Razor’s Edge, 1946. Sisters de Havilland and Joan Fontaine were in the frame for Isabel Bradly, Tyrone Power’s co-star on his return to Fox after four years at WW11 in the US Marine Corps. Donna Reed, It’s A Wonderful Life, 1946.
Donna Reed, It’s A Wonderful Life, 1946.
Margaret Sullavan, No Sad Songs For Me, 1950. Columbia first planned it for Olivia – or Irene Dunne.
Joan Fontaine, Ivy, 1946. Never such beguiling sisters…! De Havilland quit when discovering that her agent had pushed her into the literally poison Ivy – adulteress and killer – because he had a financial interest in the project. (And, anyway, she had just wed for the first time). Fontaine took over… to start her four-picture Universal deal. With their mother, Lillian Fontaine, as Lady Flora.
Ida Lupino, On Dangerous Ground, 1950. Also in the snowy mountains frame for the blind Mary were Lauren Bacall, Faith Domergue, Susan Hayward, Wanda Hendrix, Deborah Kerr, Janet Leigh, Margaret Sullavan, Teresa Wright, Jane Wyman, – and Broadway newcomer Margaret Phillips. RKO chose well. Because, although un-credited, Lupino also co-directed the noir thriller with Nicholas Ray. In all, she helmed 41 films and TV shows during 1949-1968 when Hollywood women were just supposed to pout, pirouette and pucker up.
Claudette Colbert, Three Came Home, 1950. Two years earlier, the LA Times reported that De Havilland would be play the Japanese POW Agnes Newton Keith. Instead, it became Colbert’s “most stimulating and happiest experience of my entire career.” Despite sustaining a back injury that cost her the role of of Margo Channing in All About Eve. (“Thank God!” said Bette Davis!).
Vivien Leigh, A Streetcar Named Desire, 1951. Elia Kazan gave in when Warner’s honcho Jack Warner preferred the double-Oscar-winner over the original Blanche, Jessica Tandy. Then Warner blew up at Olivia’s $175,000 fee and got Leigh for $100,000 to Marlon Brando’s $75,000. Alone among Method-ists, the manic-depressive Viv suffered a deeper trauma than when directed by Olivier in the London stage version – erupting, said biographer Alexander Walker, “in notes of delirium and despair which echoed the very text of the madness she had embodied so brilliantly.” Hence, she was in no condition for My Cousin Rachel, 1952, taken over by Olivia.
Anne Baxter, I Confess, 1952. Alfred Hitchcock had first been intrigued by Paul Anthelme’s 1902 play, Nos deux consciences/Our Two Conscience) in the 30s. He wanted Olivia as Ruth, but she was too important for a secondary role. Hitch’s next choice, the 1950 Miss Julie… who arrived in Quebec with her lover, writer and their baby daughter. Avoiding another Ingrid Bergman-style scandal, Hitch called up another AB, his original Rebecca choice. Bye-bye Bjork.
Susan Hayward, The President’s Lady, 1952. Every American recognises Andrew Jackson, the seventh US president (1829-1837). His face is on every $20 banknote. Few know about The Jackson Scandal… living as man and wife with Rachel Donelson without realising that her divorce was never finalised. He was called a wife-stealer, his wife much else…. Irving Stone’s novel as bought by Fox when still in galley proofs – for De Havilland and Gregory Peck. They became Hayward and Charlton Heston.
Jane Wyman, Magnificent Obsession, 1953. It was Wyman’s idea to re-hash the 1935 Universal weepie. She first approached director Douglas Sirk about it. And then, whadderyerknow, Universal did the dirty and started talking to De Havilland, Joan Crawford, Eleanor Parker and Loretta Young about being Helen Phillips… As if Wyman was going to let that happen! Universal production chief Ed Muhl, had been there (in a lower position) in 1935 when the top tear-jerker made a such a superstar of MGM’s Robert Taylor that he was kept home and never loaned again for 24 years! “It would have been stupid of me to have forgotten that,” said Muhl. Which is why he arranged for his re-make to do exactly the same for Rock Hudson. “He was ready!” (Well, Jeff Chandler had fled). . And, as they say, Jane Wyman (the ex-Mrs Ronald Reagan) “graciously accepted him” as her co-star… although critics thought she looked way too old for him.
Gloria Grahame, Human Desire, 1953. Austrian director Fritz Lang hated the title. “What other kind of desire is there?” Brando hated everything else. “I cannot believe that the man who gave us the über dark Mabuse, the pathetic child murderer in M and the futuristic look at society, Metropolis, would stoop to hustling such crap.” After Barbara Stanwyck and Rita Hayworth walked, De Havilland agreed – only opposite Marlon Brando, Montgomery Clift, Kirk Douglas, Burt Lancaster or Robert Mitchum. When Glenn Ford was signed, she fled.While Hollywood gossip hen Louella Parsons said the producers wanted Lang’s 1951 Clash by Night line-up: Pau; Douglas, Robert Ryan and Barbara Stanwyck.
Grace Kelly, Dial M For Murder, 1954. Alfred Hitchcock lore: “A murder without gleaming scissors is like asparagus without the hollandaise sauce. Tasteless.” First of hisd three classics with his absolute perfect leading lady, Grace Kelly. It would have been more (Marnie, etc) but for her marrying Prince Rainier of Monaco.
Grace Kelly, The Country Girl, 1954. Despite the title, Bing Crosby felt his retired song ‘n’ dance man was a great chance for a second Best Actor Oscar. Just didn’t turn out that way. He was nominated but in a surprise upset, Kelly was the big winner, beating A Star Is Born’s Judy Garland to the Best Actress award. Olivia De Havilland, Eleanor Parker and (a pregnant) Jennifer Jones had also been in the mix for her mousey Georgie
Katharine Hepburn, Summertime, 1954. It started as a 1952 Broadway hit called The Time of the Cuckoo by the great Arthur Laurents. Dumpy Shirley Booth won a Tony award as the Ohio finding romance in Venice. Italian maestro Roberto Rossellini saw it as a perfect film for his “scandalous:” wife, Ingrid Bergman (!). But the UK’s brilliant David Lean saw it as a perfect film for him! And, of course. Kate – as another of her spinsters for all reasons. (Olivia De Havilland had been talked of). Lean adored Venice (he made it shimmer). Kate adored Lean– even sitting in on the editing to continue watching his artistry at work. ”It was a very emotional part,” she wrote in her memoirs. “But it was thrilling… Wasn’t I lucky to work with him?”
Elizabeth Taylor, Elephant Walk, 1954. High on the list to take over after Vivien Leigh’s breakdown on Ceylon locations.
Elizabeth Taylor, Giant, 1955.
Deborah Kerr, The King and I, 1956. Up came her reliable name, after Maureen O’Hara and before Kerr.
Lana Turner, Peyton Place, 1956. All the obvious, well, MILFS, of their day were in the frame for Constance McKenzie – in the mother and father of all movie and TV soaps. Namely: ODH, Turner, Joan Crawford, Susan Hayward Jane Wyman.
Lauren Bacall, Written on the Wind, 1956. Due in a 1949 version with sister Joan Fontaine and Henry Fonda.
Constance Ford, A Summer Place, 1958. De Havilland and Teresa Wright were seen but, frankly, the role did not need a star. Helen Jorgenson was not The Other Woman, but the Dumped Wife. As her hubby Richard Egan rekindled an old romance with Dorothy McGuire, his son and her daughter (Troy Donahue, Sandra Dee) started their own… during Max Steiner’s lushest theme since Tara’s in Gone With The Wind, 1938.
Lucille Ball, The Facts of Life, 1959. When due for Olivia and James Stewart in 1951, the 23rd (of 26) comedies by Norman Panama and Melvin Frank just did not percolate. Uniting for a third time, Ball and Bob Hope helped supply the missing sparkle. Wasn’t all fun… Ball bruised her leg and face in a fall, Hope smashed a finger, Don DeFore injured his back, director Melvin Frank broke an ankle and the publicist got the mumps. Quipped Hope: “This film should have been shot at Cedars of Lebanon Hospital.”  Then… the soundstage caught fire.
Joan Crawford, Whatever Happened To Baby Jane? 1962.
Producer William Frye, a great friend of Davis, unearthed Henry Farrell’s book when searching material for his Thriller TV series. Recognising the potential. he wanted Ida Lupino to direct Bette Davis-De Havilland. Universal’s Lew Wasserman was not keen on Davis after an unimpressive Wagon Train TV episode. And told director Robert Aldrich who immediately wanted Crawford. “No one,” swore Jack Warner, “will pay to see those two old broads act.” Everybody! Hence the 1964 follow-up, Hush…Hush… Sweet Charlotte – this time with Olivia tackling Bette. After Davis had unceremoniously elbowed Joan Crawford out of any re-match.
Gene Tierney, Toys in the Attic, 1962. “This turgid drama and his avid actors …get completely out of hand and run wild in a baffling confusion of theatrical bursts and attitudes.” Owch! That was the New York Times critic Bosley Crowther. As for Tierney, she is a blank, “a random figure in a melodramatic plot.” Obviously, director George Roy Hill was out-of-his-depth. He could not have better controlled the studio’s first, dream-wish cast. De Havilland, Katharine Hepburn, Wendy Hiller and… and Vivien Leigh!
Julie Christie, Far From The Madding Crowd, 1966. About 20 years earlier, Hollywood director George Cukor aimed to film the Thomas Hardy classic. He was, however, in two minds about who – Olivia or Vivien Leigh – should be Bathsheba Everdene, the flirtatious heroine juggling three admirers. In 1966 and 2012, John Schlesinger and Thomas Vinterberg knew precisely who they wanted: Julie Christie and Carey Mulligan.
Virginia McKenna, Waterloo, Italy-Soviet Union, 1969. Change of the The Duchess in the enormous flop was the reason why Stanley Kubrick lost backers for his own Napoleon piece.
Jennifer Jones, The Towering Inferno, 1974. When ODH said no, Jones’ third husband, Norton Simon, a large Fox stockholder, supported her comeback after five years away. It was her final film. Olivia, George Burn and Luise Rainer are the only Oscar-winners to reach 100.

Birth year: 1916Death year: 2020Other name: Casting Calls: 58