Genteel Screen Legend Olivia de Havilland Flies in from
Paris to Puff 'Gone With the Wind'
by Roger Givens
Daily News (New York), June 21, 1998 page
One of Olivia de Havilland's greatest scenes took place
way, way off the silver screen. It was, in fact, the
performance that earned her the role of Melanie Hamilton Wilkes in
"Gone With the Wind," coming back to
theaters this Friday.
The scene takes place in 1938 at the home of David O.
mega-producer who was then putting together the epic
film that would premiere the next year. The 22-year-old de Havilland is Melanie and director George Cukor a gay, roly-poly man with
a mop of black curly hair and black-framed glasses
is Scarlett O'Hara. The audience is Selznick.
"George gave a very passionate performance, clutching the drapes.
I thought it was the wildest spectacle
imaginable," says de Havilland. "But a part of me kept control
and played it as if Scarlett was there. It was a
miracle that I managed to do it. And it was because of that scene that I
Remembering this audition, de Havilland's eyes light up and she fairly
hoots with pleasure. The two-time Oscar winner, who
will turn 82 in July, looks positively regal, with her swept-up, silvery
coif and her erect, perched-on-the-edge-of-
posture, but she couldn't be more charming and down-to-earth.
Before the interview commences, she hops up and moves her chair a little
closer to make sure she can hear the conversation
The high point
She has come to town from Paris, where she has lived since the
mid-'50s, to promote the movie that made her a major
star. "It was the happiest experience of my career," says de
Havilland, whose throaty voice has a way of
caressing and projecting language in a sensuous, musical way.
"Certainly, there were tremendous difficulties
along the way, but it was the happiest."
While de Havilland has some amusing memories of the "GWTW"
production during rehearsals of the birthing scene,
she was tethered to a concrete block, so that Clark Gable got stuck when
he tried to lift her her recollections also turn
sad. Victor Fleming, the second director on the project, suffered a nervous breakdown shortly after telling de Havilland that
he was contemplating suicide.
And Vivien Leigh, a delicate actress who had the most grueling schedule
of all the actors, suffered physical hardship.
"On the last day of the production, I went on the set because there
was going to be a small reception, and when I passed
Vivien Leigh, I didn't recognize her. She seemed diminished by
the enormous effort."
The release of "GWTW" made de Havilland a major star.
Previously, she had built a solid reputation as an
endearing leading lady, mostly in adventure pictures such as "Captain
Blood" and "The Adventures of Robin
Hood," co-starring in those two pictures with Errol
But instead of casting her in more prestigious projects, de Havilland's
studio, Warner Bros., put her in run-of-the-mill
flicks. "I thought it was so unfair to the public and so dangerous to
me to be assigned to that kind of material now that
the public really expected a lot out of me," she says. "They
wanted to exploit in an inferior way the renown and
acclaim of 'Gone With the Wind.' It was such a dreadful trick
to play on the audience and on me."
Relations between de Havilland and Warner Bros. became so strained that
she sued in 1943, and the case broke the
stranglehold that film companies had on actors in Hollywood. It was a
risky move. "They did say I'd never work
again," she remembers, "but that turned out not to be true at
all, and wasn't that wonderful? I got to choose the
pictures I wanted to do, and that was thrilling."
She chose well. "The Snake Pit," a wrenching 1948 look inside
a mental institution, helped spur changes in the
treatment of patients. And "The Heiress," a 1949 adaptation of
Henry James' "Washington Square," brought
her a second Oscar for Best Actress.
The first Academy Award came for "To Each His Own," a 1946
three-hanky weeper about a young woman who has a
baby out of wedlock and suffers for decades because she cannot reveal
herself to be the mother. (Nominations also came for
"Gone With the Wind," 1941's "Hold Back the Dawn" and "The Snake Pit.")
A dis from sis
The victory for "To Each His Own" became the public low point
in the tortured relationship between de Havilland
and her younger sister, Joan Fontaine, an Oscar winner for
"Suspicion" in 1941 defeating, among
others, de Havilland.
After de Havilland accepted her statuette for the movie
in 1947, she crossed paths with her younger sister,
the Oscar-winning Fontaine, who had just presented a different award.
Fontaine smiled to congratulate de Havilland, and
received an icy snub.
Asked about her relationship with Fontaine, now living in Carmel,
Calif., de Havilland is demure. "I can't say
anything," she says quietly, worrying the hem of her geometric-print
business suit. "No, I couldn't possibly say
But de Havilland is willing to discuss the inner conflicts that
troubled her for years over her choice of career,
saying that she "felt for a long time that there was something else I
should be doing." Now, she has no regrets, and
took to heart something Danny Kaye told her before he died in 1987:
"He said, 'I always thought I wanted to do
something that would affect people's lives, and now I feel that I
have affected people's lives.'
"And," the grande dame adds, "I realized that was true
for me as well. I have affected people's lives."
As she says this, there are tears in her eyes. This is not an act that
would win an Oscar. Olivia de Havilland is not
performing at all.
© 1998 Daily News