On Saturday, July 25, 2020 actress Olivia de Havilland died at age one-hundred and four. Over the course of her fifty-three year career she performed in theater, film, and television, earning two Academy Awards, a Golden Globe Award, two New York Film Critics Circle Awards, a National Board of Review Award, one Venice Film Festival Volpi Cup, and a star on the Hollywood Walk of Fame. Throughout her career she brought a diverse array of characters to life in films that ranged from historical dramas, to adventure movies, to contemporary melodramas, to romantic comedies. In each of her roles she infused her performances with a depth, intelligence, and charm that cemented her place as one of the brightest stars in film history. In honor of her life and career I'll be turning the spotlight on three of my personal favorite Olivia de Havilland performances.
Who says that nice girls finish last?!
The Strawberry Blonde: This jaunt back to 1890's New York may be the best showcase of de Havilland's comedic chops. The film follows dentist Biff Grimes (James Cagney) as he struggles to maintain his dental practice and marriage. When Biff learns that his old rival, Hugo (Jack Carson), has scheduled a dental appointment at his office he reflects upon their friendship and the woman (Rita Hayworth) who turned them from friends to bitter enemies. While it's Rita Hayworth's Virginia who is the strawberry blonde of the title, it's de Havilland's supporting performance as Virginia's friend, Amy that steals the show. In her portrayal of passionate, modern, Amy, de Havilland stands in perfect contrast to Hayworth's cool and calculated socialite and lends the film warmth and humor. Her performance cleverly plays off of her prior typecasting as 'the girl next door' as she portrays a woman who may not be as free thinking as she pretends to be. When Amy meets traditional Biff, a battle of the wits and wills ensues that is nothing short of high minded hilarity. As the pair's incessant arguing gives way to a budding romance de Havilland and Cagney display a crackling chemistry with her exuding a girlish charm that is nothing short of infectious. By the film's conclusion viewers are sure to fall as much for Amy as Biff and are guaranteed to be left with little doubt as to why gentlemen may prefer strawberry blondes but marry brunettes.
Don't fuss with me...
Hush...Hush, Sweet Charlotte: Murder, madness, and mayhem...don't exactly sound like the elements of a typical Olivia de Havilland film. In this 1964 classic, however, she more than delivers in her first foray into horror. Despite replacing original star Joan Crawford, de Havilland so completely embodies her role as duplicitous Miriam Deering that it's difficult to believe that the part was not written with her in mind. She aptly alternates between Miriam's outward charm and inward malice in a performance that subverts her earlier role as a demure Southern belle Melanie Hamilton. In a fascinating casting choice she plays completely against type as she portrays Miriam with such calculating cruelty that she more than matches the expert performance of her co-star Bette Davis. In her signature style she plays her role with a depth and subtlety that ensure that she is not reduced to a stock villain as she palpably conveys the loss and insecurity that led her character from lonely child to embittered woman. Throughout the film's occasionally outrageous plot her performance remains firmly grounded in reality as she expertly portrays the conflicting facets of Miriam's personality. By the film's conclusion she is so delightfully deviant that she has become what every villain strives to be; a character whom viewers will love to hate. For frightfully good viewing join de Havilland in Hush...Hush, Sweet Charlotte.
Should have put a ring on it
The Heiress: This 1949 adaptation of Henry James' Washington Square gave de Havilland both her second Oscar win and arguably the greatest role of her career. The film follows ultimate underdog Catherine Sloper as she struggles to find happiness in the restrictive world of 19th century New York. Plain, awkward, and insecure, Catherine is a far cry from the typical Hollywood heroine, and all the more compelling for it. After devoting her life to caring for her cold, distant, father she seemingly finds love with the charming, but penniless, Morris Townsend. Fearing that Morris is more interested in his daughter's fortune than her heart, Dr. Sloper does his best to dissuade the couple's budding romance. The film then follows Catherine as she suffers betrayal at the hands of both of the men in her life, only to rise from the depths of loss a stronger, empowered, woman. De Havilland infuses her performance with a warmth, intelligence, and aching longing that makes Catherine entirely believable and all too relateable. From the moment that she unassumingly appears on screen, de Havilland speaks to the outsider in all of us. In her portrayal of, in the words of Dr. Sloper, an "entirely mediocre and defenseless creature without a shred of poise" de Havilland redefined what a heroine could be. In an era in which the silver screen was dominated by glamorous faces de Havilland turned in a performance that was all heart, earning her place in the hearts of generations of viewers. For an acting masterclass witness the marvel that is Olivia de Havilland in The Heiress.
Since the advent of cinema film has been a unifying art form. Through film people from around the world and across the decades have been able to visit distant landscapes, explore emotions, and exchange ideas. In the 1988 film Cinema Paradiso a man reflects upon his childhood love of the movies and the mentor who helped foster that love into a lifelong passion. This deceptively simple coming of age tale earned Oscar, Golden Globe, and Cannes Film Festival awards and over thirty years after its release remains nothing short of cinematic paradise.
A portrait of the artist as a young man
The story begins with successful filmmaker Salvatore learning of the death of his childhood mentor, Alfredo. The film then flashes back to Salvatore's childhood in impoverished post-war Sicily. While his widowed mother struggles to raise and provide for her two children, willful Salvatore escapes the bleak atmosphere that permeates his home by retreating to the local cinema. It is there that he dares to hope for a life beyond the dusty streets of his village as he is regaled with tales of heroes, villains, and every colorful character in between. As the cinema's films and audiences change with the years one constant remains; the faithful presence of its projectionist, Alfredo. While the precocious Salvatore's constant antics wear on the adults around him, including the gruff projectionist, Alfredo recognizes the boy's passion for film and the two form an unlikely friendship. The film then chronicles Salvatore's coming of age as he grows from impish boy, to earnest adolescent, to world weary man with Alfredo and the movies that they shared guiding him every step of the way.
This love letter to the movies celebrates the ways in which film can compel, challenge, and unify film-goers from all walks of life. Throughout the film Salvatore, along with the rest of his village, finds refuge from the grinding reality of post-war Europe in the world of endless possibility presented on the silver screen. Although the villagers remain divided over war-time alliances, personal grudges, and petty jealousies, for a few all too brief hours in the dark all is forgiven and anything is possible until the final credits roll. Through the power of film lonely Salvatore is able to find a friend and surrogate father and Alfredo finds a student, friend, and the son he never had. For Salvatore, the influence of film lasts throughout his life by inspiring him as he struggles through school, adolescent romance, and eventually leaves the limited streets of his village behind to pursue a career in film making.
Even as it basks in the warm glow of cinematic nostalgia, Cinema Paradiso acts as more than a call to creativity as it also offers a warning against the dangers of censorship. Throughout the film the village priest, Father Adelfio, visits the cinema to preview each film that Alfredo shows and designate any 'objectionable' scenes that must be removed before general viewing. While these scenes are played to comedic effect, they highlight the ways in which censorship shapes our views of art and prevents us from making our own interpretations of artwork. The theme of censorship runs as an undercurrent throughout the film which carries over into the characters' personal lives. For example Salvatore's relationship with his mother is strained by her refusal to tell him the truth about his father's death in World War II. Similarly, it is revealed (in the original director's cut) that Salvatore's relationship with Elena ended not because her family moved to a new town, but instead because Alfredo hid her letters and prevented the couple from openly communicating. In both instances the censoring of personal information prevents the characters from fully understanding the events unfolding around them and making informed decisions.
Swoon-worthy celluloid
The film's warning against the dangers of censorship holds eerie relevance in today's climate of 'cancel culture' in which art and history are routinely subjected to censorship for failing to meet an ever changing standard of political correctness or 'wokeness'. Much like in Cinema Paradiso the effects of this censorship are now carrying over into real life as cancel culture moves from canceling history and art to censoring individuals. This pervasive intolerance, which is touted for promoting inclusivity, in fact acts to remove any diversity of opinion as it effectively attempts to put an end to freedom of debate, discussion, and ideas. Rather than allowing society to learn from the past and work towards a better future, this movement has instead devolved into a mob mentality which targets any opposing work, idea, or individual for erasure. Proponents of this movement claim that it is elevating society's values and thoughts, but as Alfredo notes "A mob doesn't think. They don't know what they're doing". It is now up to us as readers, viewers, consumers, and individuals to ask ourselves, if we will tolerate the censoring of our culture by this impulse and emotion driven mob or if the freedom of thought and speech is worth defending.
The film brilliantly transports viewers to post-war Italy thanks to the stellar work of its cast. Antonella Attili personifies world weariness as Salvatore's struggling mother while still conveying Maria's unconditional love for her children. Agnese Nano is nothing short of enchanting in her portrayal of Salvatore's teenage love interest, Elena. Leopoldo Trieste showcases a comic absurdity worthy of Charlie Chaplin in his turn as the village's stern, but hilariously inept priest, Father Adelfio. Salvatore Cascio, Marco Leonardi, and Jacques Perrin seamlessly portray Salvatore as he evolves from lonely child to successful, but conflicted, man. Philippe Noiret brilliantly brings Alfredo to life as he portrays each aspect of the by turns curmudgeonly, comical, warm, and wise projectionist with equal aplomb.
At once a powerful coming of age drama and a celebration of the silver screen, Cinema Paradiso is must-see viewing for any movie lover. Through its by turns heartfelt and thought provoking script the film serves equally well as a valentine to celluloid past and a warning for the present. The film's uniformly superb performances aptly transport viewers into post-war Sicily while relating a universal tale of love, loss, and creativity that will resonate with viewers of any generation. Join Salvatore and Alfredo and rediscover the magic of the movies in Cinema Paradiso.
Being the new kid in town is never easy, but for aspiring detective Agathe-Christine, it's the adventure of a lifetime. Combining elements of classic espionage and detective stories with a modern sensibility, 2017's Next Door Spy relates a mystery that will leave young viewers guessing until its final frame. Join Agathe-Christine as she sleuths and snoops through the mystery of the Next Door Spy.
The story begins with ten year old Agathe-Christine (or A.C. as she prefers to be called) moving to a new town with her mother, older sister, and little brother. While the rest of her family sets about meeting neighbors and trying to adjust to their new home, mystery devotee A.C. takes to the basement where she springs into action establishing her own detective agency. When she realizes that there isn't much of a market for child-detectives she starts her own investigation into her neighborhood, particularly the elusive boy across the street. As she probes deeper into her new neighbor's life she stumbles upon her greatest mystery yet and learns vital lessons about honesty, friendship, and staying true to yourself along the way.
Merging Nancy Drew style mystery with modern growing pains the film relates a charmingly offbeat tale of seeking the truth and finding yourself along the way. Through its emphasis upon the conflict between A. C.'s passion for detective work and her concerned family's desire's for her the film raises apt questions about the need to balance our interests and our responsibilities. The film also relates an inspiring message about the importance of helping others as the motives for A. C.'s detective work shift from her dreams of success and recognition to her sincere desire to help her neighbor, Vincent. The film additionally reminds viewers not to judge others as A. C. finds her first impressions of her new neighbors challenged throughout her investigation. By the film's conclusion she solves the greatest mystery of all as she discovers who she is and what sort of person she wants to become.
The film is colorfully brought to life thanks to the work of its cast. Voiced by Simone Edemann Mogeljerg, A. C. is an endearing heroine who will have audiences rooting for her every step of the way. Oliver Botcher creates a sense of mystery around A. C.'s neighbor, Vincent, and turns in a multi-faceted performance as Vincent's character is gradually revealed. Tommy Kenter lends dry humor in his portrayal of local business-owner, Arnie. Anne-Grethe Bjarup Riis and Kristine Sloth are entertainingly insufferable as A. C.'s overbearing mother and self-absorbed sister. Dar Salim and Albert Rudbeck Lindhardt imbue their roles as Vincent's father and brother with vital warmth and humor.
At once an engaging mystery and a coming of age story, Next Door Spy holds thrills for the whole family. Through its merging of classic mystery with a modern setting the film presents a fresh tale that will satisfy fans of such classics as Harriet the Spy and The Hardy Boys while still offering plenty to entertain young viewers. Offering an array of action, adventure, and life lessons Next Door Spy should be next up on any family's viewing list.
