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Archive for the ‘Behind the Scenes’ Category

The Hurricane

15 Nov

While it’s still hurricane season here in the U.S. …

LOS ANGELES EXAMINER – NOVEMBER 16, 1936

by LOUELLA O. PARSONS

Bargaining, I hear from a reliable authority, is going on between the Warner Brothers Studio and Samuel Goldwyn. Sam wants Errol Flynn for the lead in Hurricane and offers in exchange William Wyler, the director, and any other bit of property loose on the Goldwyn lot. First time I ever heard of a star being swapped for a director or vice versa. But Wyler is an ace director and is as valuable in his way as Flynn.

Not only has Sam set his heart on Flynn, but John Ford, who will direct for Goldwyn, also has the same idea. And talking about goofy trades, Ford agreed to direct Hurricane on condition that Sam buy him a boat and equipment to film exteriors in the South Seas where he is now vacationing. Margo, who is superb in Winterset, will probably get the lead opposite Flynn, with Basil Rathbone set for an important role.

COULD THIS HAVE BEEN A GREAT ONE OF FLYNN? I believe so. With Wyler directing and the film earning three Academy Awards, but ultimately hampered by the casting of Jon Hall. Errol, IMO, could have lifted this to a Hollywood classic.


Plus, there could have been some very good amour between Flynn and Lamour!

“The Hurricane is a 1937 film set in the South Seas, directed by John Ford and produced by Samuel Goldwyn Productions, about a Polynesian who is unjustly imprisoned. The climax features a special effects hurricane. It stars Dorothy Lamour and Jon Hall, with Mary Astor, C. Aubrey Smith, Thomas Mitchell, Raymond Massey, John Carradine, and Jerome Cowan. James Norman Hall, Jon Hall’s uncle, co-wrote the novel of the same name on which The Hurricane is based.”

The film was nominated for three Academy Awards, winning in the category for Best Sound.
Best Sound Recording – Thomas T. Moulton
Best Supporting Actor (nomination) – Thomas Mitchell
Best Music, Score (nomination) – Alfred Newman

New York Times critic Frank S. Nugent praised the climactic special effect created by James Basevi, stating, “It is a hurricane to blast you from the orchestra pit to the first mezzanine. It is a hurricane to film your eyes with spin-drift, to beat at your ears with its thunder, to clutch at your heart and send your diaphragm vaulting over your floating rib into the region just south of your tonsils.”

He complimented the performances of all of the principal actors with the exception of Hall, whose Terangi was described as “a competent Tarzan”. He also faulted the uneven pacing, but in the end, characterized the film as “one of the most thrilling spectacles the screen has provided this year.”

youtu.be/CatmKnFtn-c…

— Tim

 

Welcome to Modesto, Errolivia

14 Nov

EIGHTY YEARS AGO THIS WEEK

November 15, 1938

EVENING HERALD EXPRESS

by Harrison Carroll

Fans up at Modesto drove Olivia de Havilland and Errol Flynn to take refuge in their rooms. The stars, in location for Dodge City, tried to eat in the hotel coffee shop, but admirers pushed in a plate glass window in on them. A jagged hunk of glass just missed Flynn’s nose and landed spear-like in his steak.

BTW, This incident likely occurred at one of the best hotels in downtown Modesto (Hotels Covell, Hughson, or Modesto), on one of the very streets (10th or 11th Street) where George Lucas later cruised cars as a teenager, as famously depicted in American Graffiti. … Though a relatively small, California Central Valley town, Modesto was nationally-renowned for it’s architecture.

— Tim

 

“A Pretentious Film”

09 Nov

November 9, 1935

EVENING HERALD EXPRESS

THE YOUNG MAN ABOUT HOLLYWOOD

New Casting Experiment Puts Unknown Newcomers in Featured Lead Roles

At Warners, Capt. Blood, a pretentious film, is in work with an
‘unknown’cast. Errol Flynn has the lead. Ever hear of him?

— Tim

 

Oceans Apart . . . – – – . . . 80 Years Ago This Week

03 Nov

November 3, 1938

Louella O. Parson
Los Angeles Examiner

“Errol Flynn has promised to be home November 11 from his Honolulu holiday.”

. . . – – – . . .

November 4, 1938

Harrison Carroll
Evening Herald Express

Yesterday’s late editions carried a one-paragraph story from London that will lift eyebrows in Hollywood. It quoted Lili Damita as follows:

“I’ve retired from film work forever. I’m going to settle down and be a wife and a mother.”

Only one thing that would have tilted the eyebrows higher—if Errol Flynn had said: “I’m going to settle down and be a husband and father.”

— Tim

 

Time to Put Away the Costumes — 80 Years Ago

02 Nov

Halloween was yesterday. Time to put away the costumes.
And time for a “Time to Put Away the Costumes” story from the days of Robin Hood.

November 1, 1938

“Behind the Makeup”

“Attendants in the Warner Brothers Studio wardrobe department are storing away
the armor worn by soldiers in the movie Robin Hood. Between each suit
of mail goes a generous number of moth balls. The moth balls are necessary
because movietown armor is made of wool, painted to look like armor.”

– Erskine Johnson, Los Angeles Examiner

This film will never go in moth balls, but its woolen armor did, as reported eighty years ago today.

— Tim

 

(Not So) Confidential

28 Oct

www-wsj-com.cdn.ampproject.org…

 

“We all read it,” Marlene Dietrich said, “not because it was any good . . . but to find out if we were in it.”

Errol Flynn came to Los Angeles in hopes of testifying against the magazine. Many stars fled the town and country.

 

— Tim

 

Walking the Hall of Justice — October 22, 1942

23 Oct

In this October 22,1942 AP file photo, actor Errol Flynn is flanked by his attorneys Robert E. Ford, left, and Jerry Giesler, right.

— Tim

 

A Year for Paternity? — — 75 Years Ago Today

19 Oct

Did Errol conceive two children in 1940? Sean, and Marilyn??

Shirley, or Shirley Not??

===

Oct. 18, 1943: Los Angeles is in the middle of a paternity suit brought by Shirley Evans Hassau, 21, against Errol Flynn. Hassau charged that Flynn was the father of her daughter Marilyn, who was 3. Hassau was seeking $1,750 a month child support, $10,000 in attorneys fees, $5,000 for hospital expenses and $2,000 in court costs.

An aunt, Florence Muller of San Francisco, had raised Marilyn since she was 5 weeks old and refused to let Hassau see her, The Times said.

Hassau’s suits against Flynn were dismissed in 1951. In 1940, two weeks after Marilyn was born, Flynn agreed to pay Hassau $2,000 although he denied being the father. The actor said he wanted to avoid a long court trial and adverse publicity.

— Tim

 

The Case of the Curious Pneumonia

07 Oct

EIGHTY YEARS AGO THIS WEEK – OCTOBER 1938

Los Angeles Examiner – Louella Parsons, October 4, 1938

Errol Flynn heard yesterday for the first time that he had pneumonia when he was so critically ill last week. So remarkable was his recovery that he is expected to go home today, and Lili Damita will sail Thursday on the Queen Mary. Errol’s doctors have ordered him to rest for two weeks, after which he is to report to Warner studio for Dodge City.

Don’t say “That’s where we came in,” for Hal Wallis really tried to borrow Ronald Coleman and Cary Grant for the remittance man who goes western. But when neither English accent was available, he went back to the original idea of putting Flynn in the role, postponing The Sea Hawk until early next year. Michael Curtiz, the director, who always favored Flynn, was rejoicing yesterday, for both Flynn and Olivia de Havilland were in Robin Hood Curtiz’ biggest hit.

Dodge City could-have-been cowboys, Coleman and Cary:

— — —

Los Angeles Evening Herald Express – Harrison Carroll
October 5, 1938

Errol Flynn went from the hospital to Edmund Goulding’s house at Palm Springs. He wanted to take a trip to Mexico City, but doctors vetoed it.

movielanddirectory.com…
— — —

Los Angeles Evening Herald Express – Jimmy Starr
October 10, 1938

Lili Damita shushed those Paris divorce rumors by nixing her trip to Gay Paree with the Jack Warners and flying back to hubby Errol Flynn in Palm Springs.

Here they are in Palm Springs:

— Tim

 

7th Michigan, CHARGE!

01 Oct

Flynn and Custer, a perfect match – brilliant, discipline-proof, dashing, and destined for greatness.

THEY DIED WITH THEIR BOOTS ON
(Benton Harbor News-Palladium, December 29, 1941.)

Monroe- The premier of the motion picture “They Died With Their Boots On” depicting the career of General George Armstrong Custer, was shown here Sunday. Seven members of the Custer family residing here attended the performance. Brigadier-General Custer, slain in the Battle of the Little Big Horn, attended school and married here.

ERROL FLYNN PLAYS GEORGE CUSTER
(Benton Harbor News-Palladium, January 10, 1942)

Custer’s last stand is an epic of the old west, but the rest of Custer’s life is a Michigan story. As shown in They Died With Their Boots On, the new Errol Flynn, Olivia de Havilland film opening Sunday at the Liberty, George Armstrong Custer’s adventures were intimately concerned with his native state.

He made a name for himself in the Civil War at the Battle of Gettysburg depicted in the film by leading a series of charges by gallant Michigan regiments. Thrown back time and time again, they kept up the fight under his inspirational leadership and finally turned the tide of battle.

After the Civil War ended, Custer like so many brilliant young officers of the Union Army, was retired. A peacetime Army had no use for the vast number of officers developed by the war. Young General Custer settled down with his wife in their native Monroe, Michigan, to live a life of peace.

It was from the same Monroe that Custer had gone before the Civil War to become the most discipline-proof cadet that West Point had seen in years.

According to the film, the most famous song of Custer’s Seventh Regiment, the Gary Owen, was taught to the General in Monroe by an English soldier who was a Union veteran. When the regiment rode forth in battle on the Little Big Horn, the song Custer learned in Monroe, sped them on their way.

George Custer was only 37 when he died. Life in Monroe had bored him. In order to get back into active Army service, he accepted colonel’s rank. He was sent to the most dangerous territory in America, Sioux Country. The Indians called him “Long Hair.” The tribute they paid him in his last stand shows the esteem in which he was held, even by his enemies. Every man killed in the battle was scalped – except Custer.

GENERAL CUSTER AFYER 45 YEARS
(Detroit Free Press, June 27, 1921)

It has been remarked that George Armstrong Custer’s chief contribution to the history of his country was his personality. Such a statement looks like a truism, but in his case it was more peculiarly true than in most. An operose, impetuous spirit, his tepidity, his dash, his verve, has passed into legend while there are still people living in these states who thrill to the memory of the day when Custer fell, who remember the clash of opinion that arose before his gallant blood had cooled.

The forty-five years that have passed since June 25, 1876, have not settled the argument. Was Custer’s death with his three brothers, his nephew, and all of the old fighting Seventh Michigan Cavalry , due to mis-wisdom, an untutored impetuosity, or were the trap and the barbarous slaying inevitable? How much of the mistake can be placed on the two commanders under him, Benteen and Reno, and was the natural indignation of the country justified? The exact facts are obscure, for we are unwilling to accept the only evidence which came from an Indian.

The significant thing now is that Custer’s story is not allowed to die – it is too romantic, too fraught with the perilous spirit of the frontier days which have rapidly dimmed and receded. The story has been woven into pageants, it has been vividly acted before the camera in its own historic setting. Today, out in Hardin, Montana, it is being commemorated again, re-enacted with Indians, some of whom are from the fierce tribe of Sitting Bull. Tamed now and submissive, forgetting the hot rage of the warrior, they are acting for the pleasure of the conqueror and perhaps for the lost glory of their tribe, scenes which were part of the destructive tide that swept them from their last entrenchments in the badlands of the prairie.

What history will do with Custer a hundred years, hence it is impossible to judge; it is probably that no matter what the historian of the future makes of his case he will be handed along in the legends which gave the thrill to cold facts as the perfect cavalry type, the temerarious General of Horse. The nation will remember him as Edward Clark Potter has pictured him when in that significant moment during a lull in the Battle of the Little Big Horn, he spurred forward from the line, and hat in hand, his golden curls flowing from a head thrown back, he stood for a moment surveying enemy lines. His striking uniform, his youth, his daring, combined to make him a glorious, a charmed figure.

The nation will remember him too, however much they may doubt his judgment, as the general who immensely brave, immensely daring, overpowered twenty to one, stayed with his men and died fighting in place. They will honor him as the Sioux honored him, Sitting Bull’s warriors who killed him but held his body inviolate because he was a warrior of whose prowess they stood in awe.

CUSTER’S LAST GUIDON

— Tim