Versatile Deborah Kerr Stood Her Ground-continued
You can call it mystique or just plain old animal magnetism. it is, in the end an indefinable quality that sets a precious few above the rest of Hollywood's cast of thousands. Whether they charmed or challenged us, dazzled or even angered us, they always left us wanting more. Others may have possessed more talent, better looking or bigger salaries, but none so possessed us as the heroes and heavies, lovers and clowns on the pages that follow. Emulated but never equaled, they represent our choices as the most irreplacable movie stars in history.
Biographies and LifeStories
Deborah Kerr took a long time to prove that she was more than just another long-suffering british lady in films.
She began her career as a ballet dancer - a member of the Sadlers' Wells corps de ballet - in 1938. Her film debut was in MAJOR BARBARA (40), and she went on to star in a series of British films in which she was properly prim. BLACK NARCISSUS, IF WINTER COMES, PERFECT STRANGERS, THE LIFE AND DEATH OF COLONEL BLIMP, and I SEE A DARK STRANGER marked her glowing glory in cinema. After several stage and film roles in London, she went to Hollywood, played a variety of movies. Her leading men were stars such as Clark Gable, Spencer Tracy, Cary Grant and Robert Mitchum - let's not overlook the charming Academy Award winner Mr. David Niven - remember his 'major' in SEPARATE TABLES.
It wasn't until BLACK NARCISSUS (46) that she got the credit for being the heavyweight actress that she is, and she won the New York Film Critics' Award for it. But she continued in such films as THE HUCKSTERS (47), If winter Comes (48), KING SOLOMON'S MINES (50) and QUO VADIS? (51). She fought for the role of the promiscuous army wife in FROM HERE TO ETERNITY (53), for which she received an OSCAR nomination - she was not the winner for that performance or the other four that would follow . . .
The story goes that the turning point of Deborah Kerr's career came when she was cast against all expectation, and after Joan Crawford had been fussy, as the lusting wife in Fred Zinnemanns production of From Here to Eternity. Deborah was then, has always been, and still is true-blue.
Educated at Bristol and then a debutante on the London stage, her first film was Michael Powell's CONTRABAND ~~ 1940. She worked in England throughout the war, as an ingenue, a heroine, a chip off the old block, and finally in devotional parts. MAJOR BARBARA - 1941 Gabriel Pascal; LOVE ON THE DOLE - 1941 John Baxter; PENN OF PENNSYLVANIA - 1941 - and HATTER'S CASTLE - 1942 - for Lance Comfort; THE DAY WILL DAWN - 1942 - Herald French; very good as the recurring redhead in THE LIFE AND DEATH OF COLONEL BLIMP - 1943 - for Powell and Emeric Pressburger; with Robert Donat in PERFECT STRANGERS - 1945 Alexander Korda; Frank Launder's I SEE A DARK STRANGER - 1946; a nun in Powell's BLACK NARCISSUS - 1946-47 .
Invited to America after the war by Metro-Goldwyn-Mayer to appear in Jack Conway's THE HUCKSTERS with Mr. Clark Gable ~ 1947. Victor Saville's IF WINTER COMES ~ 1947 and from Cukor's EDWARD, MY SON ~ 1949 she drifted into ever less interesting parts, the female object to Stewart Granger in KING SOLOMON'S MINES ~ 1950; a glowing Christian in QUO VADIS? ~ 1951.
And there were few and others inbetween.
She became a fixture when she whistled a happy tune as the governess in Walter Lang's THE KING AND I (one of my personal favorites and main introduction to cinemactress Kerr) ~ in 1956. The considerate offering of herself to John Kerr along with TEA AND SYMPATHY -- she had starred in the stage version fr Elia Kazan. Robert Mitchum, a nun's habit, alone on a desert island in HEAVEN KNOWS, MR. ALLISON for John Huston in 1957; she was a little more credible in AN AFFAIR TO REMEMBER also in 1957.
Though she has been nominated for six Academy Awards and lost them all . . . "I did mind missing that 'S u n d o w n e r s' Oscar," she once remarked to an entertainment writer for the New Yrk Times. The years of captivity at MGM should be known as the year of having had a ball. That whole Hollywood build-up thing was just so amusing and really just rather a lot of fun." She simply went to work and did her job and assumed directrs and studio heads knew better than she did.
She once said, "I'm afraid I can't explain to you how I act . . . it's entirely instinctive with me, I don't analyze it . . . but I can tell you why. Because I find it enormously
The pairing of SPENCER TRACY and KATHERINE HEPBURN was a high spot and produced six films of varying quality. But Spencer had gone on Broadway, flopped badly, and ended the decade with two more clinkers, one of which was stolen right from under him - the only time that happened in his entire career. The film was "EDWARD, MY SON, and the thief who pulled off the impossible was Deborah Kerr.
Beautiful and brilliant Deborah Kerr returned to Hollywood where she created so many unforgetable screen performances. She's gracing the stage of the Shubert Theatre in a touching play The Day After the Fair. Her standing ovation audience on opening night included EVA MARIE SAINT, FLORENCE HENDERSON, the JACK BENNYS, BILLY WILDER, the GENE HACKMANS, ELEANOR PARKER, JANE WYATT, IRENE DUNNE, GLORIA DE HAVEN, and BRENDA VACCARO.
Deborah moved into leads in an adaptation of the controversial novel which was England's equivalent of "The Grapes of wrath," the touching study of Depression-era poverty, "LOVE ON THE DOLE" (1940). although she did well in films including the grim "Hatter's Castle" (1941), it was really Deborah's lovely work in three roles in the splendid Michael Powell-Emeric Pressburger time-spanning saga, "THE LIFE AND DEATH OF COLONEL BLIMP" (1943), as the various women in the hero's life, that really set her on top. She followed up with several excellent performances in fine films: the mousy wife whose marriage is revitalized when she enters wartime service in "PERFECT STRANGERS" (1945); the Irish spy in the gripping "I SEE A DARK STRANGER" (1946); and especially, a marvelous, award-winning performance as the determined yet fallible Sister superior who attempts to establish a school and hospital in a remote Himalayan castle in Powell and Pressburger's uniquely unsettling "BLACK NARCISSUS" (1947).
There are many reasons given for Deborah Kerr deciding to make the film, THE INNOCENTS, rather than all the others that came her way. But the real story is the one that shall always dominate her life. Her children. The filming of the picture is being done in England, where her two daughters live under the custody of the British crown. Tony is still bitter over the collapse of their marriage, and resentful towards her new husband, Peter Viertel. Deborah realizes how easily, if unintentionally, this sort of feeling can be transmitted to her small daughters. She's hoping Peter's presence will counteract this. Feeling as she does about Peter, she's sure the children will have to be fond of him, once they get to know him. their love continues to grow despite their many problems.
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Trubled star ROBERT WALKER has died during the filming of LEO McCAREY'S "My Son John." Ravaged by the alcoholism which overwelmed him after his divorce from BARBARA FORD, daughter of JOHN FORD, Walker nonetheless turned in a remarkable performance in ALFRED HITCHCOCK'S recent "Strangers on a Train." As the playboy psychopath Bruno Anthony, casually swapping murders with FARLEY GRANGER'S weak-willed tennis star, Walker painted a disturbing portrait of a demonic hero light years away from the boy next door he played at the beginning of his career. Hitchcock enabled McCarey to finish "My Son John" by turning over out-takes from the final reel of "Strangers on a Train." So we get to see Bruno Anthony die twice on screen.
M - G - M presents
Rudolf Rassendyll ........ Stewart Granger
* * * 1/2 HEAVEN KNOWS, MR. ALLISON - Chalk up another hit for Deborah Kerr, and add another star to Robert Mitchum's crown. As the only two actors in this unusual war story, they turn out superb performances. The story is simple but most appealing., It's about a nun and a war-weary marine who are marooned on a Pacific island during the last war. At first, their situation looks easy, since the island is a veritable paradise, with plenty of food, water and shelter. But then a garrison of Japanese troops arrive to occupy the island and the two refugees hide in a cave.
released through 20th Century - Fox. *~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~* Paramount Pictures presents
Alan Ladd ..........Steve Gibbs
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With a string of performances like these, it was only a matter of time before Hollywood beckoned the graceful star.
In many ways she filled the void Irene Dunne would soon create by leaving films. gracious, ladylike and smart, Deborah would in fact recreate two Dunne roles; the proper Englishwoman who becomes governess to a potentate's brood in the musicalized version of "ANNA AND THE KING OF SIAM," "THE KING AND I" (1956); and the heroine prevented from making a crucial rendezvous with her lover in "AN AFFAIR TO REMEMBER" (1957); based on Dunne's better "LOVE AFFAIR".
Ms. Kerr's mother-dominated spinster in "SEPARATE TABLES" (1958) was rather overdone, but she was a radiant, sincere and reliable actress, and since her appeal did not really depend upon youthful beauty, she continued impressively into 60s films. Her work as governesses who encounter free-spirited charges in "THE CHALK GARDEN" (1964) and ghost-possessed ones in "THE INNOCENTS" (1961) where well crafted.
Variable health and problems remembering her lines interfered with some of her work, but her presence was always cherished, and she made a successful one-shot return to films as a repressed widow in "THE ASSAM GARDEN" (1985). One of the actresses most nominated for an Academy Award without ever winning, Deborah was given an honorary Oscar at the 1994 ceremonies.
Both have paid a high price, financially and emotionally, for the freedom to be together. That freesom, in the home they planned and built together in Klosters, Switzerland, is pretty wonderful. There, they have many friends - Audrey Hepburn and Mel Ferrer, the Yul Brynners - and, best of all, Peter's little daughter, Christine. In the warmth of Deborah and Peter's love, she is overcoming the tragedy of her mother's death in an accidental fire, a memory that haunts her - and Deborah and Peter. Still, back again in England, they are determined to look ahead and build a life for themselves. Deborah wants her daughters to get to know and like Peter. They are eager to make amends with Tony and pray he will be sufficiently convinced of their sincerity to let Deborah have what she wants most of all . . . her childre.
Peace seems to have come at long last to the much-troubled heart of Deborah Kerr. For some time her personal life went down-down-down while her career went up-up-up. Devorce, loss of her children, scandalous headlines in Europe and America before and after she married writer Peter Viertel, the tragic death of Peter's ex-wife in a fire, the sorrow of Peter's small daughter Christine - for a time these seemed more than she could bear. But today she says, serenely, "I am finally at peace with myself. It has not been easy, but you finally realize you're not the only person with trouble. I know quite a lot of people enjoy being in the public eye and they court publicity, so they must expect the worst. It doesn't seem quite fair. Still, I do remember being told as a child that nothing was fair. Sometimes I think my generation was brought up the wrong way."
Deborah's top career success has helped her regain her perspective. Honors like the New York Film critics Award for "THE S U N D O W N E R S" have meant much to her morale, and she thoroughly enjoyed her new picture, "THE I N N O C E N T S," in England, where she saw her children by Tony Bartley, hopes in time they will come to love Peter. A hopeful note: It was reported that a recent plane reservation for "Mr. and Mrs. Viertel" was actually occupied by Deborah - and her ex, Tony. He went with her to take their daughters to Switzerland for a visit at her home - her dream come true !
The Swing of the Pendulum: 1950 - 1959
Hollywood, August 28th, 1951 - Robert Walker dies at age 33
Walker was married to Jennifer Jones (1939-1947) by whom he had two sons.
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"THE PRISONER OF ZENDA" - 1952
Producer, Pandro S. Berman; Director, Richard Thorpe;
Screenplay by John L. Balderston and Noel Langley;
Adaptation by Wells Root from the Novel by Anthony Hope
and the Dramatization by Edward Rose; Music by Alfred Newman;
Adapted by Conrad Salinger; Color by Technicolor.
CAST
King Rudolf V ........ Stewart Granger
Princess Flavia ........ Deborah Kerr
Col. Zept ........ Louis Calhern
Antoinette De Mauban ........ Jane Greer
Michael, Duke of Strelsau ........ Robert Douglas
The Cardinal ........ Lewis Stone
Fritz Von Tarlenheim ........ Robert Coote
Johann ........ Peter Brocco
Josef ........ Francis Pierlot
Rupert of Hentzau ........ James Mason
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Their hand-to-hand existence is in constant peril, as Mitchum makes several trips to steal food when he discovers that Sister Angela cannot eat the raw fish he's been spearing secretly at night. Eventually, the question of love pops up, and Mitchum declares himself and begs the nun not to take her final vows when and if they're rescued. these sequences are handled with taste, and director John Huston has maintained incredible suspense in this restricted situation with only two stars. Miss Kerr's Irish brogue is charming and Mitchum has never been better.
"THUNDER IN THE EAST" - 1953
Produced by Everett Riskin; Directed by Charles Vidor;
Screenplay by Jo Swerling; Adaptation by George Tabori
and Frederick Hazlitt Brennan;
Music by Hugo Friedhofer
Based on the novel RAGE OF THE VULTURE
by Alan Moorehead
CAST
Deborah Kerr .......... Joan Willoughby
Charles Boyer .......... Ram Singh
Corinne Calvet .......... Lizette Damon (Simon)
Cecil Kellaway .......... Dr. Willoughby
John Abbott .......... Nitra Puta
[] END
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