I’m often asked, “Why a biography on Miriam Hopkins?” I confess that I get this question mostly from people who are not fans of the actress. They can’t understand why anyone would be interested. On the other hand, those who are fans seem thrilled that one is being prepared. It’s scheduled to be completed by the end of the year.
A few reasons why Miriam Hopkins would make a good biographical subject:
Hopkins appeared in 35 films, 2 shorts, 18 Broadway plays, 20 plus summer stock plays and road tours, 20 television programs and multiple radio plays and appearances.
Hopkins made her first film, Fast and Loose (1930) during the day while performing on the Broadway stage in Lysistrata in the evenings.
Hopkins appeared in the very first Technicolor film, Becky Sharp (1935).
Hopkins starred in the first produced play written by Tennessee Williams, Battle of Angels (1941).
Hopkins appeared in a silent short film in 1928 with Humphrey Bogart.
Hopkins had a love-hate relationship with her mother.
Hopkins did not have contact with her father for more than twenty years — not until she became a Hollywood star.
Hopkins was indirectly descended from Revolutionary figures, Arthur Middleton and John Dickinson.
Hopkins was Margaret Mitchell’s choice to play Scarlett O’Hara in Gone with the Wind (1939).
Hopkins was nominated for an Academy Award (Becky Sharp) and a Golden Globe (The Heiress).
Hopkins bought and remodeled John Gilbert’s house after his death and sold it ten years later to David O. Selznick.
Hopkins costars include: Carole Lombard, Fredric March, Claudette Colbert, Maurice Chevalier, George Raft, Gary Cooper, Franchot Tone, Lionel Barrymore, Kay Francis, Bing Crosby, Fay Wray, Joel McCrea, Edward G. Robinson, Merle Oberon, Gertrude Lawrence, Rex Harrison, Errol Flynn, Claude Rains, Olivia De Havilland, Gene Tierney, Laurence Olivier, Jennifer Jones, Audrey Hepburn, Shirley MacLaine, Marlon Brando, Robert Redford, Jane Fonda, Sally Field and of course, Bette Davis.
Hopkins was directed four times by William Wyler, three times by Ernst Lubitsch and twice by Rouben Mamoulian.
Hopkins was married four times and had numerous lovers.
Hopkins lived on Washington Square in New York during the late 1920s, the same place as her character in The Heiress (1949).
Hopkins was seriously interested in astrology and numerology.
Hopkins adopted a child as a single parent.
Hopkins was involved in political causes during her Hollywood years.
Hopkins was an authority at scene stealing.
Hopkins preferred writers, directors and intellectuals as friends and not Hollywood types.
Hopkins had an extensive book collection in her homes and was a voracious reader.
Hopkins actions were followed closely by the FBI for more than 15 years.
Hopkins never revealed her first marriage to her son
(he read about it in his mothers obituary)
Hopkins died nine days before her 70th birthday.
Hopkins feuded with Bette Davis, Tallulah Bankhead, Errol Flynn and numerous others and pissed off half of Hollywood.
The making of the 1949 film classic, “Little Women”
By Allan R. Ellenberger
“Good pictures are always difficult to make,” Mervyn LeRoy once said. He should know because he produced or directed several including Tugboat Annie (1933), Madame Curie (1943) and the perennial favorite, The Wizard of Oz (1939).
However, the one film he always wanted to make was an adaptation of Louisa May Alcott’s “Little Women.” It had been fourteen years since David O. Selznick produced the RKO version with Katherine Hepburn, so LeRoy persuaded Louis B. Mayer to buy the rights from him.
Selznick had attempted to produce a Technicolor remake himself a few years earlier and planned to star his wife, Jennifer Jones. However, several postwar problems and a threatened craft workers’ strike forced him to abandon his plans. So when MGM bought the rights to the film, they also bought all the sets that Selznick had built. One night during production, LeRoy’s wife Kitty was reading some of the dialogue from the script when she began to cry. “I can’t finish this,” she told her husband.
“My God,” he exclaimed. “Is it that good?”
LeRoy chose some of the finest actresses at MGM to play the March sisters. Each one had experience with big screen success: Elizabeth Taylor in National Velvet, June Allyson in The Stratton Story, Janet Leigh in The Forsythe Saga and Margaret O’Brien in The Secret Garden.
LeRoy had directed Elizabeth Taylor’s screen test for National Velvet. “And like everybody else who saw her,” he said. “I was struck by her potential beauty.” When she began filming on Little Women, Elizabeth was seventeen and her beauty was at its peak. “There was no bad side, no good side,” LeRoy said. “All sides were fantastically beautiful.”
Her role as the selfish Amy would require a bit more acting than she was previously accustomed. In the novel, Amy is the youngest March sister, but in order to use Margaret O’Brien (who was five years younger than Elizabeth) as Beth, Beth was made the youngest. “Film treatment,” Elizabeth explained, “will take care of that.”
Also, as Amy, she would have to become a blonde. “I don’t like myself as blonde yet,” Elizabeth said. “I think it gives me a white, faded, peculiar look. But we wouldn’t dare change Amy to a brunette. Too many people have read the book and know exactly the color of her hair. They would resent a change.”
“I’ve made tests for the role and everything will be all right when they finish changing my hair,” Elizabeth explained. “But I think I will always be happier as a brunette.”
During the filming, Elizabeth turned eighteen and no longer had to go to school, something which made Margaret very envious. “We had a party on the set for Elizabeth’s eighteenth birthday,” Margaret recalled, “and I remember her throwing away all her school books. She really disliked the school teacher and was happy that she would no longer be following her around every minute.”
Walter Plunkett, of Gone with the Wind fame, designed the costumes for Little Women, which thrilled all the actresses. “Oh my goodness,” Elizabeth exclaimed. “I get to wear Walter Plunkett clothes.”
The four actresses became good friends on the set of Little Women. At lunch, they would go to the studio commissary together and gossip – mostly about Louis B. Mayer. Elizabeth detested him, but June admired the fact that he had risen from the ranks as a junk dealer to one of the most powerful moguls in the business.
Three of the actresses had crushes on costar Peter Lawford. “I was out of the competition,” Margaret said, “because they were all older and I was only eleven. I sort of felt like an outcast because all three had a crush on him. Peter had a wonderful time on that movie.”
One person who did not have a wonderful time was Mary Astor, who played their mother, Marmee. Astor later recalled this period of her career as “Mothers for Metro” and did not always speak of it very fondly. “My approach to the part of Marmee was not an enthusiastic one,” Astor later wrote. “Everybody else had fun.”
She would complain because the girls were always laughing and fooling around during every scene. She criticized Elizabeth for talking on the phone to Nicky Hilton (her future husband) all the time and became irritated when June snapped her gum. Her experience on Meet Me in St. Louis had not endeared her to Margaret and things had not changed. “Maggie O’Brien looked at me as though she were planning something very unpleasant,” Astor wrote.
During the scene when Jo cuts off her hair, Peter Lawford’s character sees her and is supposed to say, “What have you done? You look like a porcupine!” Instead, Peter would pronounce it “porky-pine.” “We must have shot that scene a hundred times,” Margaret recalled. “And then Peter and June would laugh every time she took off the hat and he saw her hair.”
On every take, he would say “porky-pine” and everyone would burst out laughing, including Mervyn LeRoy. Unfortunately, Mary Astor did not see the funniness in it. “My sense of humor, my sense of fun, had deserted me long ago,” she said. “And it just wasn’t all that funny.”
Eventually, everyone would pull themselves together and start the scene again. “Okay. I’ve got it now! I’ve got it now!” Peter would assure everyone. LeRoy would start at the very beginning and Peter would come through the door and say, “What have you done? You look like a “porky-pine!” Of course, everyone doubled over with laughter again, except Mary. She had been standing there for some time and was beginning to feel ill from the hot lights and the heavy clothes.
“I couldn’t say that I was ill,” she said. “I didn’t want the kind of attention that would have brought on.” As LeRoy began the scene once more, Mary had the first line and realized she could not remember what it was and stood there speechless.
“Cut,” LeRoy yelled. “Where’s your line, Mary?”
“I don’t know Merv,” was all she could say, which caused everyone to go to pieces again.
Janet Leigh, who played Meg, remembered that at first Margaret was hesitant to join in on the revelry. “Young Margaret O’Brien took a while before she participated wholeheartedly,” Leigh recalled. “She continually looked in her mother’s direction for approval. But gradually she loosened up and we won her over to our foolish ways.”
The scene where Beth reveals that she knows she is dying, took a lot out of both Margaret and June Allyson. Even Mary Astor was impressed with Margaret’s ability and proclaimed, “And was that ever a death scene.”
“It was hard for me because June got to cry in that scene and I had to be the strong one,” Margaret said. “It was difficult not to cry.”
June had the same problem – except she couldn’t stop crying. In the scene, Beth, who is dying from scarlet fever, comforts Jo and tells her not to be sad because she doesn’t mind dying. After the scene was finished, June continued crying and had to be sent home. “I got in my car still blubbering and continued to cry for hours,” June said.
Janet Leigh, Elizabeth Taylor and Margaret O’Brien
MGM premiered Little Women on March 10, 1949 at Radio City Music Hall for its opening film for their 25th Anniversary program. The film became a big money-maker that year earning 3.6 million for the studio. In their publicity, th studio mentioned that the film reunited four stars from Meet Me in St. Louis: Margaret O’Brien, Mary Astor, Leon Ames and Harry Davenport.
Sadly, Little Women was the last film for veteran character actor C. Aubrey Smith, who died shortly after filming was completed. This would also be Elizabeth Taylor’s last adolescent part. Her next film, Conspirator (1950) with Robert Taylor, saw her in a more mature role.
Little Women was nominated for two Academy Awards and won for Best Art Direction-Set Decoration, Color for Cedric Gibbons, Paul Groesse, Edwin B. Willis and Jack D. Moore.
Lee Mortimer of the Daily Mirror wrote, “On this photoplay MGM bestowed painstaking and loving care, adhering as much to the warm spirit and restrained actions of the book as it is physically possible in translating words into pictures.”
Discovered by future husband David O. Selznick, Jones won the Academy Award for 1943’s ‘The Song of Bernadette.’ She also was married to industrialist and art collector Norton Simon.
By Claudia Luther
Los Angeles Times
December 17, 2009
Jennifer Jones, the actress who won an Academy Award for her luminous performance in the 1943 film “The Song of Bernadette” and who was married to two legendary men — producer David O. Selznick and industrialist and art collector Norton Simon — died today. She was 90.
Fred Crane, a former longtime Los Angeles classical music radio announcer who achieved a slice of film immortality when he played one of the handsome Tarleton twins in the 1939 movie classic Gone With the Wind, has died. He was 90. (click on ‘Continue Reading’ for more)