wordpress visitor

The making of “Little Women”

Posted by Allan Ellenberger on Mar 27th, 2011
2011
Mar 27

FILM HISTORY

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.”

 

 

 

 

 ___________________________________

 

The Stars Happiest Christmas

Posted by Allan Ellenberger on Dec 25th, 2009
2009
Dec 25

HAPPY HOLIDAYS

Classic stars recall their happiest yule

 

 

Claudette Colbert (above) poses on Vine Street next to her image emblazoned on a Christmas decoration in the heart of Hollywood. The two tall buildings on the right in the background are at the intersection of Hollywood and Vine.

 

By Allan R. Ellenberger

 

Just like anyone else, to film stars there is always just one Christmas that stands out above all others. In December 1932, several stars were asked about their most memorable Christmas.

 

The previous Christmas for Neil Hamilton competed with one when he was seven years old: “What with a new baby and a new house and the baby’s first Christmas tree, last year was hard to cap,” said Hamilton. “But for sheer unadulterated happiness I must remember the gorgeous Indian suit they gave me when I was seven years old. I strut when I remember it to this day. I was the reincarnation of Sitting Bull.”

 

James Dunn said a pool table presented to him when he was 14 still stood out as the most stylish event of his life. On that Christmas morning he invited all the boys in the neighborhood to play pool and they were still at it long past bedtime.

 

It was a Christmas bicycle that stood out for Douglas Fairbanks, Jr. He was eight years of age and had been demanding a bike from Santa since he was five. He’s almost given up hope when the family weakened. “It was a Rolls-Royce to me,” Fairbanks said.

 

Bette Davis claimed that no ecstasy since had surpassed the Christmas on which she acquired a huge Teddy Bear, handed to her from the very top of a big tree. “I have loved that Teddy all my life and still him,” she said.

 

It was a gorgeous box of paints, brushes, palettes all complete including a real artist’s smock, which made Claudette Colbert ecstatic when she was a small girl. She had always loved drawing and that Christmas saw the family’s recognition of her artistic yearnings.

 

Gary Cooper said the Christmas in which he and his family were snowed in on a cattle ranch in Montana stands our as his sweetest. No turkey, no shopping — a blizzard cut them off from everything. But the family decided to make their own fun and made presents by themselves out of any old odds and ends. “The least expensive and the jolliest Christmas I ever hope to enjoy,” he said.

 

A pair of rubber boots and a sled marked the most exciting Christmas for William Collier, Jr., who until that time, had to be content with a stocking encasing an orange, nuts and popcorn. He was nine years of age when the miracle occurred. And it was Marian Nixon’s very first watch, waiting on the breakfast table, which made one Christmas forever notable for her. In the same way a coaster-brake bike with a fancy headlight presented when he was 12 years old, marked one hilarious Christmas for John Boles.

 

Marie Dressler remembered a certain Christmas fifteen years earlier when, because her dearest friend was in the hospital, she took a tree, goodies and all the packages to the hospital between the matinee and the evening performance, and Christmassed at the there.

 

Joan Crawford, without hesitation, said, “Oh, Christmas 1925. I hadn’t seen my people in Kansas City for so long. I had just signed my contract with MGM and they paid my fare to the coast via Kansas City. So I went home in triumph — the biggest thrill of my life.”

 

It was 1919 that meant everything to Ramon Novarro. After a bus-boy job in New York, he was back in Los Angeles with his family and was celebrating his very first picture role. “We had an utterly perfect Mexican Christmas,” he remembered.

 

But to Maurice Chevalier, escaping from a German prison camp, rejoining  his mother in Paris and receiving medical attention for his wounds — and the glorious award of the Croix de Guerre made Christmas 1918, the most memorable one for him.

 

Katherine Hepburn recalled an ecstatic Christmas when her father built her a little theater of her own in the back yard when she was about 12.

 ______________________________________

 

  • RSS Feed