Summer Under the Stars: Unfaithfully Rex

When Rex Harrison came to Hollywood in 1945 to make a movie, he was 37 years old, had already been on the stage in England for 22 years and had been making films there since 1930. Orson Welles later claimed it was on his recommendation that Harrison was given his first American role, a part that Welles himself turned down, that of the King in the 1946 production of Anna and the King of Siam. Welles told his friend, director Henry Jaglom, over one of their now famous lunches, “I suggested him. Rex made pictures that only played in England, teacup comedies and things. No one in Hollywood knew who he was.” Welles had refused the role, he said, because he didn’t want to work with Irene Dunne, who had already been cast as Anna. And so, Rex Harrison made his American film debut.

Anna and the King of Siam

At the time he arrived in Hollywood, Harrison was married to his second wife, German actress Lilli Palmer. She also began making movies in the U.S. and started by co-starring with Gary Cooper in Fritz Lang’s Cloak and Daggerin 1946. Both Mr. and Mrs. Harrison starred in 1947 classics - for Rex, the first and best of his three films for Joseph L. Mankiewicz, The Ghost and Mrs. Muir, with Gene Tierney; for Lilli, Robert Rosen’s Body and Soul, opposite John Garfield. Rex also starred in The Foxes of Harrow in 1947; Lilli would star in My Girl Tisa in 1948. Then came the scandal that ruined Harrison’s personal reputation and may or may not have brought him the nickname “Sexy Rexy.”

Lilli Palmer

Rex Harrison, it seems, was a ladies’ man. By 1947, he had become involved in a romance with actress Carole Landis. The affair was no secret in Hollywood and was apparently made public by columnist/radio commentator Walter Winchell. On the night of July 4, 1948, after Harrison spent the evening with her at her home, Landis consumed a lethal dose of barbiturates. Ruled a suicide, her death was naturally surrounded by a storm of hearsay and speculation. The rumor mill had it that Landis was despondent because Harrison refused to leave Lilli Palmer and/or because he was soon to depart for New York to star on Broadway in Anne of the Thousand Days. There was even some conjecture that Harrison had murdered the woman and staged the scene to look like suicide.

Carole Landis

A few months before Landis’ death, Harrison had completed production on a film for legendary writer/director Preston Sturges. It would be the one-time wunderkind’s final cinematic gem, a darkest-black comedy titled – perhaps unfortunately – Unfaithfully Yours (1948). The lurid and lingering Landis tragedy would have an impact on the fate of the film. In an attempt to distance it from the scandal, the film’s release date was held up for several months. Additionally, publicity was dialed back - and the marketing campaign changed drastically. It was labeled a murder mystery, it was touted as “six kinds of picture all rolled into one” – confusing and misleading the movie-going public.

Preston Sturges had written a Broadway hit in 1929 and trekked to Hollywood following the play’s adaptation to the screen. He penned several films for Paramount, including Easy Living (1937) and Remember the Night (1940). In 1940 he asked for and was given a chance to direct as well as write. The result was his political sendup, The Great McGinty, a break-out hit that brought Sturges an Oscar for his original screenplay. A string of sly and exhilarating classics written and directed by Preston Sturges followed, namely: The Lady Eve (1941), Sullivan’s Travels (1941), The Palm Beach Story (1942), Hail the Conquering Hero (1944) and The Miracle at Morgan’s Creek (1944). But Paramount had begun to view its genius-in-residence as next-to-impossible to deal with, and relations between the studio and the man soured. When his split from Paramount finally came, Sturges went into partnership with Howard Hughes on California Pictures Corporation for three disastrous years. Sturges and Hughes parted ways in 1947 and the writer/director soon went to work for Darryl F. Zanuck at 20^th Century Fox. Zanuck was interested in a story Sturges had written years earlier titled Matrix. In the end, Matrix was dropped for lack of interest and a treatment of another early Sturges story - he called it The Symphony Story - was picked up instead and retitled…

 

Preston Sturges

Unfaithfully Yours bears most trademark Sturges elements – it moves at a dizzying pace, overflows with clever dialogue, is peopled with assorted (and well-cast) eccentrics and its plot completely confounds audience expectations. But in this case Sturges ventured into especially dark farce…

The film opens with the return to New York of Sir Alfred de Carter (Harrison), a well-known symphony conductor, who has been in London. He is warmly welcomed by his beautiful young and doting wife, Daphne (Linda Darnell). But soon the mischief begins. It seems that before leaving New York, Sir Alfred had asked his rich but dull brother in law (Rudy Vallee) to keep an eye on Daphne while he was away. The brother in law misinterpreted the request and took it upon himself to hire a private detective to monitor her. And now he has come to deliver the detective’s report. Sir Alfred, initially shocked and outraged at the misunderstanding, eventually manages to read the report and works himself into a frenzy of jealousy and suspicion. While conducting a concert after quarreling with his wife, Sir Alfred begins to fantasize about how to handle what he believes is her infidelity. As he conducts three orchestral pieces, he vividly imagines three different possible scenarios – each played out onscreen. The first fantasy involves murder and a frame-up, in the second Sir Alfred is noble and obliging, in the third he falls victim to his own bravado. When the concert finally comes to an end, Sir Alfred sets out to make one of his fantasies real.

Unfaithfully Yours - fantasy or reality?

Although Sturges wasn’t entirely happy with the film’s final cut (which came courtesy of Mr. Zanuck), he was pleased with the performances – Rex Harrison executes a superb turn as the temperamental artist/bungling schemer. Sturges was also particularly fond of the fantasy segments. He wrote that he tried to construct the three scenarios envisioned by the conductor “as if written and directed by Sir Alfred, who is neither a writer nor a director.” In his fantasies, the conductor imagines his own behavior “vividly” while the other characters are “marionettelike.” Sturges believed this would be “the natural result of Sir Alfred’s ability to have them say and do exactly what he wants them to say and do.”

The film’s themes are dark and, perhaps, for the audience of its time, too much so for “six kinds of picture all rolled into one." Its timing in proximity to the leading man's notorious Hollywood scandal was extremely unlucky. For whatever reason or combination of reasons, Unfaithfully Yours was not a success. In his autobiographical notes Sturges reflected, “Unfaithfully Yours received much critical acclaim and lost a fortune.” That the film failed to find an audience contributed to the steep decline of his increasingly precarious career. He would write and direct only one more Hollywood film (The Beautiful Blonde from Bashful Bend in 1949) and it was a resounding flop.

My Fair Lady, with Audrey Hepburn

Rex Harrison continued to work steadily and successfully on stage, film – and TV – for the rest of his life. He gained worldwide stardom with his performance in George Cukor’s 1964 film adaptation of My Fair Lady, a long-running Broadway hit in which Harrison originated the role of Henry Higgins and for which he won a Tony Award. For transferring his Henry Higgins from stage to screen, he duly took home an Oscar for Best Actor. Knighted in 1989 at age 81, Sir Rex would, as the producer of The Circle, Harrison’s final Broadway play, put it, very nearly die “with his boots on;” his last stage appearance preceded his death, in 1990 of pancreatic cancer, by only six months. Harrison’s long Hollywood career had brought him two Oscar nominations and one win; his even longer career on Broadway brought him five Tony nominations and three awards as well as a special Drama Desk Award in 1985. He was honored with two stars on the Hollywood Walk of Fame, one for film and one for television.

Kay Kendall

Rex Harrison would also continue to be inconstant in his private life. Sandy Sturges, Preston’s widow, recalled walking in New York with her husband and Harrison in the early 1950s. Suddenly and unexpectedly Rex walked away and left them – he’d spied a lovely young thing on the street and simply followed her. His interest in women, Mrs. Sturges recalled, was “not subtle at all.” Harrison’s marriage to Lilli Palmer continued until 1957, when the two divorced so that he could marry his lover, actress Kay Kendall, who was dying of leukemia. He married Welsh-born, Oscar-nominated, Tony-winning actress Rachel Roberts in 1962. That marriage ended in divorce many years later and, it is said, she reacted by drinking ever more heavily and by finally taking her own life. Harrison was married to the ex-Mrs. Richard Harris, Welsh actress/socialite Elizabeth Rees-Williams, for a time, and his 6^th and final wife was Mercia Tinker, to whom he remained married until the end of his life.

Rachel Roberts and Rex Harrison

Harrison has garnered much praise for his work on stage and screen, but not much admiration for his conduct out of the limelight. One of his biographers, Nicholas Wapshott (Rex Harrison, 1991) met the actor while doing research for a biography on British director Carol Reed. Wapshott considered Harrison a “technical genius” capable of “effortless delivery of difficult prose.” He noted that the actor didn’t make much visible effort, “he was inescapably Rex in everything - but his understanding of the text meant that he hit every note the first time.” On the other hand, the author found Harrison, in person, “a cad of the first order,” and at first hesitated to take on the biography of a man whose “black-hole egotism meant he could not appreciate the worth of others, particularly other men, and his attitude to his string of wives…and lovers was often hard and heartless.” Wapshott blamed Harrison’s involvement in the Carole Landis scandal for the fact that Unfaithfully Yours “languished for years.”

Rex Harrison and Claudette Colbert in Aren't We All

Tony-winning, Oscar-nominated actor Frank Langella admired Rex Harrison’s work extravagantly; “He was my idol. I thought him the most accomplished, technically perfect, and totally believable English actor of his time.” Langella managed to meet Harrison twice. Their first meeting occurred in the early ‘70s at a cocktail reception in the older actor’s honor. Langella encountered his idol in the foyer where he was removing his hat and coat. The young actor put out his hand and began to extend a greeting when Harrison flung both his coat and his wife’s over Langella’s arm, as if he was a servant, and made his entrance into the party. The two met again in 1984 when a friend of Langella’s was appearing in Aren’t We All on Broadway with Harrison and Claudette Colbert. Forgoing dinner with his friend and Miss Colbert (who utterly charmed him) in order to try once more to pay his respects to Harrison, Langella found him in his dressing room and finally delivered his heartfelt homage. The old actor heard him out and dismissed him with, “Thank you. Very kind. I’m afraid I can’t ask you to sit down.” Langella was not amused and would remember that his good friend, Harrison’s 5^th wife, Elizabeth, told him of Rex, “He was the only man I ever knew who would send back the wine at his own dinner table.”

Rex Harrison and Preston Sturges on the set

British film critic and historian David Thomson‘s view of Harrison the actor is fairly restrained, seeing in most of his screen roles the personification of the stereotypically empty-headed aristocrat. However, Thomson allows that Unfaithfully Yours is “one of the few films that made use of his grating charm.”

Harrison is in top form in Sturges’ black-humored classic, adapting with surprising ease to the writer/director’s penchant for slapstick. Unfaithfully Yours airs on Saturday, August 31, at 3:00pm Eastern/noon Pacific, part of TCM’s 2013 Summer Under the Stars tribute to Rex Harrison.

This is my entry for the 2013 TCM Summer Under the Stars Blogathon now in progress and hosted by Jill Blake ofhttp://sittinonabackyardfence.com/ and Michael Nazarewycz of http://scribehardonfilm.wordpress.com/. Visit their sites for more information and links to participating blogs.

Notes: 
My Lunches with Orson by Henry Jaglom and Peter Biskind (Metropolitan Books, 2013) 

Preston Sturges by Preston Sturges adapted by Sandy Sturges (Simon & Schuster, 1990) 
The New York Sun, “Unfaithfully Yours, Rex” by Nicholas Wapshott, March 8, 2008 
Dropped Names, a Memoir by Frank Langella (Harper, 2012) 
The New Biographical Dictionary of Film by David Thomson (Knopf, 2010)

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August 12: A Day - and Night - Under the Stars with Catherine Deneuve

This is my first entry for the 2013 TCM Summer Under the Stars Blogathon now in progress and hosted by Jill Blake of http://sittinonabackyardfence.com/ and Michael Nazarewycz of http://scribehardonfilm.wordpress.com. Visit their sites for more information on the month-long blogathon and links to participating blogs.

In June 1965 the American magazine, Look, carried a feature entitled, "The Sister Stars of France" celebrating, with pages of pictures and a little hyperbolic prose, the Dorleac sisters of Paris. The piece commended their family which, "after only three generations in the theater, has given France not one, but two, gifted girls." The Dorleac sisters were Francoise, then 23, and Catherine, about to turn 22, who took her mother's maiden name, Deneuve, to avoid being confused with her sister. The "soignee" Francoise was described as "mistily delicious" in one of her recent films, That Man from Rio (1964), and "sweet" Catherine was pronounced "the crushable girl in a crushing world" in one of hers, The Umbrellas of Cherbourg (1964). Just two years later, in June 1967, Francoise perished in a car crash. By then, Catherine had added a twist or two to her pristine screen persona.

The Umbrellas of Cherbourg airs on TCM on August 12 at 8pm Eastern/5pm Pacific

The Look article had mentioned that Catherine's next picture was to be Repulsion. That film, directed by Roman Polanski and released in the U.S. in October 1965, showcased Catherine as a withdrawn young woman who goes violently psychotic while staying alone in her vacationing sister's London apartment. In 1967, she would make two noteworthy films. The Young Girls of Rochefort, a lollipop-colored musical, co-starred Catherine and her sister, Francoise, as a pair of dreamy twins longing to leave their seaside town for Paris; it was directed by Jacques Demy (The Umbrellas of Cherbourg). In her second feature of that year, Luis Bunuel's surreal and erotic Belle de Jour, the film with which she is most often identified, Catherine portrayed a refined young Parisian wife with a few psychosexual kinks.

Belle de Jour airs on TCM August 13 at 2:15am Eastern/August 12 at 11:15pm Pacific

The Belle de Jour shoot was demanding. Catherine later recalled that she'd felt exposed in every way and that more of her had been shown, physically, than she had originally been led to expect. She was deeply unhappy on the set and, she remembered, "there were moments when I felt totally used." Francoise was still alive at that time and provided crucial moral support. The sisters were able to talk about her challenges on Belle de Jour, Catherine later said, "in the way you only can when you're personally close and do the same kind of work."  It might seem surprising that Catherine agreed to work with Bunuel once more when he sought her two years later for his Freudian reverie, Tristana (1970). But she had been impressed with the script and thought it important for her to work with Bunuel again - especially in his native Spain. In the end, she would count Tristana among her favorites of her own films.

Mississippi Mermaid (co-starringJean-Paul Belmondo, shown above) airs on TCM August 12 at 9:45am Eastern/6:45 am Pacific

In the late 1960s Francois Truffaut sent Catherine a lengthy note urging her to "say yes to Hitchcock."  During a trip to the U.S. in the fall of 1968, Catherine had met Hitchcock for lunch at the Plaza. It's likely they discussed his plans to make a film of The Short Night based on a novel of the same name as well as a non-fiction account by a double agent. Hitchcock owned the rights to both books and had traveled to Finland, where the story was set, in August 1968 to scout locations. Among those he hoped would star in the film were Sean Connery and Catherine Deneuve. She received a script from Hitchcock but the project was eventually abandoned when his health failed. Catherine lamented not having the chance to work with him but, thanks to Truffaut, she would have her moment as a Hitchcockian blonde.

In the same note in which he urged Catherine to work with Hitchcock, Truffaut also mentioned the project he and she were about to embark upon, Mississippi Mermaid (1969), the first of their two film collaborations. Mississippi Mermaid was also the last in a series known as Truffaut's "Hitchcock Cycle," the group of films he completed during the time he conducted and published his series of interviews with Alfred Hitchcock. Based on a Cornell Woolrich (Rear Window) novel, Mississippi Mermaid's storyline centers on a wealthy Reunion Island plantation owner (Jean-Paul Belmondo) and the arrival of his mail order bride (Deneuve) - who looks nothing like the picture she sent before she sailed to meet and marry him.
 

another French twist...

Catherine's wardrobe on Mississippi Mermaid was created by one of the great fashion designers of the 20th century, Yves Saint Laurent. He designed costumes for her on many films, beginning with Belle de Jour and including Jean-Pierre Melville's last film, Un Flic (1972), and Tony Scott's first feature, The Hunger (1983). The actress and the designer developed a close, lasting friendship; she wore his designs off screen as well as on and became his inspiration and muse.

The Hunger airs August 13 at 4:15am Eastern/1:15am Pacific on TCM

With a body of work spanning 50 years and including more than 100 mostly European films, Catherine Deneuve has portrayed a wide range of characters on screen, expanding her repertoire (from sweet and innocent to beautiful and aloof to strong and independent) as her career progressed. She came, almost accidentally, to film acting through her sister and was initially admired primarily (and profusely) for her serene and impeccable porcelain beauty. Soon enough she was recognized for the depth and sensitivity of her work and, as her reputation flourished, she was able to pick and choose her roles - with several being developed expressly for her. In 1998, Catherine was interviewed on NPR's Fresh Air. She was intrigued by a quote the host read to her, the words of film critic David Thomson: "Deneuve is a fantastic actress, her beauty is a receptacle for any imagination, perhaps the greatest cool blonde, forever hinting at intimations of depravity." She was pleased, laughed lightly and remarked, with modesty, "I would like to meet the person he's talking about."

Catherine was awarded a Golden Palm at Cannes in 2005

Catherine Deneuve, was nominated for an Academy Award for Best Actress for her performance in Indochine (1992); she was nominated for a BAFTA for Best Actress for her performance in Belle de Jour; she was a winner, with her co-stars, of the Berlin International Film Festival's Silver Bear award for 8 Women (2002); she won two of France's Cesar awards for Best Actress - for The Last Metro (1980) and Indochine; and won the Volpi Cup prize for Best Actress at the Venice Film Festival for her performance in Place Vendome (1998). In addition, she has been honored with a multitude of special and lifetime achievement awards.

TCM's Summer Under the Stars tribute to Catherine Deneuve is much deserved - and also well timed; on October 22, she will turn 70.

TCM's Summer Under the Stars, August 12: Catherine Deneuve

(all times Eastern/Pacific)

 

6:00am/3:00am - Le Petit Poucet (2001), A fantasy/fairytale directed by Olivier Dahan

7:45am/4:45am - Repulsion (1965), directed by Roman Polanski and succinctly described by producer Robert Evans as a "really offbeat" thriller, it won the Berlin International Film Festival's Silver Bear honors as well as a directorial award for Polanski; in English

9:45am/6:45am - Mississippi Mermaid (1969), Francois Truffaut's Hitchcock-influenced mystery/thriller, with Jean-Paul Belmondo

12:00pm/9:00am - Un Flic (1972), cool and dark neo-noir directed by a master, Jean-Pierre Melville (Bob le Flambeur, Le Samourai), with Alain Delon and Richard Crenna

2:00pm/11:00am - Le Sauvage (1975), Jean-Paul Rappeneau's madcap romp, with Yves Montand, Tony Roberts and Dana Wynter

4:00pm/1:00pm - The Last Metro (1980), a wartime drama set in Nazi occupied Paris, directed by Francois Truffaut, with Gerard Depardieu; Oscar-nominated for Best Foreign Language Film and winner of 12 Cesar awards

6:15pm/3:15pm - I'm Going Home (2001), directed by Portuguese filmmaker Manoel de Oliveira; an exploration of mortality and the fourth film Oliveira made after the age of 90, with Michel Piccoli and John Malkovich; nominated for the Palme d'Or at Cannes 

8:00pm/5:00pm - The Umbrellas of Cherbourg (1964), all dialogue is sung in this innovative musical directed by Jacques Demy; winner of the Palme d'Or at Cannes; nominated for five Academy Awards including Best Foreign Language Film; Grammy-nominated for its score

10:00pm/7:00pm - Tristana (1970), Luis Bunuel's sadomasochistic dream, with Fernando Rey and Franco Nero; Oscar-nominated for Best Foreign Language Film

12:00am/9:00pm - Ma Saison Preferee (1993), Andre Techine's emotional, character-driven family drama features Catherine Deneuve and Daniel Auteuil as a conflicted brother and sister; with Chiara Mastroianni (Catherine's daughter with Marcello Mastroianni); nominated for the Palme d'Or at Cannes
 
2:15am/11:15pm - Belle de Jour (1967), one of Luis Bunuel's late-career masterpieces - about a bourgeois young wife with a secret life, with Michel Piccoli; winner of the Golden Lion and Pasinetti Award at the Venice Film Festival

4:15am/1:15am - The Hunger (1983), an ultra-stylish, dark and erotic vampire tale directed by Tony Scott, with David Bowie and Susan Sarandon; Scott's feature debut - his next film was the blockbuster, Top Gun (1986); in English
 

Un Flic airs on TCM August 12 at noon Eastern/9am Pacific

Notes:
Look magazine, June 1, 1965
Fresh Air on Stage and Screen, with Terry Gross (WHYY Inc., 2000)
The Guardian, Sept. 21, 2005; interview with Geoff Andrew at BFI/Southbank 
The Private Diaries of Catherine Deneuve by Catherine Deneuve (Pegasus Books, 2007)

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