Arturo

*Thus while I have seen some fine movies with Darnell none smack me over the head like a movie and associated role like Gilda (for example), did for Rita. Of course I'm willing to be educated.* JJG, Darryl F. Zanuck at Fox was a man that didn't actively work to promote the careers of his women stars, at least not for long, other than his succession of blonde musical stars. This was the main reason Loretta Young wanted out at the end of the 30s, feeling that she was just used as window dressing in a Tyrone Power vehicle, for instance, instead of having movies built around her. Zanuck has been quoted as saying that women's problems and issues bored him stiff, so he didn't actively search for this type of flm, which could have made great vehicles for his female stars. And often, when he did get a script with a strong female role, he seemed to think of casting someone NOT under contract to Fox, further handicapping his own stable of stars. Some of the roles for women that he chose to cast with non-Fox contractees in the 40s: SONG OF BERNADETTE: Gene Tierney, Anne Baxter and Linda Darnell all wanted the part that went to Jennifer Jones. Of course Linda did an unbilled cameo. CLAUDIA: Tierney or Baxter would've worked well. It went to Dorothy McGuire (although it may have been as a package when Selznick sold the rights to Fox). This may also have been the case for: JANE EYRE; Again either Tierney or Baxter would have worked and done well playing Jane; Joan Fontaine got it. A TREE GROWS IN BROOKLYN: This one WAS to have starred Tierney, who bowed out due to pregnancy. Anne Baxter could have done a great job. ANNA AND THE KING OF SIAM: I feel that Irene Dunne was great in this, but she was one of several outside names considered. Why not Gene Tierney? CLUNY BROWN: Again, Tierney or Baxter could have done an admirable job in this. Jennifer Jones was again hired. GENTLEMEN'S AGREEMENT: Gene Tierney would have been perfect in this, a superb companion piece to THE RAZOR'S EDGE. Or how about Anne Baxter, having just won an oscar for that movie? Linda Darnell could have also done justice to this role. DAISY KENYON: Ok melodrama, with a strong female lead that could have been essayed by Tierney (it was meant for her) or Darnell. In this case, Joan Crawford begged for it. ROAD HOUSE: This one would have made a very good vehicle for Darnell, playing a sexy torch singer. Newly freelancing Ida Lupino was borrowed. THE SNAKE PIT: While Olivia DeHavilland is superb, why did Zanuck not consider his own stars, Tierney, Darnell or Baxter, ny of which would have been capable of it IMHO. I WAS A MALE WAR BRIDE: Gene Tierney or Linda Darnell, having recently displayed great comedy timing, would have done a creditable job in the role given to newly freelancing Ann Sheridan. There are other examples, and this continued into the 50s (THREE CAME HOME, MY COUSIN RACHEL). There may have been valid reasons why the homegrown stars were not given some of these roles, i.e. avaialbilty, but the point is in many important roles, Zanuck immediately envisioned stars other than his own for these roles. Linda, Tierney and Baxter, the top dramatic stars at the studio during the 40s, could have had bigger careers, and higher career highs, if the studio head saw these story acquisitions as potential vehicles for them, as happened at MGM, WB, etc.

*Yowza! What happened to that sweet innocent? This is obviously a sexy glamour shot from when Fox was transforming Darnell's screen image. It appears that they are trying to have her directly compete with those shots of Jane Russell in The Outlaw in this one.* Well I tried to cut and paste the sexy picture you posted here of Linda showing off her legs, amongst bales of hay, wearing a short skirt and tight blouse. This was actually a publicity shot for SUMMER STORM, which Linda filmed in 1944 on loan to United Artists. Darryl Zanuck didn't want to loan her out, thinking she would ruin her image,and even career, which he felt-wrongly-had taken a hit when she married Peverell Marley, a man in his 40s, the year before. But she persisted, as her career was stagnating at Fox, and got the loanout. Overnight it gave her a new sexy image at age 20, thereby killing off her girl-next-door image, and she was thrust into the pin-up sweepstakes. It also revitalized her career. Fox started casting about for suitable roles for the new look Linda.

*I thought that she and Tyrone Power were a perfect fairy tale couple in that film, since the two had such wonderful chemistry.* I agree that this was the best of their four costarring ventures. They WERE a perfect fairy tale couple, and played off each other quite well. PS - She was saddened by the death of Tyrone Power, whom she adored.

Tom, Thank you for your kind words and support. She was a someone my mother would note when a movie she was in would be shown on TC (I believe my mom had an interest in her because she had been often compared to Linda, Hedy Lamarr and Yvonne DeCarlo in looks). How fortunate that you were able to see Linda on a TV program when you were young. I was familiar with some of her TV appearances, especially the drama anthology shows, but I have only discovered her doing some live panel or interview programs on TV, via youtube. I posted the link to her as the Mystery Celebrity on "What's My LIne", and at first thought you were referring to this program. She is quite vibrant and beautiful here, and I could see her being a recurrent guest on the later late night talk shows (she was a guest co-host on the Mike Douglas show, apparently, from what I saw on-line). As decent film offers dried up, TV and stage became her only viable avenues to pursue her career (an ill-fated venture as a nightclub performer did not pay off too well). Thanks again, and a book or drama script or screenplay on Linda is something I definitely hope to do.

*This is my favorite photo of Linda Darnell.* This was a publicity still she did in conjunction with the 1945 film, THE GREAT JOHN L. which she did on loan to Bing Crosby's production company (released by UA), about the prizefighter John L. Sullivan, played by Greg McClure. It captures her at the point when she has just established her new, sultry image.

OK, here's the backstory behind the selection of Do?a Sol, the temptress in BLOOD AND SAND, or at least what I remember reading about it. It seems that the the studio was having trouble finding a suitable actress, and tested dozens, Among them were contract players (Gene Tierney, Lynn Bari) as well as others (Maria Montez,then unknown). The role was announced for Carole Landis, Fox' newly signed siren, but she refused to dye her hair the requisite red for a Technicolor picture, saying she had spent too much time publicizing herself as a blonde. Zanuck, in a fit of pique, decided against the big plans for her, including the lead in the period musical MY GAL SAL, for which she was also announced. Well, in comes starlet Rita Hayworth, then working her way up the ranks at Columbia, from B films to programmers, as well as supporting roles in prestige pictures(usually on loan out). Everyone agrees that with her dancer's training, feline grace and stunningly beautiful looks, she is perfect. Fox cast her, and between this and another loan-out (THE STRAWBERRY BLONDE at WB), she is on her way to being the 40s Love Goddess. 20th then gave her the lead in MY GAL SAL, and Carole Landis got bumped to a supporting role.

Thank for expressing your support Peter. I too hope it happens, but if a factor is the feedback and buzz on the message boards, well this thread hasn't really caught traction, with only a handful posting here besides myself (shoutout to TB and his posts of her photos). Don't know if it's disinterest, indifference or what. I don;t necessarily wish Miss Darnell to be a polarizing figure, which is what seems to light up some threads here, but I think it may be general unfamliarity with her, and her work, other than a handful of classics. More the reason for a month featuring Linda, focusing a light on an all too forgotten (by the public at large) star of classic Hollywood,

*We haven't really spent much time discussing BUFFALO BILL. This is an interesting picture for her. Both she and Anthony Quinn are cast as Native Americans.* Topbilled, thanks again for the photos. I;m trying to do Linda's movies chronologically, so I plan to get to BUFFALO BILL soon. In the meantime, here's an interesting story I read in Maureen O'Hara's (auto?)biography. O'Hara, who was in BB with Darnell and Quinn, was told by Linda that she thought that Quinn might be gay, since during the making of BLOOD AND SAND, she and Anthony sort of dated, even going hiking to pick flowers. Apparently, Linda expected Anthony to make a pass at her, but didn't. So she assumed that he must be gay, like some other actors she had worked with. A decade or so after BB was filmed, Maureen made another movie with Quinn, THE MAGNIFICENT MATADOR. If I remember it correctly, she apparently confronted Quinn about Darnell's theory. His response was that Linda was still a minor at that time, so he didn;t dare try anything, O'Hara intimated that Quinn and her slept together, thereby settling this for her once and for all.

The one who complained openly about Marilyn on the set of CLASH BY NIGHT was Paul Douglas. Not only did he have to deal with her tardiness, her defering to her coach, Natasha Lytess, but also the press and paparazzi flocking to the set for MM (this was about the time she was becoming the most publicized person in Hollywood, not sure but possibly the calendar story had just broken). Anyway, after Douglas sounding off about Marilyn, Babs is reported to have pulled him aside and said, "It's like this Paul: she's younger and more beautiful than the rest of us". She had been in Hollywood long enough to know the score.

*I am sure Mrs. Gary Cooper wished Barbara would have been in THE FOUNTAINHEAD.* yes, but then she'd have to also hope Cooper and Pat Neal didn't then get cast in BRIGHT LEAF together.

*Soon Eleanor Parker in CAGED gets a role that would've worked very well for a younger Bette.* Interesting you should mention this. Some three or so years earlier, WB proposed this movie, then going by the name of "Women Behind Bars", to costar Bette Davis and Joan Crawford. Not sure which role was meant for whom, but probably Joan as the initially naive woman eventually played by Parker, and Bette that of the warden played by Agnes Moorehead. Don't know what derailed this project, whether Davis' pregnancy, a clash of egos, or something else, this is an intriguing prospect for some parallel universe. The upshot is we got the fine CAGED, with Parker, et al, outstanding in it. Edited by: Arturo on Dec 14, 2012 5:58 PM

Topbilled, thanks again. Those pictures look great; now I want to put the DVD on and watch these three great looking stars.

I'd read that Stanwyck lobbied hard to do The Fountainhead, and was disappointed when Patricia Neal got the role. *I think the reason Stanwyck did not get The Fountainhead was because King Vidor didn't think she was sexy enough for the role* The original proposal was to have been Stanwyck in THE FOUNTAINHEAD, starring with Humphrey Bogart. Babs brought it to Jack Warner's attention and was livid when she wasn't cast. And King Vidor thought Bette Davis sexy enought for BEYOND THE FOREST?!

That would be great, thanks. It would be much appreciated, by those here as well as myself.

*I am sure there were scripts (roles) that were earmarked for Ann Sheridan that Bette did not stand a chance getting.* Seems it would've been that way. However, Bette got to do BEYOND THE FOREST, to her eternal regret. She felt it would've been perfect for Virginia Mayo, WBs successor to Ann Sheridan as its sexy star (nevermind what Joan Crawford thought in her head). So even in the 1940s, roles that might seem to require "oomph", Bette apparantly had first refusal rights. A hierarchy of the pecking order for her cast-offs developed and evolved. At the beginning of the 40s, the studio had Ida Lupino and Olivia DeHavilland, even Sheridan.with (temporarily) Merle Oberon, Mary Astor and Miriam Hopkins. Geraldine Fitzgerald, among others, were far to the rear. By the mid40s, Lupino and Sheridan were joined by Crawford, and the freelancing likes of Barbara Stanwyck and Rosalind Russell. In the late 40s, Eleanor Parker, Patricia Neal, and Jane Wyman were to top scrap-getters.

Sorry, Topbilled, but I'm not the most tech-savvy individual. The one picture posted here was a fluke; I've tried but haven't been able to do any more. I posted here a few days ago if anyone could help, illustrating the movies mentioned with appropriate stills. No one has done so. Likewise, I wouldn't know the first thing about blogging (not even sure if I know what it is lol).

Linda Darnell started out 1941 as 20th's most popular ingenue. Ranking higher than her in the studio hierarchy were the musical blondes for which Fox was becoming known for: top star Alice Faye, new sensation and rival Betty Grable, skating star Sonja Henie; plus the moppets, although Shirley Temple was leaving the studio just then, and Jane Withers was entering an awkward adolescence. Linda did have a new rival, Gene Tierney, who was proving popular since arriving in mid-1940. Around that time Anne Baxter had also been signed to Fox, but as yet she was still getting supporting roles. Certain roles announced for Linda might be given to Gene or Anne, or other female players, and vice versa. Among these was SONG OF THE ISLANDS, which ended up being made in 1942 with Betty Grable. In the meantime, Linda was making her fourth film with Tyrone Power, BLOOD AND SAND, which like THE MARK OF ZORRO, was a remake of a silent classic (in this case starring Rudolph Valentino), and also directed by Rouben Mammoulian. It featured Power as a rising bullfighter, with Linda as his loyal wife. Coming between them is Rita Hayworh, playing a wordly temptress (in her breakout role). The back story behind the casting of Rita's part is quite interesting, but will be left for another post. BLOOD AND SAND emerged a visually sumptuous classic, with a beautiful color palette. Linda did her finest acting to date, as noted by the critics. The strong supporting cast included Anthony Quinn, Laird Cregar, Nazimova and Lynn Bari.

Linda Darnell's first full year in Hollywood, 1940, ended when 20th Century Fox released CHAD HANNA on Christmas Day. This colorful film, which deals with circus life in 1840s Upstate New York, was based on the novel "Red Wheels Rolling" by Walter Edmonds, the author of "Drums Along the Mohawk". And like the movie version of that frontier story, CHAD HANNA starred Henry Fonda. He played a small town boy beguiled by a horse rider with a traveling circus (Dorothy Lamour-again borrowed from Paramount). Fonda schemes to get $5.00 to see her show, and decides to raise it by disclosing the hiding place of a runaway slave, on the underground railroad,to a slaver. He then helps to slave to flee, then runs away with the circus to escape the wrath of the slaver. Darnell, playing the daughter of the slaver who believed Fonda and gave him the five dollars, also runs away to the circus. They both find success there, Fonda as an emcee, Darnell as a horseback rider. While slow-paced for today's audiences, it is an interesting look at the daily running of a small circus outfit nearly one and three quarter centuries ago, and features a wealth of familiar character actors: among them, Guy Kibbee, Jane Darwell, and John Carradine.

*Seems to me that Stanwyck was pretty much the Queen of sad films in the 1930s. Bette was more of a fighter.* Actually, the theme of mother love (and loss) was a big one in the 30s, and most female stars did at least one movie with this as a theme. Even Garbo and Dietrich suffered. Stanwyck was usually a fighter in most of her films, 30s films included. More suffering than her would be the likes of Ann Harding, Sylvia Sidney, Irene Dunne, even Kay Francis.

A head's up for next week: One of the movies Linda Darnell made for RKO soon after leaving Fox will be featured on TCM. SECOND CHANCE (1953) will be on December 19 at 3:15 PM EST, as part of showing of several early 50s Robert Mitchum films. In this Linda plays a gangster's moll in on the run south of the border from Jack Palance. Taut and suspenceful, it has an exciting climax on a stranded cable car dangling high over a ravine. Originally released in 3-D. Edited by: Arturo on Dec 13, 2012 9:44 AM

*The all-star revues count, obviously, because they fulfilled contract obligations.* While they obviously counted as far as the performer at hand, I didn't count them when discussing a star's prolific output, or lack thereof. Bette probably did her scene(s) in a day or two, certainly in no more than a week. So it's not like to two months or so she might spend filming her own movie in the 1940s. *In Bette's case, she was competing with Joan Crawford for roles on her home turf at Warners.* Well, since Better supposedly had rights of first refusal to all scripts at WB, the competition was on a different level, it seems. Plus Joan was not an exercise in activity, averaging about one movie per year there in the last half of the 40s, even less than Davis.

All I can say is "Ditto, and double ditto"

*So, anybody have any thoughts on my comparison between Christmas in Connecticut and *Remember the Night*? No?* While I agree with you that REMEMBER THE NIGHT is the better film over CHRISTMAS IN CONNECTICUT, I love them both. Unreal though CIC may be, it is one of the yearly XMas treats I look forward to, and for all the reasons you mention.

Immediately after BRIGHAM YOUNG, 20th Century-Fox cast Linda Darnell once again with Tyrone Power in THE MARK OF ZORRO (1940). This remake of a Douglas Fairbanks silent, it became an undisputed classic upon its release, One of the all-time great swashbuckling movies, it has a fun performance by Power as a fop by day, Robin Hood-type by night, trying to right injustices in early 19th Century California. Linda is luscious as the beautiful niece of the corrupt mayor, repulsed by the fop and in love with her hero, the mysterious Zorro. The rest of the cast is first rate. Under the working title of THE CALIFORNIAN, TMOZ was originally conceived to be shot in Technicolor; it was one of a number of productions in 1940-41 that were so conceived, but ended being Black and White. Nonetheless, director Rouben Mammoulian masterfully used the colonial California ambience in his filming of this classic. Edited by: Arturo on Dec 12, 2012 11:15 PM

*I dont understand why it hasnt been already (Amber/dvd).* Hibi, Neither do I. This colorful epic, with its starry cast: Darnell, Cornel Wilde, Richard Greene, George Sanders; excellent visuals, exciting action sequences, engrossing storyline, is an outstanding example of the studio-era movie making at its best. And, while I'm not enamored of the concept as others are, it even has a renowned director, Otto Preminger. While on first glance this movie is atypical for Otto, it does have many touches that aficionados can point out as classic Preminger. In fact, in a recent biography, the writer states that this is one of his best movies. All in all, I would have thought Fox would have released this long ago as part of its Cinema Classics DVD series.