Like many film fans writer and biographer, Scott O’Brien’s,
love of classic movies and television began from an early age by watching
re-runs of the legends, such as, Myrna Loy and William Powell on television.
Years later his passion for the forgotten legacy of Kay Francis, prompted him
to research and write a biography on the great screen personality. This stimulated
his interest in the other forgotten actresses of classic Hollywood, going on to
publish two more in-depth biographies on Ann Harding and Virginia Bruce. His
new book, “Ruth Chatterton: Actress, Aviator, Author” released this month
discusses another remarkable, modern lady from the Precode era. Her personal
legacy reached a multitude of arenas – the stage, film industry, aviation,
publishing and politics – with her qualities of extraordinary determination, independence
and intellect that shaped her successes both public and personal. Graciously,
Scott O’Brien agreed to answer a few questions, detailed below, on his new
book, Ruth Chatterton and the women of early 1930’s Hollywood.
Emma Alsop: What made you interested in classic
films in general and the actresses of the 1930’s in particular?
Scott O’Brien: In my teens (1960’s) I enjoyed coming
home from school and watching classic movies on TV. Screwball comedies of Myrna Loy and William
Powell were particular favorites. The
dialogue was filled with sharp wit, and Loy’s low-key style was still
fresh. I got to meet her in San
Francisco while she was on tour in Barefoot
in the Park (1965) and she showed genuine interest in me as a person. She was a mentor, of sorts. Her work in civil rights, fair housing, and
the United Nations (UNESCO) influenced my own world view.
My interest in Precode Hollywood blossomed in the 80’s
with the advent of AMC and TNT. The
gritty/risqué/honest edge of these films really surprised me. While I enjoyed the more emotional actresses
like Norma Shearer and Bette Davis, I was also drawn to the understated style
of Kay Francis, Ann Harding and Virginia Bruce.
Emma: When did you first come across Ruth Chatterton
and what is your favourite film of hers?
Scott: A private collector in the Bay Area had a
screening of Once A Lady (1931) while
I was attending San Francisco State in 1968.
It’s a dreadful film, but Chatterton had a compelling way of making an
impossible, fantastic character come to life.
A few years later I saw Dodsworth (1936)
and I was hooked. Her role as Fran
Dodsworth—a vain, foolish woman who is desperate to stay young is amazing to
watch. Chatterton makes Fran familiar
and understandable. Anybody’s Woman (1931) is another standout despite a hokey
ending. Chatterton plays a burlesque
queen who tries to turn her life around.
She completely disappears into her character with stunning results. Dorothy Arzner directed this little gem.
Emma: How did you approach the biography considering
Miss Chatterton was not only an accomplished film actress, but stage actress,
aviator and author?
Scott: I decided that if I wanted to know what made
Chatterton tick, I had to look at what she wrote about. I cover her career as a best-selling author
in Chapter One. She began writing in the
late 40’s—her first book released in 1950.
Once I establish how she looked at life, I take the reader on a journey
back in time to discover how she acquired her world view. At 16, Ruth took to the stage. She had a mother to support after her parents
separated. Her father was a rather
useless man who made a career of declaring bankruptcies and living off his
in-laws. Chatterton’s acting career was
her anchor. Her interest in aviation
began in the late 1920’s, capping with her air derbies in 1935-36.
I was fortunate to have the help of Ruth’s favourite
cousin’s daughter, Brenda Holman. Brenda
sent me a package that contained the only memorabilia that Ruth saved from her
career: photographs, telegrams, letters, and the first chapter from her last
novel (unpublished). This material was
truly a godsend. I also learned that a
woman named Ruth Moesel had written a biography on Chatterton in the 1960’s. It was never published, but the manuscript is
held at the New York Public Library. I
was lucky to find someone who looked over the manuscript and collection of
letters that Moesel had accumulated during her research. While the manuscript offered nothing new, the
letters from Ruth’s friends and co-workers were very useful.
Emma: She was in her mid-30’s by the time she
entered films. Why do you think she made this leap as she was in the midst of a
very successful and stable stage career? Was she an instant hit with the
studios and studio heads?
Scott: Actually, Chatterton’s stage career had come
to a standstill by 1927. Her husband
Ralph Forbes was an upcoming star at MGM (Beau
Geste) and Ruth was in limbo. She
even took time out to cover a murder trial for the Los Angeles press (the
notorious Hickman Trial). She did a
couple of screen tests that bombed. She
never let Josef von Sternberg forget that he rejected her for a role in The Docks of New York (1928). Emil Jannings came to her rescue offering her
a lead in Sins of the Fathers (1928—considered
a lost film). Paramount signed her to a
contract and within months she became one of their top stars. Myron Selznick was Ruth’s agent and when he
finagled a more lucrative contract for her with Warner Bros. in 1931, she was
pleased. Paramount wasn’t happy. They put her in a few clunkers before she
made her exit. Ruth’s stay at Warner
Bros. wasn’t fulfilling. Frisco Jenny (1933) was her only big
box-office hit for the studio. She
decided to freelance and pursue her interest in aviation.
Emma: How did Ruth begin writing novels and were her
books popular?
Scott: Ruth’s first novel, Homeward Borne, stayed on The
New York Times best-seller list for 23 weeks. Her interest in the assimilation of Jewish
refugee orphans into American life was an uncomfortable, unusual topic, but
Chatterton had a way of pulling readers into the narrative and absorb her
message. She considered herself a
crusader for social injustices. Her
second book, The Betrayers, targeted
Senator Joe McCarthy and the House of Un-American Activities
investigations. The more progressive
critics and readers loved her books.
Emma: Why do you think Ruth Chatterton is largely
forgotten as a film actress today, unlike others of her era, Jean Harlow, Mae
West and Loretta Young?
Scott: Harlow’s tragic death kept her name and legacy alive
(deservedly). Mae West and Loretta Young
(Bette Davis, Joan Crawford, Katharine Hepburn) remained active on stage,
screen, and TV for decades to assure their status as cinema legends. Chatterton’s last film was in 1938. She assumed the public was, in her words, “richly
tired” of her. While she continued on
stage and did some TV appearances, she was focused on being a writer. She was a success at redefining herself and
being, as you say, “largely forgotten”.
Emma: Your biographies include not only Miss
Chatterton but Kay Francis, Ann Harding and Virginia Bruce, all women who were
at their peak in the Precode era. What drew you to the lives and careers of
these women? Did you find similarities with them other than the time of their
successes?
Scott: I appreciate the understated style of
Francis, Harding and Virginia Bruce.
They did not overplay. Their
approach to acting was natural and unaffected.
I always wanted to know more about them and got tired of waiting for
someone else to tell their story. I’ve
been fortunate to make contact with family, friends, and co-workers of these
talented women. On a personal level,
each actress was focused on entirely different things. Francis focused on being financially
independent and enjoying a rather prolific love-life. Harding’s background in repertory theatre and
ensemble playing didn’t exactly jive with Hollywood stardom. She could be headstrong. She had strained relationships with her
family and daughter. Virginia Bruce was
a real romantic. Sadly, her devotion to
her last husband brought her much heartache and financial difficulty. Ruth’s extravagance and generosity left her
practically penniless.
Emma: It is difficult for movie-goers to distinguish
the stars from their onscreen personalities. I always imagined Ruth to be
strong, independent and modern, similar to her characterizations in ‘Female’
and ‘The Crash’. What picture did you paint about Ruth from your research?
Scott: You are spot-on about Ruth. She was ambitious, independent and had ideas
of her own. She was what they call “ahead
of her time.” She didn’t give a fig what
people thought. She would tell them what
to think. She and I are pretty much on
the same page in terms of how we see the world.
However, Ruth saw herself as a crusader.
One thing I like about her novels is that they have no heroes. She was adept about giving the back story for
all the characters involved in her novels.
You may not like them, but you understand them.
Emma I also hear you are planning a book on one of
Miss Chatterton’s husband’s, George Brent. Is this true?
Scott: While researching Chatterton, I was contacted
by Irish filmmaker Brian Reddin. Reddin
is working on a documentary on George Brent (born George Nolan in Ballinasloe,
Ireland). As Brent was Chatterton second
husband, Reddin was interested in my research.
Together, we were able to zero in on Brent’s participation in the Irish
Revolution in 1921. I got hooked. While Brent wasn’t as charismatic as Gable or
Cagney, he was a steady, reliable talent who was willing to allow his leading
ladies to steal the limelight. He’s
especially good as Tom Ransome in my all-time personal favourite film The Rains Came (1939)
To find more information on author Scott O’Brien and
his works - ‘Ruth Chatterton: Actress, Aviator, Author’, ‘Kay Francis - I Can't Wait
to be Forgotten’, ‘Virginia Bruce - Under My
Skin’ and ‘Ann Harding - Cinema's Gallant Lady’ – can be found
on his website, linked here.
