Comments on: Miriam Hopkins Biography in the Works http://www.altfg.com/blog/actors/miriam-hopkins/ thinking film Fri, 05 Sep 2008 08:49:49 +0000 http://wordpress.org/?v=2.6 By: Sue http://www.altfg.com/blog/actors/miriam-hopkins/#comment-373909 Sue Mon, 04 Aug 2008 17:26:11 +0000 http://www.altfg.com/blog/archives/2006/12/03/miriam-hopkins-biography-in-the-works/#comment-373909 Hello, I think that Miss Hopkins was one of early Hollywoods most attractive stars.Have read she could be difficult dont think she was as difficult as Bette Davis who I always thought a completely unpleasant woman.Miriam was very good in Jekyl & Hyde with Frederick March and the two films she did with Davis.As good an actress as Davis who is much overpraised and surely no more difficult.Good luck with the book.Sue. Hello, I think that Miss Hopkins was one of early Hollywoods most attractive stars.Have read she could be difficult dont think she was as difficult as Bette Davis who I always thought a completely unpleasant woman.Miriam was very good in Jekyl & Hyde with Frederick March and the two films she did with Davis.As good an actress as Davis who is much overpraised and surely no more difficult.Good luck with the book.Sue.

]]> By: RICHARD DAVIS MCLEOD http://www.altfg.com/blog/actors/miriam-hopkins/#comment-349555 RICHARD DAVIS MCLEOD Sat, 14 Jun 2008 15:47:50 +0000 http://www.altfg.com/blog/archives/2006/12/03/miriam-hopkins-biography-in-the-works/#comment-349555 MIRIAM HOPKINS WAS QUEEN OF THE PARAMOUNT LOT IN THE EARLY 1930'S. HER STAR NEVER SHOWN BRIGHTER THAN IN 1933. SHE WAS A VERY CLOSE FRIEND OF TENNESSEE WILLIAMS (WHO WROTE HER OBITUARY STATING AMERICA HAD LOST ONE OF ITS' FINEST ACTRESSES), AND STARRED IN HIS FIRST STAGE PRODUCTION, BATTLE OF ANGELS IN BOSTON, MASSACHUSETTS BACK IN 1941. THIS WAS FINALLY FILMED AS THE FUGITIVE KIND WITH MARLON BRANDO. ODDLY ENOUGH, MIRIAM PLAYED ROBERT REDFORD'S MOTHER IN THE CHASE (1960'S), AND REDFORD FELT SHE SHOULD HAVE GOTTEN AN ACADEMY AWARD FOR THE SCENE SHE HAD WITH MARLON BRANDO, WHERE SHE COMPLETELY OVERWHELMS BRANDO (NOT EASY TO DO) IN THIS MOVIE BASED ON THE PLAY BY LILLIAN HELLMAN. MIRIAM HAD EARLIER STARRED IN THE ORIGINAL VERSION OF THE FILM TITLED THESE THREE WITH MERLE OBERON, AND ALSO THE LATER REMAKE TITLED THE CHILDREN'S HOUR. WILLIAM WYLER DIRECTED BOTH FILM VERSIONS, AND SPECIFICALLY ASKED MIRIAM TO STAR IN THE REMAKE 30 YEARS LATER. MIRIAM WAS A CLOSE FRIEND OF KAY FRANCIS, AND KAY ACCOMPANIED HER TO RENO, NEVADA WHEN MIRIAM GOT HER DIVORCE FROM NOTED HOLLYWOOD DIRECTOR ANATOLE LITVAK. MIRIAM'S CAREER LASTED FROM THE LATE 1920'S THROUGH THE LATE 1960'S, WORKING IN STAGE, FILM, RADIO, AND TELEVISION. SHE WAS THE SECOND CHOICE OF SCARLETT OHARA IN GONE WITH THE WIND, AND MARGARET MITCHELL'S FIRST CHOICE! MIRIAM HOPKINS WAS PROBABLY THE ONLY ACTRESS IN HOLLYWOOD NOT INTIMIDATED BY BETTE DAVIS, AND GAVE TWO OF HER MOST MEMORABLE PERFORMANCES OPPOSITE BETTE IN THE OLD MAID, AND IN OLD ACQUAINTANCE. IN LATER YEARS IN MANY INTERVIEWS, BETTE ALWAYS MENTIONED MIRIAM AS THE MOST DIFFICULT PERSON SHE EVER WORKED WITH, BUT ALWAYS GAVE HER CREDIT AS A VERY GOOD ACTRESS! SHE WAS CHOSEN FOR THE FIRST THREE STRIP TECHNICOLOR FILM, BECKY SHARP, BECAUSE OF HER PHOTOGENIC QUALITIES, AS WELL AS A FIERY TEMPERAMENT NEEDED FOR THIS ROLE IN THE ORIGINAL OF THACKERAY'S NOVEL VANITY FAIR. MIRIAM WAS VERY INFLUENCED BY NUMEROLOGY, AND TURNED DOWN IT HAPPENED ONE NIGHT BECAUSE THE NUMBERS WERE NOT RIGHT, HOWEVER THAT WAS DETERMINED. THE LEAD PART WENT TO CLAUDETTE COLBERT, WHO LATER WON AN ACADEMY AWARD FOR BEST ACTRESS, AS DID ALL THE PRINCIPLE PLAYERS IN THS FILM INCLUDING CLARK GABLE, INCLUDING BEST PICTURE OF THE YEAR! MIRIAM'S ONLY PICTURE SHE MADE FOR MGM WAS A STRANGER'S RETURN (LATE 1930'S) WITH FRANCHOT TONE AND LIONEL BARRYMORE. SHE GIVES A VERY GOOD PERFORMANCE, AND ODDLY THIS IS ONE OF THE MOST OVERLOOKED FILMS IN HER CAREER. LEONARD MALTIN STATED THIS IN HIS FILMOGRAPHY LIST OF THE MOST OVERLOOKED FILMS MADE IN HOLLYWOOD WORTHY OF DISTINCTION. MIRIAM HOPKINS WAS ONE OF THE BRIGHTEST STARS OF HOLLYWOOD IN 1933, AND ALTHOUGH THAT STAR DIMMED, SHE CONTINUED GIVING GOOD MEMORABLE PERFORMANCES IN A VARIETY OF MEDIUMS FOR THE NEXT 40 YEARS UNTIL HER DEATH. MIRIAM TURNED IN A GREAT PERFORMANCE IN THE HEIRESS (1949) WITH OLIVIA DE HAVILLAND, RALPH RICHARDSON, AND MONTGOMERY CLIFT (WITH WHOM SHE GOT ALONG WITH FAMOUSLY). TENNESSEE WILLIAMS WAS RIGHT IN STATING IN THE OFFICIAL OBITUARY(HE WROTE) THAT AMERICA HAD TRULY LOST ONE OF HER GREATEST ACTRESSES. MIRIAM HOPKINS WAS QUEEN OF THE PARAMOUNT LOT IN THE EARLY 1930′S. HER STAR NEVER SHOWN BRIGHTER THAN IN 1933. SHE WAS A VERY CLOSE FRIEND OF TENNESSEE WILLIAMS (WHO WROTE HER OBITUARY STATING AMERICA HAD LOST ONE OF ITS’ FINEST ACTRESSES), AND STARRED IN HIS FIRST STAGE PRODUCTION, BATTLE OF ANGELS IN BOSTON, MASSACHUSETTS BACK IN 1941. THIS WAS FINALLY FILMED AS THE FUGITIVE KIND WITH MARLON BRANDO.

ODDLY ENOUGH, MIRIAM PLAYED ROBERT REDFORD’S MOTHER IN THE CHASE (1960′S), AND REDFORD FELT SHE SHOULD HAVE GOTTEN AN ACADEMY AWARD FOR THE SCENE SHE HAD WITH MARLON BRANDO, WHERE SHE COMPLETELY OVERWHELMS BRANDO (NOT EASY TO DO) IN THIS MOVIE BASED ON THE PLAY BY LILLIAN HELLMAN.

MIRIAM HAD EARLIER STARRED IN THE ORIGINAL VERSION OF THE FILM TITLED THESE THREE WITH MERLE OBERON, AND ALSO THE LATER REMAKE TITLED THE CHILDREN’S HOUR. WILLIAM WYLER DIRECTED BOTH FILM VERSIONS, AND SPECIFICALLY ASKED MIRIAM TO STAR IN THE REMAKE 30 YEARS LATER. MIRIAM WAS A CLOSE FRIEND OF KAY FRANCIS, AND KAY ACCOMPANIED HER TO RENO, NEVADA WHEN MIRIAM GOT HER DIVORCE FROM NOTED HOLLYWOOD DIRECTOR ANATOLE LITVAK.

MIRIAM’S CAREER LASTED FROM THE LATE 1920′S THROUGH THE LATE 1960′S, WORKING IN STAGE, FILM, RADIO, AND TELEVISION. SHE WAS THE SECOND CHOICE OF SCARLETT OHARA IN GONE WITH THE WIND, AND MARGARET MITCHELL’S FIRST CHOICE!

MIRIAM HOPKINS WAS PROBABLY THE ONLY ACTRESS IN HOLLYWOOD NOT INTIMIDATED BY BETTE DAVIS, AND GAVE TWO OF HER MOST MEMORABLE PERFORMANCES OPPOSITE BETTE IN THE OLD MAID, AND IN OLD ACQUAINTANCE.

IN LATER YEARS IN MANY INTERVIEWS, BETTE ALWAYS MENTIONED MIRIAM AS THE MOST DIFFICULT PERSON SHE EVER WORKED WITH, BUT ALWAYS GAVE HER CREDIT AS A VERY GOOD ACTRESS! SHE WAS CHOSEN FOR THE FIRST THREE STRIP TECHNICOLOR FILM, BECKY SHARP, BECAUSE OF HER PHOTOGENIC QUALITIES, AS WELL AS A FIERY TEMPERAMENT NEEDED FOR THIS ROLE IN THE ORIGINAL OF THACKERAY’S NOVEL VANITY FAIR.

MIRIAM WAS VERY INFLUENCED BY NUMEROLOGY, AND TURNED DOWN IT HAPPENED ONE NIGHT BECAUSE THE NUMBERS WERE NOT RIGHT, HOWEVER THAT WAS DETERMINED. THE LEAD PART WENT TO CLAUDETTE COLBERT, WHO LATER WON AN ACADEMY AWARD FOR BEST ACTRESS, AS DID ALL THE PRINCIPLE PLAYERS IN THS FILM INCLUDING CLARK GABLE, INCLUDING BEST PICTURE OF THE YEAR!

MIRIAM’S ONLY PICTURE SHE MADE FOR MGM WAS A STRANGER’S RETURN (LATE 1930′S) WITH FRANCHOT TONE AND LIONEL BARRYMORE. SHE GIVES A VERY GOOD PERFORMANCE, AND ODDLY THIS IS ONE OF THE MOST OVERLOOKED FILMS IN HER CAREER. LEONARD MALTIN STATED THIS IN HIS FILMOGRAPHY LIST OF THE MOST OVERLOOKED FILMS MADE IN HOLLYWOOD WORTHY OF DISTINCTION.

MIRIAM HOPKINS WAS ONE OF THE BRIGHTEST STARS OF HOLLYWOOD IN 1933, AND ALTHOUGH THAT STAR DIMMED, SHE CONTINUED GIVING GOOD MEMORABLE PERFORMANCES IN A VARIETY OF MEDIUMS FOR THE NEXT 40 YEARS UNTIL HER DEATH.

MIRIAM TURNED IN A GREAT PERFORMANCE IN THE HEIRESS (1949) WITH OLIVIA DE HAVILLAND, RALPH RICHARDSON, AND MONTGOMERY CLIFT (WITH WHOM SHE GOT ALONG WITH FAMOUSLY). TENNESSEE WILLIAMS WAS RIGHT IN STATING IN THE OFFICIAL OBITUARY(HE WROTE) THAT AMERICA HAD TRULY LOST ONE OF HER GREATEST ACTRESSES.

]]> By: Vincent http://www.altfg.com/blog/actors/miriam-hopkins/#comment-272596 Vincent Sat, 15 Dec 2007 05:16:24 +0000 http://www.altfg.com/blog/archives/2006/12/03/miriam-hopkins-biography-in-the-works/#comment-272596 This might be of interest to some of you: I run a blog called "Carole & Co.," and about two months ago I wrote an entry on Miriam Hopkins, discussing her career and its many connections with Lombard's. You can find it at http://community.livejournal.com/carole_and_co/38343.html This might be of interest to some of you: I run a blog called “Carole & Co.,” and about two months ago I wrote an entry on Miriam Hopkins, discussing her career and its many connections with Lombard’s. You can find it at http://community.livejournal.com/carole_and_co/38343.html

]]> By: Andre Soares http://www.altfg.com/blog/actors/miriam-hopkins/#comment-118311 Andre Soares Mon, 02 Apr 2007 23:25:17 +0000 http://www.altfg.com/blog/archives/2006/12/03/miriam-hopkins-biography-in-the-works/#comment-118311 Tom, I can see your point re: Miriam Hopkins and "All This and Heaven Too." Joan Fontaine would have been good, sure. But I think that Hopkins would have been a major improvement over Davis. Davis couldn't play subdued characters; she always seemed phony when she tried. Hopkins could. She probably couldn't act "mousy," but I think she would have been believable as a homely (40-year-old) duckling. Tom,

I can see your point re: Miriam Hopkins and “All This and Heaven Too.” Joan Fontaine would have been good, sure. But I think that Hopkins would have been a major improvement over Davis.

Davis couldn’t play subdued characters; she always seemed phony when she tried. Hopkins could. She probably couldn’t act “mousy,” but I think she would have been believable as a homely (40-year-old) duckling.

]]> By: Tom http://www.altfg.com/blog/actors/miriam-hopkins/#comment-118307 Tom Mon, 02 Apr 2007 22:59:34 +0000 http://www.altfg.com/blog/archives/2006/12/03/miriam-hopkins-biography-in-the-works/#comment-118307 I think Miriam would have been awful in ALL THIS AND HEAVEN TOO, the character is kind of a timid, easily frightened little mouse and I can't imagine Miriam ever being believable in such a meek role. It's a very Janet Gaynorish part (who I think WOULD have been better than Bette, although I do think it is one of Davis' best roles.) I've always wanted to see radio star Lurene Tuttle (best known for her TV supporting roles today) in her one and only starring part as Ma Barker. I do think Hopkins would have made a darn good Belle Watling in GWTW although Ona Munson is wonderful in the role. I think Miriam would have been awful in ALL THIS AND HEAVEN TOO, the character is kind of a timid, easily frightened little mouse and I can’t imagine Miriam ever being believable in such a meek role. It’s a very Janet Gaynorish part (who I think WOULD have been better than Bette, although I do think it is one of Davis’ best roles.)

I’ve always wanted to see radio star Lurene Tuttle (best known for her TV supporting roles today) in her one and only starring part as Ma Barker.

I do think Hopkins would have made a darn good Belle Watling in GWTW although Ona Munson is wonderful in the role.

]]> By: Andre Soares http://www.altfg.com/blog/actors/miriam-hopkins/#comment-118267 Andre Soares Mon, 02 Apr 2007 05:45:55 +0000 http://www.altfg.com/blog/archives/2006/12/03/miriam-hopkins-biography-in-the-works/#comment-118267 A few Miriam Hopkins projects that went to somebody else or that were never made. Source: Allan Ellenberger The Man Who Broke His Heart (1933) [never made] Ready For Love (1934) Ida Lupino took the role The Song of Songs (1933) Marlene Dietrich No Man of Her Own (1932) Carole Lombard The Sign of the Cross (1932) Either the Elissa Landi or the <strong><a rel="nofollow" href="http://www.altfg.com/blog/actors/claudette-colbert-parish/" rel="nofollow">Claudette Colbert</a></strong> role Passionate Stranger (1932) [not made] Samson and Delilah (1934) [not made] Bolero (1934) Carole Lombard It Happened One Night (1934) <strong><a rel="nofollow" href="http://www.altfg.com/blog/actors/claudette-colbert-parish/" rel="nofollow">Claudette Colbert</a></strong> Forsaking All Others (1934) Joan Crawford The Trumpet Blows (1934) Frances Drake Wharf Angel (1934) Dorothy Dell Bordertown (1935) Bette Davis Peter Ibbetson (1935) Ann Harding Perfectly Good Women (1935) [not made] Come and Get It (1936) Frances Farmer The Princess and the Pauper (1936) [apparently never made; or made with different title] Accuse, Levez Vous (Accused, Stand Up) (1936) with Douglas Fairbanks, Jr. [not made] Love on Parole (1937) [apparently never made; or made with different title] Next Time I Marry (1938) Lucille Ball The Sisters (1938) with Kay Francis - eventually made with Bette Davis, Anita Louise, and Jane Bryan We Are Not Alone (1939) Jane Bryan All This and Heaven Too (1940) Bette Davis (Hopkins would have been much better in this one.) Devotion (1940) with Bette Davis [made in 1946 with Ida Lupino and Olivia de Havilland] Badlands of Dakota (1941) Probably the Frances Farmer role Law of the Tropics (1941) Constance Bennett To Be or Not to Be (1942) Carole Lombard The Glass Menagerie (1950) [Miriam tested for the role] Gertrude Lawrence The Opposite Sex [newspaper columnist] (I'm not sure who plays that role in the film) Ma Barker's Killer Brood (1959) Hopkins filmed for one day and left the film. She was replaced by Lurene Tuttle Also, I've heard from another source that Miriam Hopkins was considered for the female lead in "My Life with Caroline" (1941). That role eventually went to Anna Lee. A few Miriam Hopkins projects that went to somebody else or that were never made.
Source: Allan Ellenberger

The Man Who Broke His Heart (1933) [never made]

Ready For Love (1934) Ida Lupino took the role

The Song of Songs (1933) Marlene Dietrich

No Man of Her Own (1932) Carole Lombard

The Sign of the Cross (1932) Either the Elissa Landi or the Claudette Colbert role

Passionate Stranger (1932) [not made]

Samson and Delilah (1934) [not made]

Bolero (1934) Carole Lombard

It Happened One Night (1934) Claudette Colbert

Forsaking All Others (1934) Joan Crawford

The Trumpet Blows (1934) Frances Drake

Wharf Angel (1934) Dorothy Dell

Bordertown (1935) Bette Davis

Peter Ibbetson (1935) Ann Harding

Perfectly Good Women (1935) [not made]

Come and Get It (1936) Frances Farmer

The Princess and the Pauper (1936) [apparently never made; or made with different title]

Accuse, Levez Vous (Accused, Stand Up) (1936) with Douglas Fairbanks, Jr. [not made]

Love on Parole (1937) [apparently never made; or made with different title]

Next Time I Marry (1938) Lucille Ball

The Sisters (1938) with Kay Francis - eventually made with Bette Davis, Anita Louise, and Jane Bryan

We Are Not Alone (1939) Jane Bryan

All This and Heaven Too (1940) Bette Davis (Hopkins would have been much better in this one.)

Devotion (1940) with Bette Davis [made in 1946 with Ida Lupino and Olivia de Havilland]

Badlands of Dakota (1941) Probably the Frances Farmer role

Law of the Tropics (1941) Constance Bennett

To Be or Not to Be (1942) Carole Lombard

The Glass Menagerie (1950) [Miriam tested for the role] Gertrude Lawrence

The Opposite Sex [newspaper columnist] (I’m not sure who plays that role in the film)

Ma Barker’s Killer Brood (1959) Hopkins filmed for one day and left the film. She was replaced by Lurene Tuttle

Also, I’ve heard from another source that Miriam Hopkins was considered for the female lead in “My Life with Caroline” (1941). That role eventually went to Anna Lee.

]]> By: Vincent http://www.altfg.com/blog/actors/miriam-hopkins/#comment-118131 Vincent Fri, 30 Mar 2007 13:57:01 +0000 http://www.altfg.com/blog/archives/2006/12/03/miriam-hopkins-biography-in-the-works/#comment-118131 Here's something not many movie buffs are aware of: In 1932, Paramount received Clark Gable on loan from MGM, and he was to co-star with Hopkins in a film called "No Bed Of Her Own." However, as part of the deal, Gable was to get top billing, which irked Hopkins, so she backed out of the project. Carole Lombard, then a largely undefined Paramount leading lady, took her spot, and the film's title ultimately was changed to "No Man Of Her Own." (And just to clear things up for those who don't know -- no romantic sparks developed between Clark and Carole at this time, although their on-set relationship was deemed cordial; the famed Gable-Lombard romance didn't ignite until 1936.) Hopkins was still involved in the film long enough for posters advertising her and "No Bed Of Her Own" to be made, and now those are movie memorabilia rarities. Here’s something not many movie buffs are aware of: In 1932, Paramount received Clark Gable on loan from MGM, and he was to co-star with Hopkins in a film called “No Bed Of Her Own.” However, as part of the deal, Gable was to get top billing, which irked Hopkins, so she backed out of the project. Carole Lombard, then a largely undefined Paramount leading lady, took her spot, and the film’s title ultimately was changed to “No Man Of Her Own.” (And just to clear things up for those who don’t know — no romantic sparks developed between Clark and Carole at this time, although their on-set relationship was deemed cordial; the famed Gable-Lombard romance didn’t ignite until 1936.) Hopkins was still involved in the film long enough for posters advertising her and “No Bed Of Her Own” to be made, and now those are movie memorabilia rarities.

]]> By: Andre Soares http://www.altfg.com/blog/actors/miriam-hopkins/#comment-118117 Andre Soares Fri, 30 Mar 2007 09:00:53 +0000 http://www.altfg.com/blog/archives/2006/12/03/miriam-hopkins-biography-in-the-works/#comment-118117 Tom, You've made an excellent point. When I wrote this article, Mae West had escaped my mind. But I'd still say that Miriam Hopkins was one of the two or three top female stars at Paramount from 1931-1933 (along with/after West and Marlene Dietrich). Anyhow, I'm rephrasing that sentence. Thanks! Tom,

You’ve made an excellent point. When I wrote this article, Mae West had escaped my mind. But I’d still say that Miriam Hopkins was one of the two or three top female stars at Paramount from 1931-1933 (along with/after West and Marlene Dietrich).

Anyhow, I’m rephrasing that sentence. Thanks!

]]> By: Tom http://www.altfg.com/blog/actors/miriam-hopkins/#comment-118102 Tom Fri, 30 Mar 2007 00:05:21 +0000 http://www.altfg.com/blog/archives/2006/12/03/miriam-hopkins-biography-in-the-works/#comment-118102 While I am happy to hear someone is writing a book on Miriam Hopkins (even if she is, to me at least, one of the least appealing actresses from the golden era, she always seems quarrelsome) I don't think Miriam could have ever been called "queen of Paramount" at any point. Despite several good performances and generally good reviews, I don't believe she ever really had a major following with the public not unlike Sylvia Sidney, Merle Oberon, and other actresses who worked for years - even decades - without ever becoming true box office attractions. I would dare to presume the "queen of Paramount" title would have been held by the following: 1927-29 Clara Bow 1930 Nancy Carroll 1931-32 Marlene Dietrich 1933-35 Mae West 1936-40 Claudette Colbert 1941-45 Dorothy Lamour 1946-52 Betty Hutton 1953-?? Audrey Hepburn While I am happy to hear someone is writing a book on Miriam Hopkins (even if she is, to me at least, one of the least appealing actresses from the golden era, she always seems quarrelsome) I don’t think Miriam could have ever been called “queen of Paramount” at any point. Despite several good performances and generally good reviews, I don’t believe she ever really had a major following with the public not unlike Sylvia Sidney, Merle Oberon, and other actresses who worked for years - even decades - without ever becoming true box office attractions. I would dare to presume the “queen of Paramount” title would have been held by the following:

1927-29 Clara Bow
1930 Nancy Carroll
1931-32 Marlene Dietrich
1933-35 Mae West
1936-40 Claudette Colbert
1941-45 Dorothy Lamour
1946-52 Betty Hutton
1953-?? Audrey Hepburn

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