Forever Amber (FA) is a classic example of how a major controversial studio-system project evolved from a troubled production into a commercially successful movie. It was based on the sexy popular novel written by Kathleen Winsor and tagged by studio head Darryl F. Zanuck to be the biggest film made by Twentieth Century-Fox in 1947.
From its earliest efforts, FA was destined not to be an easy film to make. Original director John M. Stahl and lead actress Peggy Cummins were the first to go, after Zanuck found their work unsatisfactory. He turned to then-contract director Otto Preminger to salvage the production, but he had little interest in doing so. Preminger disliked the novel and wanted Lana Turner to now play Amber rather than Zanuck's personal choice---TCF contract player Linda Darnell. However, Turner was under contract to MGM at the time, while Darnell was a TCF employee (like Preminger). In the end, Preminger did what he was told to do. Zanuck gave Preminger a new script and production, but the director remained unhappy with the final result.
Would the film have been more successful with Turner as Amber? Probably not. Turner had an acting range somewhat similar to Darnell's. With the wisdom of hindsight, it seems that the Amber role should have gone to an actress who could convey more strength, spirit and courage. At that time, someone like Susan Hayward or Maureen O'Hara might have been able to make a real difference in creating the Amber character. But Zanuck was the boss of TCF, and the project had to conform to his vision of it. That FA turned out as well as it did is a tribute to the often high quality results obtained from the collaborative efforts possible under the studio system.
While many critics had little praise to offer for the acting of FA's two principal leads (Darnell and Cornel Wilde), George Sanders is often singled out for his sardonic performance as King Charles II. But to this reviewer, the best acting in the film came from character player Richard Haydn. His Clifton Webb imitation as Amber's rich elderly husband was quite entertaining, droll and thoroughly appropriate.
An interesting side note to the casting in FA. Jessica Tandy played without any particular distinction the rather bland and colorless role of Amber's servant Nan Britton. Almost at the same time, she lit the New. York stage with her performance as the original Blanche du Bois in A. Streetcar Named Desire---for which she received a Tony Award in 1948. . It is hard to imagine two such different performances coming from the same actress at about the same time.
Many people believe that FA is really a disguised version of Gone with the Wind. I submit that it is much closer in plot and spirit to the lesser known but more enjoyable period romance Kitty (1945), directed with great style by the under appreciated Mitchell Leisen. It is too bad that Kitty was shot in black and white. Once again--blame the studio system!
From its earliest efforts, FA was destined not to be an easy film to make. Original director John M. Stahl and lead actress Peggy Cummins were the first to go, after Zanuck found their work unsatisfactory. He turned to then-contract director Otto Preminger to salvage the production, but he had little interest in doing so. Preminger disliked the novel and wanted Lana Turner to now play Amber rather than Zanuck's personal choice---TCF contract player Linda Darnell. However, Turner was under contract to MGM at the time, while Darnell was a TCF employee (like Preminger). In the end, Preminger did what he was told to do. Zanuck gave Preminger a new script and production, but the director remained unhappy with the final result.
Would the film have been more successful with Turner as Amber? Probably not. Turner had an acting range somewhat similar to Darnell's. With the wisdom of hindsight, it seems that the Amber role should have gone to an actress who could convey more strength, spirit and courage. At that time, someone like Susan Hayward or Maureen O'Hara might have been able to make a real difference in creating the Amber character. But Zanuck was the boss of TCF, and the project had to conform to his vision of it. That FA turned out as well as it did is a tribute to the often high quality results obtained from the collaborative efforts possible under the studio system.
While many critics had little praise to offer for the acting of FA's two principal leads (Darnell and Cornel Wilde), George Sanders is often singled out for his sardonic performance as King Charles II. But to this reviewer, the best acting in the film came from character player Richard Haydn. His Clifton Webb imitation as Amber's rich elderly husband was quite entertaining, droll and thoroughly appropriate.
An interesting side note to the casting in FA. Jessica Tandy played without any particular distinction the rather bland and colorless role of Amber's servant Nan Britton. Almost at the same time, she lit the New. York stage with her performance as the original Blanche du Bois in A. Streetcar Named Desire---for which she received a Tony Award in 1948. . It is hard to imagine two such different performances coming from the same actress at about the same time.
Many people believe that FA is really a disguised version of Gone with the Wind. I submit that it is much closer in plot and spirit to the lesser known but more enjoyable period romance Kitty (1945), directed with great style by the under appreciated Mitchell Leisen. It is too bad that Kitty was shot in black and white. Once again--blame the studio system!