The Vintage Bride: Grace Kelly

Grace Kelly, a Hollywood actress known for her beauty, first met her future husband in May, 1955 at a photo shoot arranged by the studio. He was Prince Rainier III of Monaco, the reigning monarch of a country comprised of 370 acres and from one of the oldest royal families, the Grimaldis. Eleven months later, on April 19, 1956, the couple were married in a religious ceremony at St. Nicholas Cathedral by the Bishop of Monaco.


Grace Kelly pictured with her father Jack, who walked her down the aisle.

"I don't want to be married to someone who feels belittled by my success," she once said. "I couldn't bear walking into a restaurant and hearing the maitre d' refer to my husband as Mr. Kelly."

 

Grace Kelly's wedding dress was designed by Helen Rose, a costume designer for MGM. Helen Rose had previously designed costumes for Miss Kelly for her movies, High Society and The Swan. Also on hand from MGM's staff, was hairdresser Virginia Darcy.

Seamstresses hard at work on Miss Kelly's wedding dress and veil. The dress would be comprised of 100 yards of silk net, 25 yards of silk taffeta, 125 year old lace purchased for the occasion and thousands of tiny beads and pearls.

A sketch by the wedding dress designer, Helen Rose

The wedding dress was later gifted to the Philadelphia Museum of Art by Princess Grace. The following description can be found on their website:

"From the crownlike wreath topping the headpiece to the bows down the back of the graceful train, Grace Kelly's wedding ensemble is simple but exquisitely detailed. Delicate rose point lace, a type of nineteenth-century Brussels needle lace that features elaborate floral motifs, forms the bodice, which appears seamless because the lace motifs were detached from their original ground and pieced together to follow the shaping of the dress. Touches of the lace, accented with lustrous seed pearls, unify the gown and accessories. The dress itself is constructed in four complex parts: the lace bodice with an attached underbodice, skirt support, and slip; a heavily pleated silk faille skirt that incorporates a smoothing petticoat, ruffled petticoat, and foundation petticoat; a triangular tulle and lace train insert; and a pleated silk faille cummerbund.

In style and detail the dress was conceived to complement the "fairy-princess" image of the bride. Above a bell-shaped skirt of ivory peau de soie supported by three petticoats, a high-necked bodice of Brussels lace was re-embroidered so the seams would be invisible and then accented with seed pearls."

Pearl-embellished lace also covers the prayer book, shoes, and cap, which is surmounted by an orange-blossom wreath. The circular silk net veil, especially designed so that the bride's face could be seen, is decorated with appliquéd lace motifs including two tiny love birds. H. Kristina Haugland, from Philadelphia Museum of Art: Handbook of the Collections (1995), p. 100.

 

The shoes were designed by David Evins. They were made from leather and accented with seed pearls, glass beads, silk lace and silk faille. Check out Grace's name inside the shoe.

 

"On her wedding day, Grace Kelly carried a small bouquet of lilies of the valley and this specialized missal, whose full title is Bride's Manual: A Manual of Catholic Devotion with Mass for the Marriage Ceremony and the Nuptial Blessing. The gilt-edged book, filled with prayers, hymns, meditations, and information in accordance with recent pontifical decrees, was a gift to the bride from a longtime friend of the Kelly family, Mrs. John F. McCloskey of Chestnut Hill. It was sent to Metro-Goldwyn-Mayer to be decorated with silk, lace, and seed pearls to match the wedding dress." -Philadelphia Museum of Art

Grace's sister Peggy was the matron of honor and there was an additional six bridesmaids along with four young ladies and two young gentlemen as wedding party attendants.

 

The bridesmaids' dresses were yellow organdy and designed by Joseph Hong for Neiman-Marcus and made by Priscilla of Boston.

 

 

"The bride's favorite color, yellow, was chosen for the bridesmaids' dresses; the shade, called "Sunlight," provided a pleasing contrast to the grayness of Monaco's cathedral. Made of sheer silk organdy over a built-in strapless taffeta underdress, the dress features a high neck, pleated sash, full bishop sleeves, and a wide, petticoat-supported skirt that flows gracefully into a short train.

"This dress, worn by Grace Kelly's oldest niece, is supported by a yellow organdy underdress with three skirts. Sprigs of machine-embroidered daisies enliven the sheer white organdy fabric, and the daisy theme was continued by the small daisy bouquet and by the halo of daisies, which was substituted for the hat depicted on the flower girls in the original design."  -Philadelphia Museum of Art

 

Prince Rainier wore his royal uniform of Monaco complete with sword, which they later used to cut their multi-tiered wedding cake.

 

The happy couple were driven through the streets of Monte Carlo in a Rolls Royce convertible as thousands of well-wishers lined the way for the newlyweds.

 

 

 

Prince Rainier and Princess Grace remained married until her untimely death in 1982 from an automobile accident. Prince Rainier never remarried and passed away in 2005. The couple had three children: Caroline, Albert and Stephanie.

 

Thanks for your visit today. Please join me next Sunday for another Vintage Bride.

The Vintage Bride: Scarlett O'Hara

Today's vintage bride is the fictional heroine of Gone With The Wind, Scarlett O'Hara.

Scarlett O'Hara, at the young age of 16, married Charles Hamilton in the spring of 1861. The Civil War had just begun and beaux were marrying their young ladies before heading off to war.

Scarlett's entire wedding happened two weeks after she said yes to Charles' proposal. Her mother, Ellen, wanted her to wait, but her father, Gerald, agreed to the short engagement.

Gerald and Ellen O'Hara with their daughter Scarlett and new son-in-law Charles Hamilton

Ellen had wrung her hands and counseled delay, in order that Scarlett might think the matter over at greater length. But to her pleadings, Scarlett turned a sullen face and a deaf ear. Marry she would! And quickly too. Within two weeks.

Learning that Ashley's wedding had been moved up from the autumn to the first of May, so he could leave with the Troop as soon as it was called into service, Scarlett set the date of her wedding to the day before his.

Scarlett has eyes only for Ashley
Leslie Howard, Olivia de Havilland, Thomas Mitchell, Barbara O'Neil, Vivien Leigh and Rand Brooks

In the midst of this turmoil, preparations went forward for Scarlett's wedding and, almost before she knew it, she was clad in Ellen's wedding dress and veil, coming down the wide stairs of Tara on her father's arm to face a house packed full with guests... [with] hundreds of candles flaring on the walls... and Ashley, standing at the bottom of the steps with Melanie's arm through his.

It's hoopless dresses in this publicity shot for GWTW.

In the book, Scarlett and Charles were married the day before Ashley and Melanie's wedding was to occur. In the movie, the wedding days were reversed.

From the movie:
Melanie (kissing Scarlett) Scarlett, I thought of you at our wedding yesterday and hoped yours would be as beautiful. And it was.
Scarlett (like a sleepwalker) Was it?
Melanie (nods emphatically) Now we're really and truly sisters.

Leslie Howard as Ashley with Vivien Leigh as Scarlett

Barbara O'Neil as Ellen O'Hara

Vivien Leigh as Scarlett O'Hara

In the book and movie, Scarlett wears her mother's wedding dress. Since the engagement was so short, there was no time to alter the gown before the wedding. Walter Plunkett, the costume designer for Gone With The Wind, took this into consideration when creating the wedding dress. He fitted the dress to Barbara O'Neil's measurements, so that viewers of the movie could see the improper fit on the current bride, Scarlett.

Reproduction of Scarlett's wedding dress-- front view

Reproduction of Scarlett's wedding dress-- back view

Italicized quotes are from the book, Gone With The Wind by Margaret Mitchell

The Vintage Bride: Jill Esmond

On July 25th, 1930, Jill Esmond officially became the first Mrs. Laurence Olivier. Jill, a British actress, was 22 years old and her bridgegroom, Larry, was 23. Jill Esmond came from acting royalty. Her mother was the famous stage actress and suffragette, Eva Moore. Her father was the actor, playwright and manager, Henry V. Esmond. Together, Eva and Henry were the royal couple of the British stage.

The bride's parents, Eva Moore and Henry Esmond

Jill and Larry first met in 1928 when they co-starred in the play, Bird in Hand: Olivier played a squire's son and Jill played an innkeeper's daughter, his romantic counterpart. In 1929, the couple found themselves separated by an ocean. Jill had traveled to New York City with the play, Bird in Hand, while Olivier remained in London.

After being separated for a few months, Olivier was given the opportunity of starring in a play called Murder On The Second Floor, to be produced in New York City. Olivier recalled,  I managed to find a chance to play in New York and I jumped at it. The show- Murder On The Second Floor- only lasted five weeks. But I got to see Jill.  Once reunited in NYC, the couple decided to select Jill's engagement ring together and purchased the ring from Tiffany's.

In 1932, Silver Screen magazine ran a super sweet article on Jill and Larry (whom they referred to as Lorry). They included the following details on the Oliviers' wedding, which is basically one of the fluffiest things I've ever read. Here's the excerpt:

On or about July 11, 1930, A.D., Jill and Lorry were sitting on a river bank at the country estate of some friends. There were birds in the trees. The grass was green. The river whispered lazily by them. The sun was at its zenith and all was tranquil. Lorry suddenly turned to Jill.

"All this gadding about," said he, "is silly. We've got to be married."

"That's a noble idea," replied Jill. "When?"

Lorry counted the days on his fingers. There was work in the offing, and it looked as if their honeymoon would be molested by the fall openings.

"Say two weeks," said Lorry.

"Two weeks," said Jill.

They were married on July 25 and there were TWO bishops on hand- the wedding was very fashionable- and the guests were notable. Followed the honeymoon.

"No more being separated," said Lorry.

"Right'o," said Jill

And two very brave young people, both in a profession which is legendary for keeping people apart, made a pledge. 

Jill and Larry were married at All Saints, located on Margaret Street in London. The ceremony was officiated by Bishop Perrin. Jill's brother, Jack Esmond, drove her to the church, but it was her mother, Eva Moore, who walked her down the aisle. Jill's father had sadly passed away in 1922.

Jill's floor-length wedding gown was made from parchment satin and featured an embroidered sweetheart neckline with side ruching and long, fitted sleeves. Her tulle veil flowed from her art deco headdress, made in part from cream-colored pearls. For Jill's formal wedding portrait (above), she's photographed with a small bouquet of lilies secured with ribbon. For the actual wedding, she carried a larger bouquet of what appears to be daisies accented with fern leaves and wrapped in tulle.

Laurence Olivier rented his morning suit for the wedding, which featured striped pants, a dark colored jacket with a lighter shade for the vest. ...He looked a complete Charley in hired morning clothes: sleeves too short and trousers failing to hide his actor's love of costume: white spats [black and white shoes]. A button hole marched with a pointed pocket handkerchief- gaudy but not neat. He was the proudest of grooms, his brow nobly plucked by Jill, and his Ronald Colman moustache his hour consuming pride, and the bride he had first proposed to almost two years before was his for ever. -Tarquin Olivier on his parents' wedding, from My Father Laurence Olivier

Eileen Clark had the distinction of being maid of honor. She and the little girl, who attended to Jill's train, both wore short-sleeved dresses, leaf green in color, with matching necklaces. The best man was Denys Blakelock.

Newspaper clipping

The happy couple greeting guests at their reception

After the ceremony, the reception was held in the garden at Eva Moore's home at Whitehead's Grove. The couple were to honeymoon at the house of a friend of Eva's at Lulworth Cove in Dorset, right on the sea.

Larry and Jill had only one son together, Tarquin, born in August, 1936. The Oliviers' marriage came to an end, in 1937, when Larry left Jill and moved into Durham Cottage, in London, with Vivien Leigh. The couple later divorced, in 1940. This was Jill's only marriage, but the first of three for Olivier.

The Vintage Bride: Suzanne Holman Farrington

Wedding bells rang for Suzanne Holman, the only child of Vivien Leigh and her first husband, Leigh Holman, on Friday, December 6th, 1957. The lucky groom was Robin Farrington, a 29 year old insurance executive.

The couple, reunited after Suzanne's vacation with her parents, discuss engagement rings.

Robin, on meeting Vivien Leigh for the first time, said,  "I was very nervous, and as she came into the drawing room I walked forward to shake her hand. Unfortunately, the cat inserted itself onto my toe and I have never done such a good rugger conversion. The cat flew across the room. It was a very bad beginning."


Suzanne and Robin's wedding invitation. Photo courtesy of Kendra Bean at VivandLarry.com

Hundreds of wedding invitations were sent out to family, friends and colleagues. The invites read:
Mr. Leigh Holman and Lady Olivier request the pleasure of your company at the marriage of their daughter Suzanne Mary Holman to Mr. Robin Neville Farrington, at Holy Trinity, Brompton, on Friday, December 6th at 3pm and afterward at [the Hyde Park Hotel for the reception].

Recipients were asked to RSVP to Lady Olivier at her Lowndes Cottage, in London.


Suzanne arrives at Holy Trinity

The wedding took place at Holy Trinity, Brompton, in London. Suzanne arrived with her father, Mr. Leigh Holman, while Vivien arrived separately with Sir Laurence Olivier.

The bride wore a long-sleeved, chapel train wedding gown, with a slight V-neck. The dress featured bows on both the right and left sides. Her short, curly hair was topped with a small circular crown, trimmed in white flowers, with a long veil attached. Suzanne's father walked her down the aisle as approximately five hundred wedding guests looked on; the bride's face covered by her veil.

Mr. and Mrs. Robin Farrington

Suzanne carried a cascading bouquet and what appears to be a small bible during the ceremony.

The Happy Bride

After the wedding, guests were invited to attend the reception at the Hyde Park Hotel. Since this was an afternoon wedding, only champagne was served at the reception, and of course, wedding cake.

Vivien Leigh with her first husband, Leigh Holman

Vivien wore a leopard-pattern coat, topped with a fur scarf. The pattern had been hand-painted onto the silk coat. One newspaper said that Vivien's outfit put all the mink coats and smart costumes in the shade. The gentlemen were dressed in morning suits with striped pants, light colored vests and dark jackets.

First couple unknown (probably relatives of the Holmans or Farringtons), Leigh Holman, Vivien Leigh, Gertrude and Ernest Hartley and partial side view of Laurence Olivier

The newspaper reporters made quite a fuss over the fact that Sir Laurence attended. At the reception, Olivier stayed in the background and was quoted as saying, "I'm staying out of the limelight on this occasion. This is Suzanne's day. She and her mother and her father are what you might call 'on-stage.' I'm just taking it quietly in the wings."

Suzanne and Vivien at the wedding reception

Suzanne was quite happy that Sir Larry attended, "I'm so glad that both my father and stepfather came. I don't find it at all unusual, just very good fun."

Sir Laurence Olivier and Vivien Leigh

Suzanne and Robin enjoyed a long union and remained married until Robin's death in June, 2002, leaving Suzanne a widow. Together, they raised three sons and were grandparents several times over.



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The Vintage Bride: Vivien Leigh, Part Two

When Vivien Leigh and Laurence Olivier first met, they were both married to other people: Vivien had married Leigh Holman, a barrister, in 1932 and Olivier had married Jill Esmond, an actress, in 1930. After carrying on an affair for some time, Vivien and Larry finally decided to leave their respective spouses and move in together, in 1937. However, they weren't able to obtain divorces from Leigh Holman and Jill Esmond for another three years.

Marriage rumours started following the couple around as early as September, 1939. Photoplay jumped on the wedding train, too, with this imaginative drawing of what Vivien Leigh should wear for the ceremony. They called it a navy blue with pink accents, dinner costume of faille taffeta that will be a stunning addition to any trousseau after the ceremony. 

"I feel that when a man loves a woman and vice-versa, there isn't much sense in keeping it quiet," Vivien Leigh said in a newspaper interview. In January, while Vivien was vacationing at Lake Arrowhead, the divorce proceedings finally began.

Vivien's mother, Gertrude Hartley, weighed in on the future Oliviers, "After the divorces, they will be happy as larks. They adore each other. After all, that's all that anyone can demand from life."  Olivier and Leigh's respective divorces became absolute later that year in August.

"To us it is apparent that we are planning to marry fairly soon," said Olivier.

Now that they were officially divorced, they could, at last, become Mr. and Mrs. Olivier. Vivien and Larry decided to keep their upcoming marriage, and all of its details, a secret. The only people who knew in advance were Ronald Colman and his wife, Benita Hume. Benita even went to her jeweller and purchased Vivien's wedding ring, as a ring for herself, so as to not arouse suspicion for the happy couple. Garson Kanin was then drafted as best man and Katharine Hepburn as maid of honor.

On Thursday night, August 29, Vivien, Larry, Garson Kanin and Katharine Hepburn drove to Santa Barbara. The ceremony was held at the San Ysidro resort ranch belonging to Ronald Colman and/or Mr. and Mrs. Al Weingand (I've never looked into the ownership of the ranch, so depending on which newspaper article or biography you read, the owner somewhat varies).

As soon as Thursday became Friday, at 12:01 am on August 30, 1940, the couple were married by Judge Fred Harsh. They exchanged wedding vows outside, in the garden, facing east toward England.

"Larry and I sat talking about whether or not we really should get married and then we arrived and stood outside in the open air facing England and it was one minute past midnight and we were married. The service was cut so short by the judge that all we did was to say the 'I do's,'  I wanted to say 'I love, honour and obey' and I kept complaining that the judge was cutting my best lines but all he said was 'I now pronounce you man and wife. Bingo!’" -Vivien Leigh

Apparently, Olivier had told Judge Harsh that they wanted a very short ceremony. "Okay. I'll give you the shortest ceremony you ever saw," the Judge reportedly replied.

According to Katharine Hepburn's biographer, Christopher Andersen (An Affair to Remember), the ceremony itself lasted for only three minutes. "The justice of the peace, by now thoroughly sloshed, kept calling Vivien 'Lay' and the groom 'Oliver.'" 

Strangely enough, though they'd been part of the wedding planning, the Colmans didn't attend the nuptials. Instead, they went out on their yacht and waited for the newly married Oliviers to join them. The happy couple didn't arrive until after 3:00 am and then celebrated with a small white cake and champagne. Vivien and Larry spent their honeymoon on the Colmans' yacht before returning to Hollywood.

One reason, that Vivien and Larry snuck away from Hollywood for their wedding, was to avoid the hoopla they thought the press would bring to the ceremony. However, they did such a great job of hiding their elopement, they began to fear that no one would discover their secret.

In 1960, Ronald Colman recalled the events of that weekend. He reported that the newlyweds were slightly anxious that their nuptials had yet to be reported on the radio.

“By 9 o’clock (in the evening on August 31st) we might have been described as definitely fidgety. After all, there’s not much point in having a secret the other fellow doesn’t want to know.

‘We certainly pulled it off, didn’t we?’ I said.

‘We certainly did,’ said Larry gloomily, downing some apple pie.

“At 10 o’clock, thank goodness, the story broke and thinly disguised relief was plain on every face.

‘Too bad,’ said Larry heartily.

‘Too good to last,’ sighed Vivien, with an incandescent smile.

‘Well, that’s the way it goes,’ remarked Benita wittily. After that, we had a very happy ending.”

The Oliviers had nothing to worry about as word of their nuptials had been reported earlier in the day in the newspapers. By the time the couple returned to Hollywood, they had made headlines around the world and were greeted with a press conference, from which these pictures originate. The caption on the above picture reads: Laurence Olivier and Vivien Leigh having won freedom from former mates say it with smiles as Mr. and Mrs. O. Honeymoon is now over.

Read about Vivien's wedding to Leigh Holman here.
Read about Olivier's wedding to Jill Esmond here.

Next Sunday's vintage bride will be Vivien's daughter, Suzanne Holman Farrington.


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The Vintage Bride: Vivien Leigh, Part One

Vivian Mary Hartley first met Herbert Leigh Holman, a barrister, in the winter of 1932. It was February and she had just announced to her parents her intention of becoming an actress. Leigh Holman was 31 and Vivien was 18.

Vivien's first glimpse of her future husband happened when she and friends went to Holcombe (a town in England) to observe the Dartmouth Draghounds. Holman rode through town, cutting a romantic figure on horseback and saluting one of Vivien's friends as he passed them. He had "pale, serious eyes and blond wavy hair" and bore a strong resemblance to the film star and stage actor, Leslie Howard.

The pair were formally introduced at the South Devon Hunt Ball held on Torquay Pier. For this event, Vivien chose to wear a sea-green ball gown that matched her eyes. Five months later, Holman proposed to Vivien and she accepted. Her engagement ring was a small diamond ring.

The couple exchanged vows in a Roman Catholic ceremony held on Tuesday, December 20th, 1932 at St. James Church, Spanish Place, in London. Ernest Hartley, Vivien's father, walked her down the aisle.

Vivien wore a long-sleeved, white satin gown and carried a bouquet of roses mixed with baby's breath and fern leaves. Her hair was styled in the latest fashion, covered by a crocheted Juliet cap with a floor-length veil attached. Vivien's wedding band was "an eternal ring of diamonds."

Two of Vivien's wedding attendants with matching ringlets and ruffles

The bridesmaids' dresses, like the bride's dress, were made from satin, but were peach in color with puffy sleeves. The bridesmaids carried bouquets of chrysanthemums.

After the reception, held at a London hotel, Vivien changed from her wedding dress into "a blue suit trimmed with silver fox fur." The couple then embarked on a three week honeymoon, traveling through Austria and Germany, before returning to London and settling into life as Mr. and Mrs. Holman.

The Happy Couple

Their union produced one daughter, Suzanne, born in 1933. Vivien left Holman in 1937, moving into a new home with the also married Laurence Olivier. The couple would later divorce in 1940, leaving Vivien free to marry Olivier. Leigh Holman never remarried.

Items in quotation marks are from Anne Edwards' book, Vivien Leigh: A Biography

Gone With The Wind, Indeed!

Photoplay, March 1937
by Kirtley Baskette

Call out the riot squad! A new Civil War is raging! Who will play the principals in the world's best seller?

Time was when you could call a man a rat in Hollywood and get yourself a stiff poke in the nose. But now what you get is— "Rhett? Rhett Butler? Well— I don't know about that 'profile like an old coin' stuff, but I've been told I am rather masterful, and— "

Yes, and there was a day when you could call a woman scarlet in this town and find yourself looking into the business end of a male relative's shotgun. But now it's—"Scarlett? Scarlett O'Hara? Oh, do you really think so? Well, I wish you'd say that around Mr. Selznick. Of course, my eyes aren't exactly green, but unless they use Technicolor—”

Ever since that very small but very un-Reconstructed Rebel, Mistress Peggy Mitchell, of the Atlanta Mitchells, wrote a book called "Gone With the Wind," which went like a seventy mile gale over the country and whipped up a grade-A tornado, a civil war, the like of which Jeff Davis never dreamed, has been raging uncontrolled way out in Hollywood.

Houses are divided, brother against brother, husband against wife, butler versus pantry maid.

"Why, Judge," a woman told the court the other day, "this bum says the only man to play Rhett Butler is Warren William. How can I go on living with a cretin like that?"

"Yeah," countered the defendant, "and, Your Honor, she embarrassed me before my friends plugging for Ronald Colman. Ronald Colman—imagine! My business dropped off."

"Divorce granted," murmured the court, "although personally I've always thought Gary Cooper would be a natural for the part."

What is considerably worse, actors and actresses who have never been South of the Slot in San Francisco or below Twenty-third Street in Manhattan, whose closest tie to Dixie in fact, is a faint resemblance to Virginia ham, wander around calling people "Honey" in a languid, molasses manner. Mugs who always thought Pickett's charge was a labor demonstration, now demand real mint in their grog. Even the high yellows down on Central Avenue are brushing up on their southern accents.

It's really pretty awful. Of course if you haven't read the astounding book that has leaped clear out of the ordinary fiction league to become the marvel of modern American literature, all this may leave you as dizzy as a six-day bicycle rider. In that case, all I can say is that if you're around number sixty-seven on the waiting list and sound of wind and limb there is still hope.

But if you have, you'll understand why nerves are snapping from Burbank to Brentwood as the two juiciest parts in the history of Hollywood dangle like ripe luscious cherries just above tiptoe reach. For "Gone With the Wind" is all set to be made into the greatest moving picture of all time (they admit it). Only there isn't any Scarlett O'Hara. There isn't any Rhett Butler. The suspense is terrific.

Furthermore, the curious effect of this book, which now hovers around the million sales mark, is that the minute a gentle reader closes the back cover with the wistful hope that Scarlett will get another crack at Rhett someday, a crusading, militant, in fact belligerent one-man casting department is born. Yes Ma'am, and with a lusty squall.

So look what happens. Sixty thousand letters, wires, communications of all sorts, sent direct or forwarded by critics, columnists and radio commentators have poured in and keep pouring in to sweep the excitement higher and higher. The result is the biggest screen sweepstakes of modern movie history. The prize: fame, fortune and the greatest eager, ready-made audience any star ever dreamed about.

Who will win? Well— here are the favorites, complete with clockings, handicaps, and pole positions.

You pays your money and you takes your choice:

Ladies first, which means Rhett Butler—

Clark Gable is the odds on favorite. He probably will play the part. If he doesn't there may be a Revolution. The nation-wide choice, by a wide margin, he runs neck-and neck with Warner Baxter in the South, which, incidentally, will have plenty to say about the casting of this picture. Gable is also the big Hollywood favorite, although if you can't see him you can't see him at all. It's that way. Letters have poured in threatening boycotts and reprisals (honest) if he's cast as Rhett. The same if he isn't.

Clark is the right age, the perfect build, the effective sex quotient. On a very touchy point— whether or not he can put on a southern accent and wear it becomingly— he is doubtful. He would give a year of his life to play Rhett— why not? It would be the biggest monkey gland his career could conceivably manage.

But— Gable is among the most jealously hoarded of M-G-M stars. And Selznick International, not
M-G-M, copped this prize story of the century. M-G-M turned it down! Selznick International means John Hay Whitney and David Oliver Selznick. But again— David Oliver Selznick is married to Louis B. Mayer's daughter. Would Gable be available? What do you think?

Fredric March is the only actor so far officially tested for Rhett. Was the early choice, but seems to have faded in the back stretch. Would be available, eager and willing to play Rhett on a moment's notice. Runs about third in the terrific straw balloting which increases every day. Is regarded by millions as a great actor— many others do not agree. Played the other great sensational best seller title part, "Anthony Adverse." Consensus of opinion is that Fredric would be an adequate Rhett but that's all. Lacks the sinister sex considered absolutely essential to a great performance.

Warner Baxter has surprising support from Atlanta and the deep South. Is the best "sympathy" actor in the race. His recent sock hit in "To Mary—With Love" is considered an apt build-up. Warner has the strong support of all who picture Rhett Butler as a man who suffered and suffered. Is keeping his fingers crossed day and night because if he landed it would be "In Old Arizona" all over again for him. His contract, of course, is with Twentieth Century-Fox, which makes him eligible. Darryl Zanuck, who is a borrower of stars in the talent market, wouldn't dare bite the hand that feeds him and keep him locked up in the closet. Warner, too, is about the right age, a little on the oldish side. His weakness, too, is no powerful sex appeal.

Ronald Colman popped into the running through an erroneous press dispatch. But once in has remained a strong contender. Chief advantage is his spot as long term contract star with Selznick International, his decided romantic charm, suavity, age and sympathetic personality. Chief disadvantage his ever-lovin' britishness, hard for the folks down South to swallow when the story is almost a sectional issue.

Those are the favorites. But Cary Grant, Basil Rathbone, Edward Arnold haven't given up yet.

Now gents—it's your turn. For Scarlett O'Hara—

Tallulah Bankhead—shared the same bum steer announcement that brought Ronald Colman in. Was tested by Selznick twice, once in Hollywood while on the stage in "Reflected Glory." It was a simple color test but it gave the news-hawks ideas. Tested again in New York by Director George Cukor. Is a professional choice, being considered the best actress of all the candidates. Would satisfy Dixie, hailing originally from Alabama. Her pappy represents that state as Speaker of the House of Representatives in Washington. Talu could probably recapture a sugar-lipped drawl, all right, but the years and an aura of sophistication are against her. The part would be like long delayed manna from Heaven for her, bestowing the great screen break her rooters have long wailed has been denied a great artiste. Only a luke warm choice in the popular response. But vigorously opposed by an opinionated minority.

Miriam Hopkins is the red hot choice of Atlanta and the South. Leads other actresses by a nice margin in the letter deluge. One reason, she hails from Bainbridge, Georgia, right close to home. Is a good subject for color, if it is used, except that she'll have to wear a wig. Played Becky Sharp, the character generally compared with Scarlett O'Hara, but that might work against her.

BETTE DAVIS is the number one Hollywood selection. Just missed cinching the part by a matter of minutes. On her way to England, Bette was told by Warner's New York story board they were buying a great story for her, "Gone With the Wind." But by the time they wired Hollywood for an okay, the hammer had dropped. The day His Majesty's courts decided that Bette was a "naughty girl" and "must go back to jail" her low spirits were lifted by a columnist's clipping calling her the ideal Miss O'Hara. Answers to Scarlett now around the Warner lot. Bette is the only Yankee girl to score below that well-known line. Ranks third in the Cotton Belt. Is considered to be just the right age to handle the assignment and blessed with the right amount of— er— nastiness. No complaints from the home folks on her southern accent in "Cabin in the Cotton" or as Alabama Follansbee in "The Solid South" (stage).

But— Bette is in the doghouse, chained and collared, and one of the main issues of her legal whipping was her loan out demand. Warner’s can- probably would- keep her in the cooler. Selznick, in fact, is supposed to have said, "Bette Davis? Great— but could we get her?"

Margaret Sullavan holds second spot in returns from down yonder. Is a Virginia girl, and knows what to do when a lady meets a gentleman down South. Handled brilliantly the lead in "So Red the Rose," another Civil War picture. Fractious and fiery enough to make Scarlett a vivid character. Tagged next to Bette Davis in Hollywood.

And the Field— Katharine Hepburn, Claudette Colbert and Jean Harlow.

Now as if puzzling about all this were not enough to set a body weaving baskets in the clink, Messrs. Selznick and Company announce that they want, for Scarlett and Rhett, not Hollywood stars at all. No— instead they have arranged to canvass all the finishing schools of Dixie, and ogle Junior Leaguers at very lovely teas and discover an "unknown"Scarlett. A similar search, minus the tea, is hoped to dig up an indigenous Rhett.

Thus, they say, everything will not only be peaches and cream for professional Southerners, but what is much more important, two brand new stars will be born. Why take other studio's stars and build 'em? Isn't this going to be the greatest picture of all time?

Well— as to the first idea— it's great if it works, is the opinion of the Hollywood wise ones. But it won't work, they say. Whom are you going to find in the sticks to handle parts like those? Whom could you dare gamble on?

And that "greatest picture of all time" stuff? It smacks strongly, I grant you, of the old mahoskus. It's press agent oil of the most ready' viscosity and has flowed freely around every epic from "The Great Train Robbery" to Shirley Temple's latest cutrick. But this time the answer that snaps right back out of your own skeptic brain is, "Why not?"

These gentlemen— Whitney and Selznick —  have, and they know they have, the greatest screen story of our day. If you don't think so, here's the cold cash proof: The day after they laid $50,000 on the line for the picture rights, another studio offered them $100,000. The next offer was boosted to $250,000. The last bid, not long ago, was $1,500,000 and an interest in the picture besides! Tie that.

They said "No" and they are still saying the same. Mr. Whitney and Mr. Selznick are not ribbon clerks. They shot $2,200,00 on "The Garden of Allah." They will pinch no pennies on "Gone With the Wind." If color will help it (and it probably will) they'll shoot an extra million. Sidney Howard is writing the script. George Cukor will direct. Walter Plunkett is designing costumes. These men are all top flight.

So you can be reasonably sure of this— when you finally you see "Gone With the Wind" you'll see a picture dressed in the best trappings of modern production, primed with meticulous preparation, artistic thoroughness and as many millions as it can comfortably stand.

But as for who will be Scarlett and who will be Rhett— well, the riot squads are doing a nice business, thank you. And good citizens of Hollywood scowl across Cahuenga Pass at North Hollywood muttering "Dam' Yanks!" While out in Beverly Hills the South Side of the Tracks is threatening to secede if somebody will only fire on the Brown Derby.

It looks as if we'll fight it out on this line if it takes all summer. Everybody's welcome, and usually it doesn't require a second invitation. Just casually mention the subject. You'll see. Matter of fact, the only person I can think of off-hand who doesn't seem to be at all upset about the matter is the lady who wrote the book.

Early in the fray, Margaret Mitchell allowed it would be nice if a Southern girl could play Scarlett. But the reaction was so violent that it must have surprised her. At any rate she announced the other day it was her one desire to remain only as the humble author, and to a close friend she confided:

"I don't care what they do to 'Gone With the Wind' in Hollywood. Just so they don't make General Lee win the war for a happy ending!"