Olivia de Havilland

Birthday: 1 July 1916, Tokyo, Japan

Birth Name: Olivia Mary de Havilland

Height: 163 cm

Olivia Mary de Havilland was born July 1, 1916, in Tokyo, Japan, to British parents Lilian Augusta (Ruse), a former actress, and Walter Augustus de Havilland, an English professor and patent attorney. Her sister, Joan, later to become famous as Joan Fontaine, was born the following year. Her surname comes from her paternal grandfather, whose family was from Guernsey in the Channel Islands. Her parents divorced when Olivia was just three years old, and she moved with her mother and sister to Saratoga, California. After graduating from high school, where she fell prey to the acting bug, Olivia enrolled in Mills College in Oakland. It was while she was at Mills that she participated in the school play "A Midsummer Night's Dream" and was spotted by Max Reinhardt. She so impressed Reinhardt that he picked her up for both his stage version and, later, the Warner Bros. film version in 1935. She again was so impressive that Warner executives signed her to a seven-year contract. No sooner had the ink dried on the contract than Olivia appeared in three more films: The Irish in Us (1935), Alibi Ike (1935) and Captain Blood (1935), the latter with the man with whom her career would be most closely identified, heartthrob Errol Flynn. He and Olivia starred together in eight films during their careers. In 1939 Warner Bros. loaned her to David O. Selznick for the classic Gone with the Wind (1939). Playing the sweet Melanie Hamilton, Olivia received her first nomination for an Academy Award for Best Supporting Actress, only to lose out to one of her co-stars in the film, Hattie McDaniel. After GWTW, Olivia returned to Warner Bros. and continued to churn out films. In 1941 she played Emmy Brown in Hold Back the Dawn (1941), which resulted in her second Oscar nomination, this time for Best Actress. Again she lost, this time to her sister Joan for her role in Suspicion (1941). After that strong showing, Olivia now demanded better, more substantial roles than the "sweet young thing" slot into which Warners had been fitting her. The studio responded by placing her on a six-month suspension, all of the studios at the time operating under the policy that players were nothing more than property to do with as they saw fit. As if that weren't bad enough, when her contract with Warners was up, she was told that she would have to make up the time lost because of the suspension. Irate, she sued the studio, and for the length of the court battle she didn't appear in a single film. The result, however, was worth it. In a landmark decision, the court said not only that Olivia did not have to make up the time, but that all performers were to be limited to a seven-year contract that would include any suspensions handed down. This became known as the "de Havilland decision"; no longer could studios treat their performers as mere cattle. Returning to screen in 1946, Olivia made up for lost time by appearing in four films, one of which finally won her the Oscar that had so long eluded her. It was To Each His Own (1946), in which she played Josephine Norris to the delight of critics and audiences alike. Olivia was the strongest performer in Hollywood for the balance of the 1940s. In 1948 she turned in another strong showing in The Snake Pit (1948) as Virginia Cunningham, a woman suffering a mental breakdown. The end result was another Oscar nomination for Best Actress, but she lost to Jane Wyman in Johnny Belinda (1948). As in the two previous years, she made only one film in 1949, but she again won a nomination and the Academy Award for Best Actress for The Heiress (1949). After a three-year hiatus, Olivia returned to star in My Cousin Rachel (1952). From that point on, she made few appearances on the screen but was seen on Broadway and in some television shows. Her last screen appearance was in The Fifth Musketeer (1979), and her last career appearance was in the TV movie The Woman He Loved (1988). During the hoopla surrounding the 50th anniversary of GWTW in 1989, she graciously declined requests for all interviews as the only surviving one of the four main stars. Today she enjoys a quiet retirement in Paris, France. Hide

[in 2003] I know this is not a popular thing to say at the moment, but I love living among the Frenc Show more [in 2003] I know this is not a popular thing to say at the moment, but I love living among the French. They are very independent, intelligent, well educated and creative. They are a people full of feeling, which they express. They're a vivacious people. Well, they're Celts, you see. Hide

[on Bette Davis] The great lesson I learned from Bette was her absolute dedication to getting everyt Show more [on Bette Davis] The great lesson I learned from Bette was her absolute dedication to getting everything just right. She used to spend hours studying the character she was going to play, then hours in make-up ensuring that her physical appearance was right for the part. I have always tried to put the same amount of work into everything I've done. Hide

Playing good girls in the '30s was difficult, when the fad was to play bad girls. Actually I think p Show more Playing good girls in the '30s was difficult, when the fad was to play bad girls. Actually I think playing bad girls is a bore; I have always had more luck with good girl roles because they require more from an actress. Hide

I loved France, although I initially thought they were stubborn for always speaking French. When I w Show more I loved France, although I initially thought they were stubborn for always speaking French. When I went to Paris, Hollywood was collapsing because of television. A whole civilization was dying, and you cannot imagine how depressed we all were. That was the real Gone with the Wind (1939) saga. We didn't know what the new world was going to be, but we were sure it wasn't going to be as good. We were right. Hide

[1999, on Queen Elizabeth the Queen Mother] I want to follow her example and live many years longer. Show more [1999, on Queen Elizabeth the Queen Mother] I want to follow her example and live many years longer. I consider every birthday a victory. Hide

[on Errol Flynn] I had a very big crush on Errol Flynn during [Captain Blood (1935)]. I thought he w Show more [on Errol Flynn] I had a very big crush on Errol Flynn during [Captain Blood (1935)]. I thought he was absolutely smashing for three solid years, but he never guessed. Then he had one on me but nothing came of it. I'm not going to regret that; it could have ruined my life. Hide

Famous people feel that they must perpetually be on the crest of the wave, not realizing that it is Show more Famous people feel that they must perpetually be on the crest of the wave, not realizing that it is against all the rules of life. You can't be on top all the time; it isn't natural. Hide

[on Bette Davis] I always thought it would be fun if we could work together. Then I was offered the Show more [on Bette Davis] I always thought it would be fun if we could work together. Then I was offered the chance to work with her on the film that became Hush...Hush, Sweet Charlotte (1964) when Joan Crawford withdrew. I knew Bette wanted badly to work, and Jane [What Ever Happened to Baby Jane? (1962)] had been such a success that Bette was quite anxious. They had to find the replacement, and Bette wanted me. Hide

[1977, on filming Gone with the Wind (1939)] Vivien Leigh and I were very upset when they fired Geor Show more [1977, on filming Gone with the Wind (1939)] Vivien Leigh and I were very upset when they fired George Cukor as the director. He was a gentleman and he knew how to direct women. His replacement was Victor Fleming, who was a hunting buddy of Clark Gable's. Clark didn't like George Cukor...You know, Vivien was a bitch. All you heard is true. But understandably. She had to be. She had to fight back. They were killing her. She was in every scene of a movie that was heralded as amazing even as it was being filmed. They used her terribly. She worked endlessly. She and I stuck together. We were the women against all the men, but we seldom won. The hours and the working conditions were terrible, but what a joy. Looking back, it was the supreme joy. Hide

[in 2004] There certainly is such a thing as screen chemistry, although I don't believe you find it Show more [in 2004] There certainly is such a thing as screen chemistry, although I don't believe you find it frequently. There was a definite on-screen chemistry between Errol [Errol Flynn] and me. Before us, the most potent example was Janet Gaynor and Charles Farrell in the '20s and '30s. People should not be surprised by screen chemistry because, after all, life is chemistry. Hide

[speaking in 1997] I have taken a long vacation, but I wouldn't object to a fascinating part in a fi Show more [speaking in 1997] I have taken a long vacation, but I wouldn't object to a fascinating part in a first-rate project, something I felt I could do well or would understand and interpret in an effective way. Then I would say, "Yes". The offers still come, but not what I'm looking for. Hide

[on Hush...Hush, Sweet Charlotte (1964)]: It was full of traps; it was a delicate tightrope assignme Show more [on Hush...Hush, Sweet Charlotte (1964)]: It was full of traps; it was a delicate tightrope assignment. I found that very interesting. Robert Aldrich gave it a very special style, a kind of dark, glittering style which fascinated me. Hide

[1999, on her role in Gone with the Wind (1939)] It's ironic, isn't it? Melanie dies . . . and I did Show more [1999, on her role in Gone with the Wind (1939)] It's ironic, isn't it? Melanie dies . . . and I didn't die. I haven't, and I don't intend to. Hide

We were like a stock company at Warners. We didn't know any of the stars from the other studios. We were like a stock company at Warners. We didn't know any of the stars from the other studios.

I felt Gone with the Wind (1939) would last five years, and it's lasted over 70, and into a new mill Show more I felt Gone with the Wind (1939) would last five years, and it's lasted over 70, and into a new millennium. There is a special place in my heart for that film and Melanie. She was a remarkable character--a loving person, and because of that she was a happy person. And Scarlett, of course, was not. Hide

[her favorite word] I am attracted by almost any French word--written or spoken. Before I knew its m Show more [her favorite word] I am attracted by almost any French word--written or spoken. Before I knew its meaning, I thought "saucisson" so exquisite that it seemed the perfect name to give a child--until I learned it meant "sausage"! Hide

[on the continuing appeal of Gone with the Wind (1939)] It will go on forever, and how thrilling tha Show more [on the continuing appeal of Gone with the Wind (1939)] It will go on forever, and how thrilling that is. It has this universal life, this continuing life. Every nation has experienced war--and defeat and renaissance. So all people can identify with the characters. Not only that, it's terribly well constructed. Something happens every three minutes, and it keeps you on your toes and the edge of your seat, which is quite a feat, I must say. Hide

[dedication to Mickey Rooney upon his death, 2014] Mickey, Mickey, Mickey. They say you have died bu Show more [dedication to Mickey Rooney upon his death, 2014] Mickey, Mickey, Mickey. They say you have died but I find this so hard to believe, for you are so live in my memory. There you are in the big room of the Chamber of Commerce Building on Sunset Boulevard in the summer of 1934, a little boy passing easily as a nine-ear-old when you are really 13. You hand me your work copy of 'A Midsummer Night's Dream', climb onto the banquette beside me, place your head upon my lap and ask me to awaken you nine lines before your cue . . . What a memory you have left with me to keep. Hide

[on Michael Curtiz] He was a tyrant, he was abusive, he was cruel. Oh, he was just a villain but I g Show more [on Michael Curtiz] He was a tyrant, he was abusive, he was cruel. Oh, he was just a villain but I guess he was pretty good. We didn't believe it then, but he clearly was. He knew what he was doing. He knew how to tell a story very clearly and he knew how to keep things going. Hide

The TV business is soul-crushing, talent-destroying and human being-destroying. These men in their b Show more The TV business is soul-crushing, talent-destroying and human being-destroying. These men in their black towers don't know what they are doing. It's slave labor. There is no elegance left in anybody. They have no taste. Movies are being financed by conglomerates, which take a write-off if they don't work. The only people who fight for what the public deserves are artists. Hide

[on Hollywood's reaction to her landmark court victory against Warner Bros.] I was told I would neve Show more [on Hollywood's reaction to her landmark court victory against Warner Bros.] I was told I would never work again, if I lost or won. When I won, they were impressed and didn't bear a grudge. Hide

To write is divine. Forget all the rest. To write is divine. Forget all the rest.

[after winning her second Oscar in 1950] When I won the first award in 1947, I was terribly thrilled Show more [after winning her second Oscar in 1950] When I won the first award in 1947, I was terribly thrilled. But this time I felt solemn, very serious and . . . shocked. Yes, shocked! It's a great responsibility to win the award twice. Hide

The one thing that you simply have to remember all the time that you are there is that Hollywood is Show more The one thing that you simply have to remember all the time that you are there is that Hollywood is an Oriental city. As long as you do that, you might survive. If you try to equate it with anything else, you'll perish. Hide

[on Hush...Hush, Sweet Charlotte (1964)] [Bette Davis] wanted it so much, so I did it. I can't say I Show more [on Hush...Hush, Sweet Charlotte (1964)] [Bette Davis] wanted it so much, so I did it. I can't say I regretted it, because working with her was special, but I can't say it was a picture I am proud to put on my resume. Given the choice, I wouldn't have deprived Joan Crawford of the honor! Hide

[1977, after living in Paris for 24 years] When I lived here [Hollywood] we were so impassioned with Show more [1977, after living in Paris for 24 years] When I lived here [Hollywood] we were so impassioned with the movie business, and that's all we would talk about, and we would talk about finding a different world. I decided it wasn't enough to complain and feel restless. Now I have several sets of friends, and when I am in Paris, we never discuss movies; I don't have to think about work. I can think about other things. It's very rewarding to divide your life that way; it's gorgeous. Hide

The overwhelming majority of people who make up the liberal and progressive groups of this country b Show more The overwhelming majority of people who make up the liberal and progressive groups of this country believe in democracy, and NOT in communism. We believe that the two cannot be reconciled here in the United States, and we believe that every effort should be exerted to make democracy work, and to extend its benefits to every person in every community throughout the land. Hide

[2015, anticipating her hundredth birthday] Oh, I can't wait for it. I'm certainly relishing the ide Show more [2015, anticipating her hundredth birthday] Oh, I can't wait for it. I'm certainly relishing the idea of living a century. Can you imagine that? What an achievement. Hide

[in 2006, asked if she missed acting] Not at all. Life is too full of events of great importance. Th Show more [in 2006, asked if she missed acting] Not at all. Life is too full of events of great importance. That is more absorbing and enriching than a fantasy life. I don't need a fantasy life as once I did. That is the life of the imagination that I had a great need for. Films were the perfect means for satisfying that need. Hide

[in June 2006] I'll be 90 on July 1. I can't wait to be 90! Another victory! [in June 2006] I'll be 90 on July 1. I can't wait to be 90! Another victory!

[on Clark Gable] Clark Gable was highly professional. He was a bigger star than we can create today. Show more [on Clark Gable] Clark Gable was highly professional. He was a bigger star than we can create today. I was just a mini-star when we did Gone with the Wind (1939). I was afraid to talk to him. People can't understand it now, but we were in awe. Clark Gable didn't open supermarkets. Hide

[on Hush...Hush, Sweet Charlotte (1964)] The problem was I wasn't as anxious to work as she was. I d Show more [on Hush...Hush, Sweet Charlotte (1964)] The problem was I wasn't as anxious to work as she was. I didn't need to. I wasn't thrilled with the script, and I definitely didn't like my part. I was reverse-typecast, being asked to be an unsympathetic villain. It wasn't what people expected of me. It wasn't really what I wanted to do. Hide

[in 1977] I think the lack of women's roles is due to the fact that everyone, men and women, have so Show more [in 1977] I think the lack of women's roles is due to the fact that everyone, men and women, have some idea of creating a 'new' kind of 'modern' woman. They aren't interested in the fantasy of women anymore. Personally, I think women ruled from the first, and that we were better off not to let the men know about it. Movies should return to mystiques. Hide

[1979, on the autobiography of Joan Fontaine] My book will have nothing to do with my sister's. I ha Show more [1979, on the autobiography of Joan Fontaine] My book will have nothing to do with my sister's. I have not read it, but I think I have become a monomania with her. It is painful to think that her own life is incomplete to such a degree that it's still so keyed to me. Hide

[Clark Gable] was supposed to cry in the scene after the death of his daughter. It worried him for d Show more [Clark Gable] was supposed to cry in the scene after the death of his daughter. It worried him for days before he was to do the scene. He never cried on the screen before, and it became an obsession with him. He didn't think it was masculine for a man to cry. One day he confided in me, "Olivia, I can't do it. I'm just going to have to quit." I talked with him and convinced him that the tears denoted strength of character, not weakness. It turned out to be one of the most memorable scenes in the movie. Clark always underrated himself as an actor. I think his Rhett Butler will live forever as one of the screen's classic performances. Hide

Olivia de Havilland's FILMOGRAPHY

as Actor (46)

Captain Blood

The Screaming Woman

The Strawberry Blonde

The World at War - Season 1

The Love Boat - Season 6

Roots: The Next Generations - Season 1

Libel

In This Our Life

Anastasia: The Mystery of Anna - Season 1

Gone With The Wind

The Love Boat - Season 3

A Midsummer Nights Dream

The Love Boat - Season 9

The Movies - Season 1

Airport 77

To Each His Own

Dodge City

The Love Boat - Season 8

The Adventures Of Robin Hood

North and South, Book 2 - Season 1

Fours a Crowd

The Love Boat - Season 4

The Love Boat - Season 1

The Love Boat - Season 5

Its Love Im After

The Heiress

Olivia de Havilland'S roles

Aunt Hilly

Melanie Hamilton

Maid Marian

Catherine Sloper

Miriam

Emily Livingston

Terry Collins