Shearer does not seem to be associated with sex

Norma Shearer was one of the first serious contenders for the role of Scarlett O'Hara in David O. Selznick's Gone with the Wind (1939). On 21 March 1937, Walter Winchell, a famed newspaper gossip columnist and radio commentator, reported that Selznick desperately wanted her to play Scarlett. The announcement evoked a public response which was overwhelmingly negative. People felt that Norma, at the time a major MGM star, was not at all right for the part; while some could see her play Melanie, Scarlett she was not.

Above: Norma Shearer as the poet Elizabeth Barrett Browning in a publicity still for The Barretts of Wimpole Street (1934). Below: Norma playing a loose woman in A Free Soul (1931), the first of three films she made with Clark Gable.

Two days prior to Winchell's announcement, Kay Brown (Selznick's representative and talent scout) had sent a memo to her boss, sharing the opinions on Norma Shearer of several people, including GWTW's author Margaret ('Peggy') Mitchell. Like the general public, none of them was enthusiastic about Norma playing Scarlett, feeling she was "not the type". Brown believed that the actress was being associated too much with her "good girl" roles in The Barretts of Wimpole Street (1934) and Romeo and Juliet (1936), despite having also played less virtuous characters in films like A Free Soul (1931) and Riptide (1934).

Source: Martin Turnbull

Transcript:

TO  Mr. David O. Selznick

FROM  Miss Katharine Brown

DATE  March 19, 1937

SUBJECT  NORMA SHEARER

Dear David:

I am sorry to make this kind of report on Miss Shearer, as I was so terribly in favor of the idea when it was first discussed.

I selected three people, as we decided on the telephone, one of whom is the editor of RedBook, Edwin Balmer; Lois Cole of Macmillan, and a rank outsider to the picture business.

The suggestion in each case proved a shock and the response was "but, she's not the type." Then, as I advanced arguments about the fact that she is a great actress and could play Scarlett, they warmed up to the idea.

Mr. Balmer thought her selection would be analyzed as a compromise. They didn't feel that she could hurt the picture, but nobody reacted enthusiastically. This was all a great disappointment to me.

Peggy Mitchell was scared to death to say anything at first, but I reassured her that her conversation would be only for your ears. She, too, was very lukewarm; not against her but, like the others, not enthusiastically excited about the idea. 

Shearer seems to be tied up with pictures like JULIET and ELIZABETH BARRETT. People forget her first great success in THE FREE SOUL and RIPTIDE. Shearer does not seem to be associated with sex. Both Balmer and Mitchell said you couldn't imagine Shearer killing in cold blood and bargaining her body.

Everybody says get someone with no name so Scarlett can be Scarlett and it won't be Miriam Hopkins making believe she is Scarlett, just as if we weren't all half crazy trying to do this!

(signed) Kay

On 30 March 1937, following Winchell's announcement and the public outcry it had caused, both Selznick and Norma issued statements in which they denied Norma being a candidate for Scarlett. Selznick said: "Miss Norma Shearer and we of Selznick International have jointly come to a conclusion against further consideration of the idea of Miss Shearer playing the role of Scarlett O'Hara in "Gone with the Wind". Miss Shearer has made other arrangement, and we are continuing the search begun several months ago, and never interrupted, for an unknown, or comparatively unknown, actress for the part ..." And Norma said: "... I have other plans, which I cannot divulge at this time, which preclude my giving the idea any further consideration. I shall be watching with great interest to see who Mr. Selznick selects and whether she will be a well known star or a newcomer. I know she will be wonderful, and I will be wishing her luck."

Dallas Morning News, 24 June 1938

Despite these statements, Norma's GWTW adventure did not end here. About a year later, the actress would again be a contender for the role of Scarlett. In fact, on 24 June 1938, several newspapers announced that she had already been cast, including The New York Times and The Dallas Morning News. And again, like Walter Winchell's announcement had done a year earlier, this announcement also evoked a great many negative reactions from people who felt Norma was unsuited for the role. On top of that, people were shocked by the fact that she had asked Selznick to change the script in order to make Scarlett more sympathetic. (In a previous post, I reproduced four of the many letters that Selznick received regarding Norma's casting as Scarlett; you can read them here.) Ultimately, due to public pressure, Norma withdrew from the picture and gave up the role for good. 

In November 1938, several months after giving up Scarlett, Norma wrote the following letter to Marjory Pollock, one of her fans who had been in favour of her playing Scarlett. Norma reflects on her decision not to play the part and in particular talks about the traits of Margaret Mitchell's heroine that had bothered her. 

Source: Bonhams

Transcript:

November 10, 1938.

Dear Marjory Pollock:

Reading some of the thousands of letters that came in after the announcement that I would play Scarlett O'Hara, I find your gracious note. I am so happy to know that you wanted me to play the role, even tho I have decided against it. Your confidence in me is most inspiring.

When the studio asked me if I would accept the role, I gave it careful consideration; but I was troubled by traits - such as her disrespect for the death of her husband, her neglect of her child, her marriage to a man for whom she even had no respect, her indifference to the revelation of Rhett Butler's love at the end of the story - which I knew would be unpleasant to portray on the screen. I think any woman - no matter how hard she has been - must be redeemed by such a great love as Rhett's.

It has always been my desire to vary my roles, as you know, but I felt I had been associated with such idealistic characters in the past few years that to play Scarlett whole-heartedly might be offensive and leave an unpleasant impression on the minds of the public.

I was so glad to read that your father recovered so completely from his illness, and the nice things he said about me were most pleasant to listen to.

My sincere appreciation, and good wishes to you both,

(signed) Norma Shearer

Miss Marjory Pollock,
Fine Arts School,
South Bend, Indiana.

Norma Shearer and Clark Gable at a Hollywood event in 1938; they played in three films together (i.e. A Free Soul (1931), Strange Interlude (1932) and Idiot's Delight (1939)) but their fourth was not to be. Instead of Shearer, Vivien Leigh would star in GWTW in her only pairing with Gable.

Fun with all the hard work

Coming to the end of 2022, here is a selection of random letters, written by a few of my fave actors and a fave director.

First up is a letter from Barbara Stanwyck to Miss Cunningham (a fan) about the making of Banjo on My Knee (1936). Barbara writes how she and her colleagues had enjoyed making the film. Banjo on My Knee is the first film in which Barbara sings on screen. While she wanted to be dubbed —"I have a deep husky voice without a high note in it", Barbara had warned beforehand— producer Darryl Zanuck insisted that she would do her own singing. (There's a lovely duet by Barbara and Tony Martin, to be watched here). Apart from Banjo, Barbara also sings in This is My Affair (1937) and Lady of Burlesque (1943) but her voice was dubbed in Ball of Fire (1941).

Via: Ebay

Transcript:

Jan 10/37

Dear Miss Cunningham —

Thanks for your nice letter. I'm glad you liked "Banjo" - we all liked making it - we just had fun with all the hard work.

The filming took thirty-one days, that's about average time with the exception of epics and they go on forever.

My hair is dark red - eyes blue- and there you have it.

I do appreciate your taking the time to write me and hope you will continue to like my work.

Thank you,

Barbara Stanwyck

Barbara Stanwyck in the door opening of her trailer during production of Banjo on My Knee.

_____

In October 1938, Norma Shearer wrote to her fans, Mr and Mrs Layton, about Marie Antoinette (her "most loved role"), while next touching on the subject of Cleopatra and her new film Idiot's Delight co-starring Clark Gable.

Via: vivelareine.tumblr.com

Above: Norma Shearer and Tyrone Power in a scene from Marie Antoinette (1938), directed by W. S. Van Dyke. Below: Norma with Clark Gable in Clarence Brown's Idiot's Delight (1939).

Next is another letter to a fan, this one is from Alfred Hitchcock to a Mr Parker, dated 21 April 1941. Hitch reacts to a suggestion from Mr Parker to have the audience solve the murder mystery. The film Before the Fact mentioned in the letter would be released under the name Suspicion (1941).

Source:  Worthpoint

On the set of Suspicion with the leads Cary Grant, Joan Fontaine and director Alfred Hitchcock.

_____

In March 1971, Doris Day wrote this lovely letter to friend and fellow actress Mary Wickes. The two women appeared together in four movies, i.e. On Moonlight Bay (1951), I'll See You in My Dreams (1951), By the Light of the Silvery Moon (1953) and It Happened to Jane (1959). Wickes also guest-starred on the first season of the tv series The Doris Day Show (1968).

Source: dorisday.net

A candid photo of Mary Wickes and Doris Day

Doris and Mary in By the Light of the Silvery Moon (1953)

_____

Cary Grant wrote the following note to fellow actor and friend Clifton Webb, signing it "Betsy and Cary". Betsy Drake, an actress and writer, was Grant's third wife and they were married from 1949 until 1962.

Source: Heritage Auctions

Transcript:

Monday- 29th 

Clifton —

It's so nice to know someone, in this seldom considerate, and usually selfish, world, who is kind courteous and undemanding. You have our affection, dear Clifton!

Betsy and Cary

Chrysanthemums are so impressive and colorful this time of the year that we thought we'd accompany this note with a few for your mother and you.

B and C.

Cary Grant and Betsy Drake in 1958

1935, Cary Grant and Clifton Webb and some friends/fellow actors, among them Claudette Colbert and Marlene Dietrich.

_____

The final letter for this post was written by Deborah Kerr to her friend Radie in May 1990. In it, Kerr talks about Greta Garbo and Garbo's last visit to Klosters (Switzerland), the Alpine village in which Kerr and her second husband, novelist/screenwriter Peter Viertel, had settled since they got married in 1960. Viertel's mother was Salka Viertel —an actress/screenwriter and a very close friend of Greta Garbo— who, in order to be near her family, had also moved to Klosters. Garbo was a regular visitor there and even after Salka's death in 1978 she kept visiting Klosters during the summer months, her last visit being in 1988. (Incidentally, the Viertels also had a house in Marbella (Spain) from where Kerr wrote her letter.)

Tea and Sympathy (1956) mentioned in Kerr's letter is a Vincente Minnelli film, in which Kerr co-starred with John Kerr. The film was based on the 1953 stage play of the same name, written by Robert Anderson. I assume Kerr is referring to Anderson when she talks about "Bob".

Source: Heritage Auctions

Deborah Kerr and Peter Viertel — the couple got married in 1960 and remained married until Kerr's death in 2007.

Deborah Kerr with co-star John Kerr from Tea and Sympathy and Robert Anderson (right) who wrote the original play.

HAPPY 2023, EVERYONE!!

Just so you won’t forget that I love you dear

By the mid-1920s, Norma Shearer was one of MGM's biggest stars and had every intention to remain one. For that purpose she regularly visited the office of Irving Thalberg (head of production at MGM), complaining about the routine films in which she was cast and pleading to be given better roles. Thalberg listened to Norma's complaints but said that MGM knew best and that the films they had chosen for her had ultimately made her a star.

Attracted from the start by Thalberg's charm and commanding presence, Norma soon became romantically interested in her boss. While Thalberg didn't feel the same way about Norma, the two started going out together from July 1925 onwards (their first public appearance together was at the premiere of Charlie Chaplin's The Gold Rush). At the time Thalberg was still involved with Constance Talmadge and Rosabelle Laemmle, yet on occasion asked Norma to be his date. "When Rosabelle or Constance are away, or someone stands him up, I'm always available. I'll break a date any time to be with him", Norma had said to Irene Selznick, referring to herself as "Irving's spare tire". Norma waited patiently, which eventually paid off. After dating on and off for two years, she and Irving were married on 29 September 1927 and had two children, Irving Jr. (b. 1930) and Katharine (b. 1935). The marriage lasted until 1936 when Thalberg suddenly died as a result of a congenital heart defect, aged 37.

In 2011, a group of more than 40 telegrams exchanged between Norma and Thalberg was auctioned at Bonhams, offering an intimate peek into the couple's relationship. A few of these telegrams are seen below. The messages clearly suggest that the two were in love, despite rumours that their marriage had been one of convenience. (A persistent rumour was that Norma had married her boss purely for the sake of her career.) The first telegram is from Thalberg to Norma and was sent in April 1927, five months before the couple got married. The other three messages —two of them shown only in transcript— are from 1929. 

Transcript:

SANTA MONICA CALIF APRIL 21 1927

MISS NORMA SHEARER

ARROWHEAD SPRINGS CALIF

JUST SO YOU WONT FORGET THAT I LOVE YOU DEAR

IRVING

_______

A telegram from Irving to Norma dated 16 March 1929: 

DEAREST CUTEST SWEETNESS DARLING ANGEL BUNNY HOPE YOU HAVE MISSED ME AS I HAVE MISSED YOU LOVE PAPA 

Another telegram from Irving to Norma dated 22 December 1929: 

HAVE FORD TRUCK FROM STUDIO MEET US PASADENA FIND OUT HOW LATE TRAIN IS SO LITTLE CUTIE DON'T WAIT LOVE=IRVING 

To this Norma responded with the following message (written on the back of the telegram):

Transcript:

Will be counting every minute sweetest little fella 

whats the truck for Eddie Loeb [MGM attorney]

I’ll find out how late the train is going to be honey 

+ I’ll sue the railroad for every minute 

Love from your lonesome baby little momma

Source: Bonhams

In order to marry Thalberg, Norma first converted to Judaism. The couple married at the Temple B'nai Brith in Beverly Hills. Above is their certifcate of marriage, dated 29 September 1927. Witnesses to the wedding were MGM boss Louis B. Mayer and studio attorney Edwin J. Loeb. (Source: Heritage Auctions)

Billing Issues on "The Women"

Norma Shearer's MGM contract stipulated that she would not share star billing with any other actress. When George Cukor's The Women went into production in the spring of 1939, Norma's co-star Joan Crawford, however, demanded to be billed above the title alongside Norma. (After being labelled box-office poison the year before, Joan had lobbied hard to be cast as the bitchy Crystal Allen and wouldn't settle for less than co-star billing.) It was MGM boss Louis B. Mayer who eventually asked Norma to chuck the clause in her contract and to give Joan what she wanted. Norma at first objected but under pressure gave in, signing the following amendment on 3 May 1939.

Source: Bonhams

Norma Shearer and Joan Crawford photographed in 1932

Rosalind Russell, whose role in The Women as the gossipy Sylvia Fowler was actually bigger than Joan's, wanted Norma to do the same thing for her but the "Queen of MGM" refused. Adamant to get above-the-title billing with her two co-stars, Rosalind thought of a plan and —encouraged by what Louis B. Mayer had said to her, "I hear you're going to steal this picture"— called in sick about a month into production. Rosalind's plan worked out when on the fourth day of her strike Norma yielded. On 13 June 1939, Norma signed another amendment:

I now agree that both Miss Joan Crawford and Miss Rosalind Russell may be given co-star credit with my name; provided, however, that in no event shall Miss Russell’s name appear in size of type larger than 50% of the size used to display my name.   

[source]

The three actresses credited on screen for The Women with Rosalind's name half the size of her co-stars.

Publicity still for The Women with Joan, Norma and Rosalind. A critical and commercial success, the film was Joan's comeback and turned Rosalind into a big star. For Norma it was one of her last films before she retired from acting in 1942.

Joan Crawford and Norma Shearer as resp. Crystal Allen and Mary Haines in the big confrontation scene from The Women. While the actresses were hardly friends, the feud between them was exaggerated for publicity purposes. To Hedda Hopper Joan reportedly said: "So many people say Norma and I dislike each other — who are we to disagree with the majority opinion?"

You have always been one of the most gracious people in the world

Norma Shearer's closest friend in Hollywood was fellow actress Merle Oberon. By the time Merle had her first substantial film role, Norma was already a big star. The two actresses were regularly seen together at social functions, around the mid-thirties often accompanied by their respective partners (Norma by husband Irving Thalberg and Merle by David Niven). Searching the web for more information about their friendship, unfortunately I found very little. There's only the occasional scrap of news— like when Merle's fiancé Count Giorgio Cini tragically died in a plane crash in Cannes (France) in 1949, the only person there to comfort Merle was Norma.

But of course I wouldn't be doing this post if I hadn't found a letter too. On 30 September 1970, Norma wrote to Merle after the two had just seen each other, seemingly for the first time in several years. Norma was thrilled to meet her friend again and afterwards composed an affectionate and graceful letter (seen below), which I'm sure Merle was happy to receive.

"One of the most valuable things in Merle’s life is her friendship with Norma Shearer. Her whole face lights up when she speaks of her." Film Weekly, 6 February 1937.

Source: liveauctioneers

Transcript:

Sept 30/70

My dear Merle —

It was such a joy to see you the other day and to meet your beautiful young son. The last time I saw him I think he was about four years old. Not only is he so handsome but he has such beautiful manners.

But why not, as you have always been one of the most gracious people in the world. Speaking of such things, may I thank you for your most kind and thoughtful letter when I was so sick which touched me deeply. 

Please know you will always be in our hearts - wishing you and Bruno health and happiness always.

Devotedly

 

Norma

Note:

At the time Merle Oberon was married to Italian-born industrialist Bruno Pagliai, whom she divorced in 1973. After Thalberg's untimely death in 1936, Norma married ski-instructor Martin Arrouge in 1942. They remained married until Norma's death in 1983.

Above: 1936, Merle Oberon and Norma Shearer attending The Mayfair Ball in Beverly Hills, California, with David Niven and Irving Thalberg. Below: December 1935, Merle and Norma at an event in Los Angeles with Miriam Hopkins and Dolores Del Rio. 

Above: 1938, Norma and Merle at a social event with their respective dates James Stewart and Douglas Fairbanks Jr. After the death of Irving Thalberg, Norma and Jimmy Stewart had a brief romance.

Above: Merle and Norma at a Hollywood luncheon in March 1942. Below: At Norma's Santa Monica Beach House in California in 1937.

Below: Norma doing cartwheels in her garden in 1936 with her friend Merle looking on.

Dear Miss Shearer

Canadian-born Norma Shearer arrived in New York in 1920 aged 17, hoping to become one of Florenz Ziegfeld's new 'Follies'. Ziegfeld, however, rejected her after which Shearer, determined to make it in America, sought and found work as an extra in several films. A year later, Shearer got a bigger break, landing a minor role in a B-film called The Stealers. Irving Thalberg, vice-president of Louis B. Mayer Pictures (later Metro-Goldwyn-Mayer), was impressed with Shearer's work and eventually signed her to a contract in November 1923. Shearer's first contract was a six-month contract with options for renewal, her first salary being $250 per week.

On 6 May 1924, Irving Thalberg wrote the following letter to Norma Shearer regarding the renewal of her contract. Thalberg informed Shearer that her contract would be extended for one year and her salary raised to $450 per week. By the end of 1925, Shearer had signed a new contract with MGM at $1,000 per week, to be increased to $5,000 over the next five years. Shearer would be at the height of her career in the 1930s when she was known as the 'Queen of MGM'. In 1937, she signed her last contract with MGM, which was a six-picture deal at $150,000 per film (the deal included Marie Antoinette (1938), The Women (1939) and Escape (1940)). 

Thalberg's letter was written 3 years before he and Shearer would be married. The couple remained married until Thalberg's untimely death in 1936. They had two children.

Via: Nitrateville

Transcript:

May

Sixth

1924.

Miss Norma Shearer

C/o Louis B. Mayer Studios, Inc.,

43800 Mission Road,

Los Angeles, California.

Dear Miss Shearer:

Referring to your contract of employment with us, dated November 14th., 1923, and particularly to paragraph Twenty-two (b) 22 (b) thereof, you are hereby notified that the undersigned elects to and does hereby exercise the option provided for in said paragraph Twenty-two (b) 22 (b), namely, of extending the term of your employment for an additional period of twelve (12) months, commencing June 14th., 1924, upon the terms and conditions contained in said contract, and that the compensation to be paid to you for a period of not less than forty (40) weeks during said period shall be Four Hundred and Fifty Dollars ($450.00) per week. 

Yours very truly,

LOUIS B. MAYER STUDIOS, INC.

BY "signed Irving Thalberg"

As ever, Norma

Here is a sweet little note from Norma Shearer to Brian Aherne, written in 1935. Shearer wrote to Aherne after doing a screen test together for MGM's film adaptation of Romeo and Juliet. Aherne was one of the actors considered for the role of Romeo, but he later decided not to play it, much to Shearer's disappointment. The reason for rejecting the part was that Aherne thought himself too old for it. (Fredric March, MGM's first choice, had rejected the role for the same reason.) In the end, the Romeo part went to Leslie Howard who, at the time in his forties, was even older than Aherne (or March). Incidentally, Shearer herself was 33, which made her also a very old Juliet.

Source: WorthPoint

Transcript:

Dear Brian -

Thank you for your terribly kind letter.

I admit I was rather incoherent the other night. I was just trying to say how much I appreciated your delightful enthusiasm while taking our tests and how disappointed I was to hear you had decided not to play in "Romeo + Juliet".

I called you up this afternoon to have a little chat about it but you were not at home.

I want you to know that both Irving and I have always felt you would be wonderful in either parts and still do.

With our affectionate regards

As ever

Norma

Notes 

-Judging by Shearer's letter, Aherne was also considered for another part in Romeo and Juliet, which was most likely the role of Mercutio, a role Aherne had played on Broadway in 1934. 

-"Irving" was Shearer's husband Irving Thalberg, head of production at MGM. Thalberg had wanted to make Romeo and Juliet for a long time and in June 1935 announced his plans to do so. Studio head Louis B. Mayer, however, was far from enthusiastic about the project, since he felt that a Shakespeare adaptation would not be accessible enough for the general public. In the end, Thalberg managed to convince Mayer and hired George Cukor to direct. Romeo and Juliet was released in 1936, having cost MGM $2 million (Thalberg's original budget was $800,000). Due to its high production costs, the film eventually lost a lot of money at the box-office.

Above: The only picture I could find of Norma Shearer and Brian Aherne together; here they are photographed with Chico Marx and Martha Raye. Below- left photo: Leslie Howard and Norma Shearer as Romeo and Juliet in MGM's film adaptation of the Shakespeare tragedy; right photo: Shearer and husband Irving Thalberg who was known as MGM's wonder boy; the couple was married from 1927 till September 1936 when Thalberg suddenly died of pneumonia.