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©-DR- CHAINES CONJUGALES de Joseph.L. Mankiewicz (1949) p20
06/07/2016 11:02
External reviews
Showing all 51 external reviews
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©-DR- CHAINES CONJUGALES de Joseph.L. Mankiewicz (1949) p21
06/07/2016 11:07
| Index |
68 reviews in total |
Lien vers toutes les reviews
http://www.imdb.com/title/tt0041587/reviews?ref_=ttexrv_ql_3
Sparkling comedy with one of the wittiest scripts ever...
Author: Neil Doyle from U.S.A.
14 April 2001
One of the funniest and truest commentaries on married life is set into motion when the three wives receive a letter stating that the town siren has run off with one of their husbands--but which one? Flashbacks trace the course of three stories in one--along with witty dialog and comic situations that keep you entertained from beginning to end. All of the principals are excellent--but if I had to choose the favorite couple it would have to be Paul Douglas and Linda Darnell. Why they weren't both at least nominated for Oscars, I'll never understand. Darnell, in particular, more noted for being a great beauty than a great actress, has some of the wittiest lines in the movie and gets them across with slambang effect. Her Lora Mae Hollingsway just about steals the film in some of the funniest, yet poignant moments in the whole story.
Paul Douglas is superb opposite her, as are Thelma Ritter and Connie Gilchrist as two outspoken bystanders. Not far behind are Ann Sothern and Kirk Douglas as the squabbling couple whose marriage is falling apart because of her financial success as a soap opera writer vs. his non-lucrative teaching career. Only sequences that fail to register strongly are those between Jeanne Crain and Jeffrey Lynn--lacking the wit of the other stories. The lines and situations get more hilarious as the film goes on and by the end you've seen one of the most richly satisfying comedies ever about the ups and downs of domestic bliss. Fully deserved its Oscars for best screenplay and direction.
*
You have here a situation that is rarer than you might imagine-a top-notch cast with an even better script. This is a delightful film with fine performances all around and some of the best dialogue! Strangely, none of the cast were nominated for their work here, although three were nominated for other performances in other films they did that year. The script deservedly won an Oscar as did the director. This is a joy to watch and the voice-over narration is perfectly handled throughout. Highly recommended!
*
In `A Letter to Three Wives,' Deborah Bishop, Lora Mae Hollingsway, and Rita Phipps are chaperoning underprivileged children on a day trip picnic. As they board the riverboat that will ferry them up-river to the picnic grounds, they are stopped by a messenger who delivers a letter from their dear, close friend, Addie Ross. Addie, who was supposed to accompany them on the day trip, quite unexpectedly, left town that very morning. After debating whether or not they should open the letter, with a bit of trepidation, they do. And so begins the story of three wives, three husbands, one letter, and Mrs. Addie Ross.
Addie Ross wrote in the letter to her dear, close friends Deborah, Lora Mae, and Rita, that she was so sorry to be leaving town, permanently. And, that by the way, she took one of their husbands with her. Which husband has run off with Addie Ross? That question is the driving force of this drama, with just a bit of comedy to hone its edges. This movie is compelling, there are no gaps; from start to finish you're hooked. Be there no doubt, you'll be kept guessing until the end. All is not always what it seems.
`A Letter to Three Wives,' is a story nicely staged by a series of three flashbacks, each chronicling meaningful events in the lives and marriages of the three wives.Jeanne Crain does well playing Deborah, the young, sometimes self-doubting and suspicious wife of the well-to-do Brad Bishop, played by Jeffrey Lynn. As we soon learn, Brad is a lifelong, close friend of the alluring Addie Ross.
The story is further fashioned by the immense talents of Kirk Douglas and Ann Sothern, who portray George and Rita Phipps. George is a devoted school teacher, and Rita is a social climbing script writer of radio plays. Both George and Rita are old, close friends of Addie Ross. However, Rita thinks George is just a little to close. Expect a stellar performance from Ann Sothern, because that's exactly what you're going to get.
This story's most interesting characters are portrayed by Paul Douglas, and the beautiful Linda Darnell. These talented actors play Porter and Lora Mae Hollingsway. They're a couple who tolerate a marriage of convince, he for her beauty, and she for his money. Lora Mae knows that Porter has helped Addie Ross with financial matters in the past, and perhaps other things in the present.
This movie has an excellent supporting cast in Thelma Ritter, and Connie Gilchrist. Look for them to relieve the natural tension of this story. Also contributing are Hobart Cavanaugh and Florence Bates, as Mr. and Mrs. Manleigh. Keep your ear tuned and listen for Celeste Home, as she is the voice of Addie Ross.
`A Letter to Three Wives,' is a festival of love, hate, jealousy, and suspicion. It's propelled by the energy of a very high caliber cast, and the directorial influence of Joseph L. Mankiewiez.It should be noted that `A Letter to Three Wives,' brought Mankiewiez, two Academy Awards in 1949. Best Director and Best Writing, Screenplay.
*
 Author: bkoganbing from Buffalo, New York
14 May 2005Usually films are only told from the view of one perspective as a flat narrative. It takes some real writing skills to do a screenplay and then photograph same from many angles.
Joseph L. Mankiewicz who was very involved with Citizen Kane took a page from that book to tell the story of A Letter to Three Wives. Addie Ross who is never seen has written a letter to three of her girlfriends saying she's leaving town and taking one of their husbands with her. The women, Linda Darnell, Ann Sothern, and Jeanne Crain are on a Day Line type cruise chaperoning some of their town kids. They all think they could be the unlucky jilted one and they start reflecting back on their lives and marriages.
We learn a lot about all of them in those flashbacks and like the way we learned about the complex Charles Foster Kane in Citizen Kane, we also learn about Addie Ross. Celeste Holm is the voice of Addie Ross and she probably deserves an Oscar for best performance by an unseen player.
Linda Darnell is a girl from the wrong side of the tracks who marries wealthy department store chain owner Paul Douglas. Jeanne Crain is the sensitive girl who met and married upper crust Jeffrey Lynn who she met while they were both in the Navy. And Ann Sothern is a career minded woman married to teacher Kirk Douglas. The strengths and weaknesses of the relationships are carefully examined in each flashback.
I thought Ann Sothern and Kirk Douglas had the best chemistry between them, too bad they didn't work together again. Her flashback consists of a memorable dinner party with a couple of philistine radio executives played delightfully by Florence Bates and Hobart Cavanaugh. Douglas despises the way his wife cheapens her talent by writing tripe for these two and tells them in no uncertain terms.
Addie Ross's portrait is painted by all the comments made about her in each story. She's obviously a glamorous and chic woman, but who has the heart of a mackerel.Three years later Kirk Douglas got one of his Oscar nominations in The Bad and the Beautiful. In that one he's the Addie Ross character, but he's very much seen. But their are undeniable similarities in A Letter To Three Wives to that film as well.Joe Mankiewicz got an Oscar for Best Director in 1949 and he really earned it helming a deceptively complex story.
 Author: harry-76 from Cleveland, Ohio
16 October 2003There's no doubt about it: "Letter to Three Wives" is, to use a character quote from the script, a "Bingo!"
I agree that the screenplay, directing, acting, and general production are all excellent. What a pleasure to see how well it holds up after so many years.Constantly engaging, a powerhouse, perfect cast offers beautifully modulated performances, and the writing is creatively brilliant.
I'd forgotten what an effective actor is Paul Douglas. Like Thelma Ritter (also in the cast) he seems like an ordinary guy from real life, not even "acting." Both he and Ritter are "naturals," in that they just seem to "live" their parts, never showing their technique.
Plaudits also go to Linda Darnell, whose scenes with Douglas are gems, as well as veterans Ann Southern, Jeanne Crain and Kirk Douglas. Their casting couldn't have been bettered.Here's a film that seems to, like fine wine, grow increasingly better with age. It's becoming (if has not already become) a genuine classic.
 Author: blanche-2 from United States
27 April 2006One of Hollywood's best directors, Joseph Mankiewicz, who gave us "All About Eve," had a previous winner with "A Letter to Three Wives," starring Linda Darnell, Jeanne Crain, Ann Sothern, Kirk Douglas, Paul Douglas, Jeffrey Lynn, Thelma Ritter, and Connie Gilchrist.The never-seen Addie Ross (voice of Celeste Holm) has run off with the husband of one of her friends - whose? Three women look back over their marriages, each realizing she could be the one who will not come home to anyone that evening.
Linda Darnell was involved with Mankiewicz during the filming of "A Letter to Three Wives" in what would be a devastating relationship for her. Her story is the most fun and interesting of the film. Lolamae works in one of Porter Hollingsway's department stores, and she manages to nab the boss by playing her cards just right. He assumes throughout their marriage that she's with him because of his money. The funniest parts of the film take place in the home Lolamae shares with her mother (Connie Gilchrist) and sister. They live next to the train tracks and when a train goes by, the house rattles and shakes.
Each time this happens, everyone just waits patiently for the train to go by as they rattle right along with it and then takes up where they left off as if nothing happened. When Lolamae and Hollingsway announce their engagement, Gilchrist cries out, "Bingo!" and faints! Thelma Ritter plays Gilchrist's best friend. The two provide some of the best moments in the film - Ritter is also the maid in the home of Ann Sothern and Kirk Douglas. Lolamae and Paul are the most fully drawn couple, and the one the audience is most invested in.
As with "All About Eve," the female characters are the focal point. Sothern is married to Kirk Douglas - he's a schoolteacher and she writes for radio, so it's intellect vs. the dumbing down of America fight; Jeanne Crain plays a woman who married upper class Jeffrey Lynn after leaving the service, and she originally feels out of her element among his tight-knit group of country club members. All of these women have to contend with the much admired (by males) Addie Ross, who remembers their men's birthdays, dresses beautifully, sends wonderful gifts, and has loads of class.
When it was pointed out to Mankiewicz that Jeanne Crain had played a character named Deborah in two films for him, he replied, "I don't like the name Deborah, and I don't like Jeanne Crain." Hers is the weakest storyline, but she is beautiful and gives a good performance. Lynn as her husband has very little to do. Sothern and Douglas make a spirited couple - he's at the height of his good looks, and Sothern makes the most of her witty dialogue.
But in the end, the focus is on Darnell and Paul Douglas. Darnell is stunningly beautiful and, because of this, isn't often thought of as a great actress. She brings a dry humor, sexiness, and vulnerability to the role of a woman who on the surface appears clever and a little too street smart for her own good. Douglas is a wonder, a complete natural - he plays his role as if Porter could just as easily be a hardware salesman as a filthy rich department store owner. He's both endearing and sympathetic, with his dumb, lovable face and his immaculately tailored suits. While they don't look like a perfect couple, their chemistry and what's underneath their bantering dialogue makes them one.Now, which husband ran off with Addie? See if you can figure it out during this highly entertaining and well-acted film.
In a small town, three couples are close friends: the upper class Brad Bishop (Jeffrey Lynn) went to the war and returned married with the insecure country girl and Navy military Deborah Bishop (Jeanne Crain); the university professor George Phipps (Kirk Douglas) is married with the writer of silly screenplays of radio soap operas Rita Phipps (Ann Sothern), who makes more money than him and financially supports their home; and the wealthy tradesman Porter Hollingsway (Paul Douglas) is married with the smart Lora Mae Hollingsway (Linda Darnell). In common, further to their friendship, the women hate and the men love the elegant and high-class Addie Ross. While going to a picnic in riverboat with the local students, the three wives receive a letter of their "friend" Addie Ross informing that she is running off with one of their husbands. Along the day, each woman recalls events that might have put her marriage in danger, while anxiously waiting for the end of the day.
One of my favorite movies ever is "All About Eve", of Joseph L. Mankiewicz. I know only a few movies of this outstanding director: "Sleuth", "Cleopatra", "The Barefoot Contessa" and "The Ghost and Mrs. Muir". A dear friend of mine gave me "A Letter to Three Wives" on DVD, I have just watched and I must confess that I am enchanted with such delightful, witty and intelligent screenplay. The romance is perfectly developed with the narrative in off and in an adequate pace, disclosing the lives of each couple and their problems in flashbacks and with a wonderful resolution. The cast is in state of grace, with awesome performances, and Linda Darnell is extremely sexy in the role of an opportunist woman and Jeanne Crain is very beautiful. There is a continuity goof not related in IMDb, when Lora Mae arrives with her car for the picnic, followed by Rita and Debbie's car, and the relative positions of the parked cars and buses change, but this mistake never diminishes this magnificent movie. My vote is nine.
Title (Brazil): "Quem É o Infiel?" ("Who Is the Unfaithful?")
*
Jeanne Crain was a very pretty girl, Ann Sothern was chiefly noted for her comic turns, and Linda Darnell was a memorable beauty--but although all three appeared in popular films none were particularly celebrated for their acting talents until Joseph L. Mankiewicz tapped them for the roles of three society wives in this poison pen letter to both sexes. Wickedly witty in script, and remarkably acid in tone, A LETTER TO THREE WIVES would put every one involved in the film firmly on the Hollywood map.
Three society wives (Crain, Sothern, and Darnell) are committed to hosting a children's picnic on an isolated island--and as the ferry prepares to depart they receive a letter from town femme fatale Addie Ross (never seen but memorably voiced by Celeste Holm.) Addie informs them that she is leaving town forever... but has decided to take one of their husbands along as a memento. And each of the three wives, cut off from the outside world for the day, is left to wonder: when I go home tonight, will my husband still be there? During the day each of the wives recalls scenes from her marriage.
Deborah (Craine) arrived in town as a pretty but very awkward farm girl fresh out of the navy and with a wardrobe consisting of a single and very ugly mail-order dress; she has never felt entirely secure. Rita (Sothern) is married to a schoolteacher, and has committed the unpardonable sin of becoming the writer of a popular radio show that brings her more money than her husband will ever earn. And Lora Mae (Darnell) was a beauty born on the wrong side of the tracks who connived her way into a wealthy marriage and now specializes in bickering with her gruff and boorish husband. And always they have been victim to Addie--a woman who "has class," who stings them with competition and evil wit, and who has their husbands eating out of her hand.
Although the construction is artificial, the script is wickedly knowing, painting a truly subversive vision of American marriage and mores of the late 1940s. Of the three leads, Ann Sothern dominates with her spirited "Rita"--but Darnell has the best of the script, a series of manipulations and drop-dead quips and ripostes, and Crain is perfectly cast as the insecure beauty who is as out of place as a dove at a gathering of eagles. The supporting cast, which includes Kirk Douglas, Thelma Ritter, and Connie Gilchrist is remarkably fine as well. And before all is said and done, small town society gets raked over coals.
If A LETTER TO THREE WIVES has a flaw, it is the same flaw that would trouble Mankiewicz's later and even more celebrated ALL ABOUT EVE: the point of view that a woman is ultimately nothing without a man, an idea that tends to limit the scope of the film and at times even belittle its characters. Some viewers may also be disappointed with the film's conclusion, which--although extremely ironic--lacks the sharp bite you might expect. Even so, this is a truly memorable and often very funny film, and one that deserves to be seen more often today than it usually is.
Gary F. Taylor, aka GFT, Amazon Reviewer
*
Though based on a relatively simple idea, "A Letter to Three Wives" is an interesting and well-written story. The cast and the rest of the production are good as well, but it is primarily the carefully written story that makes it work. Joseph Mankiewicz's screenplay does not necessarily have flashy dialogue or lots of surprises, but rather creates well-defined and believable characters, and puts them into an unusual situation, which he then develops at a good pace.
The opening sequences pull you right into the story, introducing the characters efficiently and then setting up the predicament in which the three wives find themselves as a result of the letter from their absent friend. None of the characters are especially interesting as individuals, but all are believable, and you certainly care about what will happen to them. The cast make their characters work together quite well, and there are quite a few good moments. The unseen Addie Ross is also as much a part of the story as any of the others, and her narration is used effectively.
The story moves along smoothly, almost logically, as things are resolved in an unspectacular but satisfying fashion. It's the kind of well-crafted feature that may not dazzle many of today's viewers, but that makes good use of every opportunity.
*
Author: jbian7 from Rochester, NY
9 March 2004
A Letter to Three Wives has a stellar cast with Ann Southern, Jeanne Craine, Linda Darnell, Paul Douglas, and Kirk Douglas. Any one of those actors would assure the viewer of a terrific performance. All of them together creates one of the first ensemble casts that are so popular today as in ER or Friends. Ann Southern is great as she plays off of Kirk Douglas and Thelma Ritter. Just looking at Linda Darnell makes watching the movie worthwhile. She was one of the most beautiful women who ever acted in a motion picture. Paul Douglas plays his usual rough and tumble character with a heart of gold.
The premise is that a group of friends has one female who has the attention of all the men, and all the stares of the women. One day when the three wives are working on a volunteer project with some children when they receive a special delivery letter from the target of their stares. In the letter the woman states that she is moving away and will never return, and she is taking one of their husbands with her. The women then think about how easily it could be each one of their husbands. It's a great way to spend a couple of hours on a Sunday afternoon, and boy will it surprise your wife when you watch it with her. She won't know what to think.
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©-DR- CHAINES CONJUGALES de Joseph.L. Mankiewicz (1949) p22
06/07/2016 11:32
Trivia,potins,anecdotes
Showing all 20 items
*
The identity of the actress Celeste Holm who did the voice-over for Addie Ross was kept secret when the film was released. The studio held a number of "Who is Addie?" contests around the country where moviegoers could guess the actress' name. *
Joseph L. Mankiewicz had a real battle with the American censors at the time who would not permit him to use words like "laxative" and "toilet" in his script. He got his revenge with a famous double-entendre laden exchange which used words like "penetration" and "saturation".
*
At one point the film was called "A Letter to Four Wives". Upon submitting the adapted screenplay to 20th Century-Fox chief Darryl F. Zanuck, Joseph L. Mankiewicz mentioned that he found it too long and asked how he felt the movie could be shortened. "Take out one of the wives," Zanuck replied. Originally, the movie would have featured Anne Baxter as the fourth wife. Zanuck didn't feel Baxter's segment was as strong as the other three, so that one was cut. *
This film was based on John Klempner's novel, "A Letter to Five Wives." Two wives were lost in the transition to the screen. *
This was leading stage actor Paul Douglas' motion picture debut. *
"Lux Radio Theater" broadcast a 60 minute radio adaptation of the movie on February 20, 1950 with Paul Douglas and Linda Darnell reprising their film roles.
"The Screen Guild Theater" broadcast a 30 minute radio adaptation of the movie on November 3, 1949 with Linda Darnell and Paul Douglas reprising their film roles. *
Anne Baxter's character in the film was to be named Martha.( mais on s'en branle puisqu'elle ne joue pas dans le film !!)
*
"The Screen Guild Theater" broadcast a 60 minute radio adaptation of the movie on May 18, 1952 with Paul Douglas and Linda Darnell again reprising their film roles. *
Joseph L. Mankiewicz won the Best Director and Best Screenplay Oscars for his work on this film and would do the same again the following year with _All About Eve_. This has never been repeated.
*
Celeste Holm was initially not remotely interested in providing the off-screen voice of the letter-writer and was more inclined to take the part that eventually went to Ann Sothern. Joseph L. Mankiewicz persuaded her that her involvement would be absolutely crucial to the film's success.
*
Paul Douglas was so nervous making his first film that he sweat constantly during his scenes, prompting the wardrobe department to keep changing his shirt.
*
Linda Darnell and Joseph L. Mankiewicz became romantically involved during the making of the film. Darnell considered Mankiewicz to be the great love of her life but he refused to leave his wife. He later remarked that she was "a marvelous girl with terrifying personal problems".
Linda Darnell's home which shakes when the train passes by was inspired by Joseph L. Mankiewicz's childhood home in New York City. His father would always stop talking as he waited for the Third Avenue El to pass by.
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©-DR- CHAINES CONJUGALES de Joseph.L. Mankiewicz (1949) fin
06/07/2016 11:48
Distinctions & récompenses
Showing all 5 wins and 1 nomination
Academy Awards, USA 1950
Directors Guild of America, USA 1949
National Board of Review, USA 1949
Won
NBR Award |
Top Ten Films |
Writers Guild of America, USA 1950
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©-DR- CHAINES CONJUGALES Linda Darnell - Bio/Carrière
06/07/2016 12:01
Linda Darnell
Elle fit ses débuts au cinéma à l'âge de 16 ans dans Hôtel pour femmes (1939) ; elle tint des premiers rôles féminins dans plusieurs films des années 1940 et du début des années 1950 signés notamment René Clair, Otto Preminger, Preston Sturges ou Joseph Mankiewicz.
Biographie
Linda Darnell est née dans une famille pauvre du Texas. Poussée par sa mère, elle fait des débuts précoces en tant que mannequin, sa mère déclare qu’elle a 16 ans alors qu’elle n’en a que onze. Plus tard, elle fait ses premières expériences de comédienne en interprétant des petits rôles dans des théâtres amateurs. En 1937, elle se présente à un casting à Dallas, organisé par des chasseurs de talents de la 20th Century Fox. Mais elle n’a que quatorze ans et les casteurs la jugeant trop jeune, ne la choisissent pas. Elle est pourtant remarquée grâce à sa beauté exceptionnelle et Darryl F. Zanuck, le grand patron de la Fox en personne, la rappelle deux ans plus tard. La Fox triche sur sa date de naissance et lui fait signer un contrat en 1939 - Linda a 16 ans (à la même époque, le studio recrute Gene Tierney, Maureen O'Hara, Betty Grable et Anne Baxter, formant la nouvelle génération des "Fox Girls").
Darnell complète ses études à la Central High School de Los Angeles, tandis qu’à la Fox on lui change son prénom.
Débuts au cinéma
Ses débuts sont fulgurants. On la fait tourner après quelques semaines, dans un second rôle, Hôtel pour femmes. La même année on lui donne comme partenaire la plus grande star masculine de la Fox Tyrone Power dans Dîner d'affaires, elle enchaîne trois autres films avec lui : L'Odyssée des Mormons, le flamboyant Arènes sanglantes où elle fait merveille en douce épouse délaissée affrontant la tentatrice Rita Hayworth, et surtout Le Signe de Zorro, classique du film d’aventures.
Les années 40
Linda a un quart de sang indien, son grand-père était cherokee, elle fut longtemps cantonnée à des rôles « exotiques » conformes à la représentation stéréotypée d’une beauté brune « fatale » et « typée ». Elle interprète une Espagnole dans Le Signe de Zorro et dans Arènes sanglantes ; une Indienne dans Buffalo Bill ; une Mexicaine dans La Poursuite infernale ; une Eurasienne dans Anna et le Roi de Siam…
Malgré cela, les années 1940 sont prodigieuses, elle tourne avec les plus grands réalisateurs, Henry Hathaway, Rouben Mamoulian, Henry King, Douglas Sirk, William Wellman, René Clair, Otto Preminger, John Ford, Preston Sturges, Joseph L. Mankiewicz, avec des partenaires aussi brillants que George Sanders, Laird Cregar, Rex Harrison, Richard Widmark, Charles Boyer, Anne Baxter ou Veronica Lake...
Après les films de Mamoulian on la remarque surtout dans une excellente comédie fantastique, C'est arrivé demain du réalisateur français, alors exilé à Hollywood, René Clair. Elle rompt ensuite son image de femme douce (elle a même interprété la Vierge Marie dans Le Chant de Bernadette) pour incarner les femmes vénales dans de somptueux films noirs, genre en vogue à l’époque, comme l’original Crime passionnel d’Otto Preminger qui observe la province américaine d’une manière froide et lucide et Hangover Square, mélodrame baroque à l’atmosphère morbide et cauchemardesque[1]. En 1946, elle revient au western et fait une composition remarquée dans le rôle de Chihuahua aux côtés de Henry Fonda et Victor Mature dans un chef-d’œuvre de John Ford, La Poursuite infernale.
Deux réalisateurs particulièrement lui donnent les plus beaux rôles de sa carrière. Tout d’abord Otto Preminger avec qui elle tourne quatre films. Après Crime passionnel et Quadrille d'amour (film musical), elle décroche le rôle d’Ambre, héroïne du best seller historique de Kathleen Winsor, malgré une concurrence acharnée : Peggy Cumming (renvoyée après quelques jours de tournage), Lana Turner (le choix de Preminger mais la MGM refuse de la prêter, à leur déception commune), Susan Hayward entre autres. Son émouvante photogénie est transcendée dans Ambre pour un rôle difficile parfaitement tenu de bout en bout. C’est ce flamboyant mélodrame en costumes, grand succès commercial, qui lui donne ses galons de star et la renommée internationale. Elle tourne encore avec Preminger La Treizième Lettre, un remake du film Le Corbeau d'Henri-Georges Clouzot, où elle succède à Ginette Leclerc.
En 1949, après une étincelante comédie sophistiquée de Preston Sturges, Infidèlement vôtre (d'après James Cain), c’est la rencontre avec le grand réalisateur Joseph L. Mankiewicz pour un de ses meilleurs films : Chaînes conjugales, où elle rivalise avec Jeanne Crain et Ann Sothern. Le film triomphera aux oscars avec deux statuettes, l'une pour le meilleur scénario et l'autre pour la meilleure mise en scène qui reviendront toutes deux à Joseph L. Mankiewicz. Alors en instance de séparation d'avec son premier mari, le directeur de la photo J. Peverell Marley, Linda Darnell tombe amoureuse du réalisateur pendant le tournage et ils vivront une relation tumultueuse pendant six ans[2].
La fin de sa carrière
Elle est de nouveau dirigée par Mankiewicz pour La porte s'ouvre, film à thèse sur la discrimination raciale, mais leur relation s’achève après que le réalisateur refuse de lui confier le rôle de Maria Vargas (qui semble inspiré par elle aussi bien que par Rita Hayworth ou Ava Gardner) dans La Comtesse aux pieds nus. En effet, celle que Mankiewicz avait dirigée dans Chaînes conjugales et La Porte s’ouvre était persuadée que le rôle de Maria Vargas lui était destiné. Non seulement parce qu’elle détestait les chaussures et avait l’habitude de marcher pieds nus, mais surtout en raison du fait que le scénario avait été écrit par Mankiewicz à Glen Cove, Long Island, la plupart du temps dans sa chambre à coucher et avec son aide. L’actrice a toujours dit que Mankiewicz lui avait promis de l’appeler dès que les contrats seraient établis. Elle retourna rassurée à Los Angeles… et apprit par le journal qu’Ava Gardner aurait le rôle. Cette trahison provoqua leur rupture[3]. En dépit de cela, l’actrice déclarera toujours que Mankiewicz avait été le grand amour de sa vie[2].
Mais malgré sa carrière, les chefs-d’œuvre, les grands réalisateurs et son statut de star, les années noires commencent.
En 1951, la Fox ne renouvelle pas son contrat. Assurée de sa renommée, la RKO l’engage pour quelques films dont l’efficace film de pirates Barbe-Noire, le pirate de Raoul Walsh avec le truculent Robert Newton et dans un thriller haletant Passion sous les tropiques avec Robert Mitchum.
Mais, curieusement à 31 ans, Linda Darnell ne tourne plus que des films mineurs, la déchéance va être rapide et l’actrice va sombrer dans l’alcoolisme[4].
Après deux films italiens réalisés par son compagnon Giuseppe Amato en 1955, elle renoue avec un certain succès dans le théâtre et joue dans une dizaine de pièces comme Tea and sympathie, Janus ou encore Late love. Elle tourne également dans quelques épisodes de séries à la télévision. Linda Darnell revient au cinéma en 1964 avec son dernier film Les Éperons noirs. Elle ne vit jamais ce film car, alors qu’elle regardait à la télévision un de ses anciens films, Star Dust, un incendie se déclara à cause d’une cigarette mal éteinte[5]. L’actrice, surnommée « l'ange de Hollywood » par la presse, est brûlée vive et meurt de ses blessures le 10 avril 1965, 33 heures plus tard à l’hôpital dans d’atroces souffrances.
Vie privée
En 1944, à 21 ans, elle épouse celui qui tourna son premier bout d'essai[5], J. Peverell Marley directeur de la photo de son premier film Hôtel pour femmes. Ils adoptent une petite fille, Charlotte Mildred, en 1948.
On lui prête des liaisons avec notamment Howard Hugues, Tyrone Power, Dana Andrews, le réalisateur italien Giuseppe Amato, et elle tombe amoureuse du réalisateur Joseph L. Mankiewicz avec qui elle vit une relation jusqu'en 1954 et qui se serait inspiré d'elle pour le scénario de La Comtesse aux pieds nus. Après son divorce en 1951, elle fait un mariage éclair avec un riche brasseur Phillip Liebman (1954-1955) puis 1957 avec Merle Roy Robertson, un pilote de ligne, qui divorce en 1963, lui reprochant son penchant pour l’alcool.
Citations
- « Linda Darnell était une jolie fille et une actrice charmante à l’époque de L’Aveu, elle était encore très jeune, à peine vingt ans. Elle sortait avec Howard Hughes, mais dès qu’il l’a laissé tomber, elle s’est mise à boire. Quand elle a joué dans un autre de mes films (The Lady Pays Off, en 1951), elle était devenue une autre personne. C’est l’un des cas les plus tristes de l’histoire d’Hollywood, qui était une sorte de capitale de la saoulographie. Vous savez que Linda Darnell est morte tragiquement ; elle avait une véritable phobie du feu, et c’est comme cela qu’elle est morte – morte dans un incendie à quarante ans. » Douglas Sirk[6].
- « Linda avait l'allure de Mata-Hari mais n'était qu'une fille charmante de Dallas fascinée par Hollywood. Elle connut une gloire rapide et disparut plus vite encore ». Kirk Douglas[7]
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