Prisoner of Zenda, Intermezzo and Doc Holliday in Philadelphia

This Week
Selznick signs Ingrid Bergman
Doc Holliday Graduates Dental College
Writers Notebook: Quick Fix for Writers Block

Selznick: Part 6
The Prisoner of Zenda followed The Star is Born in the Selznick International production lineup. From a screenplay by John L. Balderston, Wells Root and Donald Ogden Stewart, and directed by John Cromwell. The Stars were Ronald Coleman, Madeleine Carroll, Douglas Fairbanks, Jr., Mary Astor, C. Aubrey Smith, David Niven and Raymond Massey.
The public and a majority of the critics liked the picture Daily Variety took a different stand. The reviewer said, 'Zenda is hokum of the 24-carat variety, a shear piece of romantic nonsense about a European mythical kingdom.
Even though Variety was at odds with the story line they liked the overall production and cast. Action scene depicting mounted horsemen in body armor crossing the drawbridge is exciting and drew a lot of attention, a night scene between Carroll and Coleman was excellent and the sword fight between Coleman and Niven looks so real that, at moments, is almost too freighting to watch.
Facts about the latter scenes: The so called renunciation scene at twilight between Coleman and Carroll was actually directed by George Cukor. The sword fight between Coleman and Niven was directed by Cromwell, but once it was edited, sliced and diced it was thrown out and re shot under the direction of W.S. 'Woody' Van Dyke.
Mr. Perfection Selznick at work.
The followup picture to Zenda Nothing Sacred directed by William A. Wellman, screenplay by Ben Hecht and Starring Carole Lombard and Fredric March was well received by critics and public alike.
The Adventure of Tom Sawyer, Young in Heart and Made for Each Other were all well produced and accepted by the public.
Selznick International produced two films in 1939 that put them on top of the heap. Intermezzo: A Love Story and Gone with the Wind.
The Intermezzo a Selznick International picture introduced Ingrid Bergman to an American audience.
Here is a brief back story on how Ingrid Bergman came to Hollywood.
The importance of good story material was constantly on David Selznick's mind and in the early stages of organizing Selznick International he sent a memo to his New York office and alerted his people to be on the lookout for European films that might be adapted and produced by Selznick International.
Elsa Neuberger assistant story editor to Kay Brown saw the Swedish film Intermezzo, that featured Ingrid Bergman, and sent a copy along to Culver City.
Once Selznick saw the film he wired the New York office to find particulars about remake rights on Intermezzo, and authorized Kay Brown to take the next boat to Sweden and not to come home without a contract with Miss Bergman.
Kay Brown was apparently successful. Selznick International made a deal for the remake rights of Intermezzo and also signed Miss Bergman to a personal management contract.
Ingrid Bergman had starred in a number of European films, but had not become a box office draw at that point in her career. Selznick was sure that she could be, although he wasn't sure that her given name would work in America. He discussed the possibility of changing her name with several people on his staff and he discussed the possibility with Miss Bergman. The lady argued that she had worked hard at her career using her own name and if at all possible she would like to keep it that way. In the end Selznick agreed that she would continue to use her given name.
There was also a small language problem, Bergman spoke and understood English well, but needed work on her accent.
Miss Bergman agreed with that assessment and was diligent in her studies and worked very hard with her dialogue and English coaches to develop more of an American accent.
The last and final problem proved to be the most challenging.
While doing screen and wardrobe tests they discovered that Ingrid Bergman was not an easy photographic subject. In one of his memos Selznick voiced an opinion that the difference in her photography is the difference between great beauty and a complete lack of beauty. 'And unless we can bring off our photography so that she really looks divine, the whole picture can fall apart.'
They did more tests lighting, high and low camera angles, left and right profile and while they made some headway it was still insufficient according to Selznick.
The picture had just gotten underway when Selznick, after watching film rushes, made his decision to replace the Director of Photography Harry Stradling with Gregg Toland. Then working with Monty Westmore in makeup and doing another series of lighting and camera tests Toland found the key to photographing Ingrid Bergman.
(To Be Continued)

Doc Holliday's Road to Tombstone
Philadelphia
March 1, 1872
The Pennsylvania College of Dental Surgery was holding its
16th Graduation Ceremony at stuffy old Musical Fund Hall. Twenty-six members out of the original class of sixty-three had completed their prescribed work, earned their degree’s, and became eligible to graduate.
John Henry Holliday, the fair-haired Georgian, sat on the second row among that elite group of cap and gown graduates.
Professor Tyson completed the valedictory address and moved away from the podium to a round of applause as the likeable Dr. W.W. Fouche stepped forward and took his place.
Dr. Fouche nodded recognition to the audience and immediately commenced with the ritual everyone had been waiting for. As he called the names in alphabetical order each graduate would gather up their gown and dutifully march up to the stage where they would receive personal congratulations and a diploma.
John Henry maintained an outward calm that would mask a stomach churning anxiety until he actually got the diploma in his hand. He wasn’t concerned about his grades, but had to admit that his card playing and general rebellious nature had drawn more than one reprimand during his stay in Philadelphia. However, his anxiety disappeared when the affable Dr. Fouche looked at him and called his name. John Henry rose from his seat and as he made his way to the stage caught the eye of fellow Georgian Robert Mc Reynolds gave him a high sign, quickly ascended the steps to the stage, accepted his diploma, and joined the others forming a semi circle behind the podium.
Once the certificate was in hand time seemed to pass more quickly and when the last special award was handed to Charles Hamilton Dr. Fouche peered over his gold-rimed glasses, and mimed a handclap. Decorum was then tossed aside with shouts, whistles and even a few jigs danced on the stage setting the celebration in motion.
John Henry discarded his cap and gown, and mingled with the crowd, exchanging jovial banter and good will. He made his way to the exit and as he neared the door felt a sharp slap on his back, turned and stood for a moment in complete disbelief at what he saw. “HC, you old rascal, gosh . . . where did you come from?”
“New York. Came down on the train this afternoon.”
“I can’t believe it’s you,” enthused John Henry. Then he stood back and smiled approvingly at his friend.
HC wearing an expensive, tailored, dark suit, cut with stylish lapels, matching waistcoat and a blue silk tie smiled and said, “This is a big night for you, John Henry, but I haven’t seen any of your folks?”
“None of them are here, but of course I didn’t expect them either.”
“What about Mattie, didn’t she want to come?”
“Sure, but she couldn’t come alone on the train and ship passage up the coast this time of year isn’t good either.”
“You sure have grown, John Henry.”
“Some I guess, but not as much as you, and something else, you’ve lost about half of your Southern accent.” Then he took HC’s arm and turned him toward the door. “We are going to Bookbinders for supper and a little celebration, what do you say we walk.”
HC nodded his acceptance and they made their way out of the hall and faced a chilly breeze as they strode up Arch Street in the direction of the restaurant.
“How are things down home?” HC asked.
John Henry shoved his hands into his coat pockets and mumbled, “Ok I guess. But I don’t want to get into that; I want to know how you’re doing. I heard that you did well in Cincinnati and then you went on to New York. How are you making out there?”
“Well, I’m playing the dives and bordellos in Lower Manhattan. And I’m not proud of the places I have to work, but the pay is good and it gives me a place to practice my technique.”
“Have you ever thought about the concert stage?”
“Are you serious?” HC said laughingly. “This is no time for a black man to put on tie and tails and walk on stage to entertain the gentry of America and Europe. That’s not my kind of music anyway. I’ve been told I was born with a musical gift. But your Mama taught me how to use it. Her sisters added something too, Miz Margaret and her fiddle, Miz Melissa’s guitar and Miz Eunice with that four-string banjo.”
(To be continued)

Writers Notebook:
'Ninety percent of the failures come from people who practice the habit of making excuses.' George Washington Carver
Writers block is nothing more than an excuse for procrastination.
To get off the dime, try this method for a jump-start.
Go to a large mirror and confront the monster. Look the character right in the eye and speak the truth. “You lazy spineless wimp — go back to work!” Don’t whine, just do it…
Turn on your computer or pick up the stub of a pencil and write something bold, daring — outrageous.
So what if it’s not your best effort, consider this. It’s a whole lot easier to rewrite something than it is to begin tomorrow with absolutely nothing.
Now this little quick fix is not the end all for everybody’s problems, some of you need to go back to your shrink. Just kidding. But don’t be too hard on yourself either, lighten up, relax and laugh at that character in the mirror. Then visualize the blank page being full of words and so what if the quality of the work isn’t up to snuff, it’s only a first draft. Remember what Truman Capote said about writing. Writing is not so much writing as it is rewriting. Trust yourself, the good stuff will begin to show up the second or third time around.

Tom's Books and Blogs:
Tom Barnes -- Actor, Writer and Hurricane Hunter.
Check out my website for books, blogs, western legends, a literary icon, reviews and interviews. Also my novels Tungee's Gold, The Goring Collection and Doc Holliday’s Road to Tombstone along with a non fiction remembrance of The Hurricane Hunters and Lost in the Bermuda Triangle.
Www.tombarnes39.com
www.RocktheTower.com
http://thehurricanehunter.blogspot.com