I Love the Illusion: The Life and Career of Agnes Moorehead by Charles Tranberg Page A
Authors: Charles Tranberg
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Theatre was, by and large, chauvinistic. Most of the
members were men and so the scripts were dominated by them. With a new
sponsor having more input, it appears that a greater variety of female roles
opened up and Agnes benefited from this. One of the most effective of the Campbell Playhouse scripts would be an adaptation of Daphne du Maurier’s
novel Rebecca, which became the first episode of the newly named show.
David O Selznick owned the film rights to the novel, but Orson was able
to obtain the radio rights and it is a remarkably faithful adaptation. Orson
played Maxim DeWinter, with guest star Margaret Sullavan cast as the
heroine with no name (identified as “I” in the novel she narrates). Agnes
had the plum role of the evil Mrs. Danvers, who believes no one could ever
replace the dead mistress of Manderley (the DeWinter estate), Rebecca.
Mrs. Danvers intentions with “I” are to make her feel as inconsequential as
possible when compared to Rebecca as the mistress of Manderley, and for
the love of Maxim. Agnes’ performance is every bit as effective as that of
Judith Anderson, who played the part in the 1940 film. Had Agnes been
established in Hollywood earlier than she had, it is possible that Selznick
would have considered her for the film based on her performance in the
radio play, but Anderson, at that point, was a bigger name. The show
concluded with Orson and Margaret Sullavan speaking by transatlantic
phone with Miss du Maurier, who “enjoyed it enormously.” Welles
lso introduced a new trademark on this first episode by signing off,
“obediently yours.”
In all, 61 episodes of The Campbell Playhouse would be produced, with
Agnes appearing in seventeen. Among the highlights were “Our Town,”
“The Things We Have” (an original story by Welles about a young
immigrant who discovers the uniqueness of America), “Peter Ibbetson,”
“Ah, Wilderness!,” “Lilom” and “Vanity Fair” (both with Helen Hayes).
The show finally left the air on March 31, 1940. The final episode was an
adaptation of “Jane Eyre” with Vivien Leigh, but without Agnes (who
would later appear in the 1944 film with Welles and Joan Fontaine). The
reason for Orson leaving the show was due to what he felt was sponsor
interference. The sponsor wanted Orson, for instance, to hire actress Irene
Dunne to appear on the show, but Orson refused, apparently because of her
outspoken Republican politics. He also didn’t like the “blue-penciling” of
the scripts. “I’m sick of having the heart torn out of a script by radio
censorship,” he said. But in the end, the reason may be simply that he had
other eggs to fry. By this time, due to his increased notoriety, Welles had
signed a contract with RKO to act in and direct two motion pictures. He
and his “Mercury” companions were going to take Hollywood by storm.
V
RKO Pictures signed Orson Welles to a deal which gave him something few
actors or directors had — creative control of his projects without
studio interference. “Welles could produce, direct, write and star in his
projects or any combination of those roles he chose, and he alone would
have virtually complete control of the final film. Welles could shoot what
he liked, spend studio money any way he liked (up to $500,000 per
picture), and with only minimal input from the studio, make the finished
film just as he wanted it.” Welles’ main booster was RKO studio head,
George Schaefer.
That many in the Hollywood community were resentful of this brash
23-year-old upstart coming into their town cannot be understated. Many
longtime Hollywood observers believed that RKO committed a huge gaffe
in signing Welles. “RKO is going to rue its contract. I would be willing to
bet something that Welles will not complete a picture,” huffed the Hollywood Spectator. But RKO was a studio willing to take a chance. It was
a major, but not in the same league of MGM, Paramount, Warners or Fox.
They had made some
members were men and so the scripts were dominated by them. With a new
sponsor having more input, it appears that a greater variety of female roles
opened up and Agnes benefited from this. One of the most effective of the Campbell Playhouse scripts would be an adaptation of Daphne du Maurier’s
novel Rebecca, which became the first episode of the newly named show.
David O Selznick owned the film rights to the novel, but Orson was able
to obtain the radio rights and it is a remarkably faithful adaptation. Orson
played Maxim DeWinter, with guest star Margaret Sullavan cast as the
heroine with no name (identified as “I” in the novel she narrates). Agnes
had the plum role of the evil Mrs. Danvers, who believes no one could ever
replace the dead mistress of Manderley (the DeWinter estate), Rebecca.
Mrs. Danvers intentions with “I” are to make her feel as inconsequential as
possible when compared to Rebecca as the mistress of Manderley, and for
the love of Maxim. Agnes’ performance is every bit as effective as that of
Judith Anderson, who played the part in the 1940 film. Had Agnes been
established in Hollywood earlier than she had, it is possible that Selznick
would have considered her for the film based on her performance in the
radio play, but Anderson, at that point, was a bigger name. The show
concluded with Orson and Margaret Sullavan speaking by transatlantic
phone with Miss du Maurier, who “enjoyed it enormously.” Welles
lso introduced a new trademark on this first episode by signing off,
“obediently yours.”
In all, 61 episodes of The Campbell Playhouse would be produced, with
Agnes appearing in seventeen. Among the highlights were “Our Town,”
“The Things We Have” (an original story by Welles about a young
immigrant who discovers the uniqueness of America), “Peter Ibbetson,”
“Ah, Wilderness!,” “Lilom” and “Vanity Fair” (both with Helen Hayes).
The show finally left the air on March 31, 1940. The final episode was an
adaptation of “Jane Eyre” with Vivien Leigh, but without Agnes (who
would later appear in the 1944 film with Welles and Joan Fontaine). The
reason for Orson leaving the show was due to what he felt was sponsor
interference. The sponsor wanted Orson, for instance, to hire actress Irene
Dunne to appear on the show, but Orson refused, apparently because of her
outspoken Republican politics. He also didn’t like the “blue-penciling” of
the scripts. “I’m sick of having the heart torn out of a script by radio
censorship,” he said. But in the end, the reason may be simply that he had
other eggs to fry. By this time, due to his increased notoriety, Welles had
signed a contract with RKO to act in and direct two motion pictures. He
and his “Mercury” companions were going to take Hollywood by storm.
V
RKO Pictures signed Orson Welles to a deal which gave him something few
actors or directors had — creative control of his projects without
studio interference. “Welles could produce, direct, write and star in his
projects or any combination of those roles he chose, and he alone would
have virtually complete control of the final film. Welles could shoot what
he liked, spend studio money any way he liked (up to $500,000 per
picture), and with only minimal input from the studio, make the finished
film just as he wanted it.” Welles’ main booster was RKO studio head,
George Schaefer.
That many in the Hollywood community were resentful of this brash
23-year-old upstart coming into their town cannot be understated. Many
longtime Hollywood observers believed that RKO committed a huge gaffe
in signing Welles. “RKO is going to rue its contract. I would be willing to
bet something that Welles will not complete a picture,” huffed the Hollywood Spectator. But RKO was a studio willing to take a chance. It was
a major, but not in the same league of MGM, Paramount, Warners or Fox.
They had made some
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