In today’s stop along our grand Bette Davis adventure, we are studying NOW VOYAGER (1941). It is undoubtedly a dramatic tale of romance, but also rooted in a theme of psychiatry and mental health. As a bonus, we are treated to a character makeover. This is a coming out tale. Who doesn’t love a dazzling ‘before and after’ reveal?
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NOW VOYAGER is based upon a novel by Olive Higgins Prouty (1882 – 1974). In 1925, the Massachusetts novelist suffered a mental breakdown. She had four children, but two who died. Infant daughter Alice died in 1919. Then her three-year-old daughter Olivia had died of encephalitis in 1923. The profound grief inspired her to write, “Stella Dallas,” (1923) a popular story of a mother’s sacrifice and inner conflict that was later made into film, stage, and radio adaptions, the first film version starred Barbara Stanwyck.
Despite her continued career success, Higgins was wrecked emotionally and checked into a sanitorium under the care of a psychiatrist, Dr. Riggs. When she was ready to leave, he advised her to seek more independence outside of her home and to focus on her writing, including securing an office to write, five days per week. Her reflection on her emotional collapse and the subsequent arduous recovery resulted in two novels of such themes: “Conflict” (1927) and “Now, Voyager” (1941). “Now, Voyager” was the third in a series of four novels centered on the Massachusetts Vale family, with the Dr. Jaquith character, who is based on her own psychiatrist from her stay at the sanitorium. Warner Brothers hoped for another big hit like “Stella Dallas” and purchased the film rights for $40,000.
The title is based upon Whitman’s “The Untold Want” in “Leaves of Green” …
The untold want by life and land ne’er granted,
Now voyager sail thou forth to seek and find.
Initially, Hal Wallis had Ginger Rogers in mind for the role of Charlotte Vale and sent her a copy of the novel. Warners also sent a copy to Edmund Goulding with the direction for him to write the first treatment with the intent of him directing it. But Goulding preferred to loan out Irene Dunne from Columbia Pictures for the Charlotte role. Goulding became ill and was replaced by director Michael Curtiz, who was interested in either Ginger Rogers or Norma Shearer. Meanwhile, Bette was understandably furious. “I’m under contract here! Why can’t I play Charlotte Vale? As a New Englander, I understand her better than anyone else ever could!” She fumed at Hal Wallis, who passed on the idea to Jack Warner. It’s difficult to imagine that they would have anyone other than Bette in mind for Charlotte Vale.
Then Curtiz dropped out and was replaced with Irving Rapper (1898 – 1999), a relative newcomer to directing who came into Warner Brothers as a dialogue director. A dialogue director is not a studio role that exists today in the same title/capacity. But it was important when film transitioned from silents to talkies. A dialogue director would coach actors how to deliver lines for the camera, for optimal affect. It often forged a close and trusting communication liaison for the DD between the director and the actors. Normally, one would assume this would insult Bette’s demanding reputation for working with only the very best. But Bette had the idea that she favored the novice director, Rapper- for the purpose of taking charge herself. Overall, this tactic worked well for her. While Rapper went on to work with Bette in a couple more films- DECEPTION (1946) and THE CORN IS GREEN (1945), this was their best film collaboration.
Rapper was up for the task of taking on this melodrama (or ‘weepie’) with gusto. “My great teacher Michael Curtiz was originally supposed to have directed this picture but didn’t like it as a subject and preferred to do an action picture.” … “I insisted upon casting Now, Voyager myself; I was starting to sail high, and they gave me my head. So, I hired Claude Rains to play the psychiatrist [Dr. Jaquith] and Gladys Cooper, whom Hal Wallis had never heard of, to play the mother.”
London-born Claude Rains (1889 – 1967) made his American film debut as Dr. Griffin in THE INVISIBLE MAN (1933). He made a strong impression in every scene, even in supporting roles; in films in the 1930s such as THE ADVENTURES of ROBIN HOOD (1938) and MR. SMITH GOES TO WASHINGTON (1939). But he was in his most memorable films in the 1940s, including those co-starring with Bette Davis: MR. SKEFFINGTON (1944) and DECEPTION (1946). Plus, who could forget his roles in CASABLANCA (1942) and NOTORIOUS (1946)?
Dame Gladys Cooper (1888 – 1971) came from the London stage and was highly admired by Davis. Her career spanned seven decades across stage, film, and television. She was nominated for three Oscars for Best Actress in a Supporting Role- THE SONG OF BERNADETTE (1944), MY FAIR LADY (1965), and for today’s film as Charlotte Vale’s dominating mother. Although as revered as Cooper was, I find Rapper’s comment that Wallis had no knowledge of her existence to be suspect.
Like Rains, Paul Henreid (1908 – 1992) would go on to become one of Bette’s lifelong platonic friends. Henreid was born Paul Georg Julius Freherr von Hernried Ritter von Wassel-Waldingau, the son of an aristocratic banker in a prominent Jewish family. He grew up in Vienna and was educated in the top schools and eventually pursued acting, where he connected with Otto Preminger. He performed on stage, made a few Austrian films, then made his way to London in 1935. His first English-speaking film was GOODBYE MR. CHIPS (1939), then he appeared in a couple of films in a Nazi officer role, such as NIGHT TRAIN TO MUNICH (1940). Henreid was intensely anti-fascist, hence leaving his homeland. Ironically, many actors who fled that part of Europe during this time would frequently portray Nazis on-screen; often due to their accents, but also as a way to actively take part in exposing the villainous nature of the Third Reich to the world. He signed on to a contract with RKO in 1941. Henreid rose to popularity in films in the 1940s, often as the romantic lead. Most notably as Victor Laszlo in CASABLANCA (1942), but also in films like JOAN OF PARIS (1942), THE SPANISH MAIN (1945), and DEVOTION (1946).
It was during the McCarthyism era that Henreid firmly stood by his 1st Amendment rights, against the radical right-wing politics of the time and was critical of the HUAC tactics. Thus, he was labeled as a “communist sympathizer” and blacklisted in Hollywood. He found himself a political outcast, for all the right reasons, yet again in his life. But it would be Alfred Hitchcock that would give him another chance. In 1957, Hitchcock hired him to direct several of his popular “Alfred Hitchcock Presents” television shows. This led to Henreid directing several TV series (“The Virginian,” “Bonanza,” “The Big Valley”…) in the second chapter of this career. He would reconnect with his friend Bette Davis when he directed DEAD RINGER (1964), which also had a small role of a maid, portrayed by his daughter Monika Henreid. Paul was also known for a Hollywood rarity- a long and happy marriage- to his wife, Elizabeth “Lisl” Camilla Julia Gluck. They were married on New Years’ day in 1936, until his death in 1992. Lisl passed the year following. In full disclosure, Monika is a friend of mine.
From the first screen test for this WB newcomer with a continental style, Henreid and Davis became fast friends on the set of NOW, VOYAGER. “There was something about her manner, flirtatious and friendly, flattering and yet honest, that made you think of her as an immediate friend and a solid master of her craft.” Years later, he added, “I found her a delight to work to work with, and we got along famously …She has remained a dear, close friend -and always a very decent human being.”
One of the most memorable and oft repeated scenes in this film came from Paul’s own life. Initially it began altogether differently, based on screenwriter Casey Robinson’s script. Paul was instructed to offer Bette a cigarette, the light his own first, then take hers out of her mouth, giver his to her, and place her in his mouth. He practiced at home, and it was as awkward as it sounds. He brought an idea to Bette as a suggestion. Paul offered an idea to solve the problem. Whenever Paul Henreid and his wife Lisl were driving, he would light two cigarettes in his mouth and pass one to Lisl. Simple, seamless, and romantic. Bette loved it. Rapper despised it. Wallis approved. In fact, Hal Wallis liked it so much that he directed Robinson to add it not once, but three times in the script. The rest is cinematic history. Overall, Bette was such a fan of Olive Higgins Prouty’s writing that she would nitpick Robinson’s script to ensure it matched as closely as possible to her original novel.
In addition to the Warners lots in Burbank, filming locations included Big Bear Lake, Lake Arrowhead, other spots in San Bernardino Valley, Laguna Beach in CA, Whitley Heights in Hollywood, Harvard Medical School and campus, and Boston. Filming lasted from April 7, 1942 to June 23, 1942, with a few retakes on July 3rd. With filming running a little behind schedule, both Henreid and Rains reported for filming on the CASABLANCA set immediately following wrapping up this film. NOW, VOYAGER was released on October 31, 1942.
Bette Davis traveled to towns across the country following her work on this film to sell war bonds. After the idea invented by Bette Davis and John Garfield to welcome servicemen in the Hollywood area to see real stars up close, the Hollywood Canteen opened on October 3, 1942. (New York Stage Door was already operational but there was nothing similar in place for the LA based GIs.)
As we watch this film, let’s discuss the themes abound in this tale, including metamorphosis, mother guilt, emotional blackmail, pioneering concepts of psychotherapy and psychiatry, conditional love vs. unconditional love, and unconventional love. How do we see nods of Charlotte’s mother’s controlling and dominance? How does Max Steiner’s Oscar winning music play a role? Joseph Breen’s censorship office demanded they make a change from the novel regarding sex between Jerry and Charlotte. In the novel, the couple has sex the night in Brazilian hut in a storm. To appease Breen, there was even a request for separate blankets. In the film, we observe closely to note the sex is implied by the performances of Henreid and Davis. What other actor movements and exchanges imply sex or romance? What other intriguing uses of movement to illustrate these characters’ personalities do you see?
Cast and Crew:
Directed by: Irving Rapper
Writing by: Casey Robinson (screenplay), Olive Higgins Prouty (novel)
Produced by: Hall B Wallis
Music by: Max Steiner
Cinematography: Sol Polito
Art Direction by: Robert Haas
Costume Design by: Orry-Kelly
Bette Davis – Charlotte Vale
Paul Henreid – Jerry Durrance
Claude Rains – Dr. Jaquith
Gladys Cooper – Mrs. Henry Vale
Bonita Granville – June Vale
John Loder – Elliot Livingston
Ilka Chase – Lisa Vale
Lee Patrick – Deb McIntyre
Franklin Pangborn – Mr. Thompson
Katharine Alexander – Miss Trask
James Rennie – Frank McIntyre
Mary Wickes – Dora Pickford
Janis Wilson – Tina Durrance
