Cathy O' Donnell
Cathy O' Donnell
Gave a great performance in her film debut The Best Years of Our Lives" and was equall to, IMHO, Eleanor Parker and Lee Grant in Detective Story .After she married William Wyler's brother her career almost came to a halt, due to, it is said, producer Samual Goldwyn's pique at her marriage to the much older Robert Wilder. She died at age 45 from cancer !
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movieman1957
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moira finnie
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Hi Ken,
I thought you might like something about Cathy O'Donnell from Farley Granger's memoir, Include Me Out, which I just finished reading.
When Granger came home from the Navy at the end of WWII, Sam Goldwyn said that he intended to cast him as the wounded veteran in Best Years of Our Lives, though as the actor generously acknowledges, Harold Russell was far better than he ever could have been in that part. The best part about the pre-production period of BYOOL for Granger was the chance it gave him to meet and get to know fellow contract player at the Goldwyn studios, Cathy O'Donnell. Both fledgling actors realized that they had alot to learn and sought to hone their acting skills by working on various scenes together. Here's Farley's initial take on her:
It was most unfortunate that her talent wasn't nurtured as it should have been, though her work in 'Best Years...' and 'They Live...' and Detective Story will certainly be cherished by those who are touched by her gentle beauty.
Oh, and btw, Robert Wyler & Cathy O'Donnell remained married for 22 years until her unfortunate early demise on April 11, 1970, (their wedding anniversary).
I thought you might like something about Cathy O'Donnell from Farley Granger's memoir, Include Me Out, which I just finished reading.
When Granger came home from the Navy at the end of WWII, Sam Goldwyn said that he intended to cast him as the wounded veteran in Best Years of Our Lives, though as the actor generously acknowledges, Harold Russell was far better than he ever could have been in that part. The best part about the pre-production period of BYOOL for Granger was the chance it gave him to meet and get to know fellow contract player at the Goldwyn studios, Cathy O'Donnell. Both fledgling actors realized that they had alot to learn and sought to hone their acting skills by working on various scenes together. Here's Farley's initial take on her:
By the time that the two did work together on Nicholas Ray's They Live By Night, their rapport was very real, (though not romantic, they were very close)--something that I think shows beautifully on screen. Their work together in Side Street was less happy due to the relative blandness of the script. Once Cathy O'Donnell married the much older Robert Wyler, according to Granger, her career was essentially over. The reason for this was that Sam Goldwyn, who was feuding with William Wyler (Robert's brother) at the time, demanded that O'Donnell annul her marriage since Wyler's brother was, "only marrying her to spite Goldwyn". Understandably very upset, Cathy O'Donnell's contract with Goldwyn was cancelled, and she may have been, as Farley Granger was later to hear about himself as well, essentially blackballed in Hollywood from the central roles she might have been right for as she matured. One example of a lost part that she would have brought something special to in the post-war era was in Enchantment (1948), a delicate romance with Granger playing opposite Evelyn Keyes in a part seemingly tailor made for O'Donnell's delicate touch.Cathy was very different from anyone I had ever met. She was lovely, shy, wistful, and ethereal. I felt an instant urge to protect her. We hit it off right away and set up a schedule to work together with a coach.
It was most unfortunate that her talent wasn't nurtured as it should have been, though her work in 'Best Years...' and 'They Live...' and Detective Story will certainly be cherished by those who are touched by her gentle beauty.
Oh, and btw, Robert Wyler & Cathy O'Donnell remained married for 22 years until her unfortunate early demise on April 11, 1970, (their wedding anniversary).
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Ann Harding
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How interesting, Moira! 
I am also a great fan of Cathy O'Donnell ever since I saw her in They Lived By Night.
Farley Granger's memoirs sounds very interesting. I am not surprised by Goldwyn's attitude. He was notorious for his bad temper and his 'evil way' with actors. David Niven left also Goldwyn in pretty bad terms and he was suddenly unable to get any job with any other producer/studio for a while. Goldwyn could get somebody blacklisted, no doubt about it! 
I am also a great fan of Cathy O'Donnell ever since I saw her in They Lived By Night.
Farley Granger's memoirs sounds very interesting. I am not surprised by Goldwyn's attitude. He was notorious for his bad temper and his 'evil way' with actors. David Niven left also Goldwyn in pretty bad terms and he was suddenly unable to get any job with any other producer/studio for a while. Goldwyn could get somebody blacklisted, no doubt about it! -
moira finnie
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Hi Ann,
In some ways, as A.Scott Berg outlines in his terrific bio of the mogul, Goldwyn: A Biography, the mercurial Sam Goldwyn often seemed to be his own worst enemy and, though he produced some truly wonderful films, in his private life he could be rather ham-fisted and clumsy, even while trying, apparently, to be protective of others. I wondered after reading Berg's book if some of Goldwyn's attempts to be controlling as well as accommodating might have emerged from his sometimes amusing struggles with the English language. A canny businessman, who walked a financial tightrope for much of his career, Goldwyn seemed sort of sympathetic in the end. Farley Granger mentions in his book that in retrospect, he now believes that creatively Goldwyn's career ended in 1946 with Best Years of Our Lives. The sand ran out of the producer's hour glass even more rapidly when William Wyler left his studio for good, to be followed by many of the contractees such as Granger & O'Donnell as well as Niven.
One book that brings out Sam Goldwyn's attempts to foster a good working atmosphere earlier in his career is Adventures of a Hollywood Secretary: Her Private Letters from Inside the Studios of the 1920s by Valeria Belletti, (forward by Sam Goldwyn Jr. and edited by Cari Beauchamp). This slim volume documents the inner workings at Goldwyn's studio in the '20s (when a certain R. Colman & G. Cooper showed up on the lot) by a very observant young woman from a background outside of show biz, (who was simply trying to make a living and spread her wings a bit). If you haven't read it, I think that you might enjoy this little book very much. I'd love to read your reaction to it too. Belletti was never intimidated by nor dependent on the mogul since she had worked for somer very high powered NY attorneys prior to her employment at the studio, and had a strong sense of her own worth. Sam Goldwyn, and Goldwyn's wife Frances Howard, came to rely on Belletti for a time--especially when it came to writing Sam's letters!
In some ways, as A.Scott Berg outlines in his terrific bio of the mogul, Goldwyn: A Biography, the mercurial Sam Goldwyn often seemed to be his own worst enemy and, though he produced some truly wonderful films, in his private life he could be rather ham-fisted and clumsy, even while trying, apparently, to be protective of others. I wondered after reading Berg's book if some of Goldwyn's attempts to be controlling as well as accommodating might have emerged from his sometimes amusing struggles with the English language. A canny businessman, who walked a financial tightrope for much of his career, Goldwyn seemed sort of sympathetic in the end. Farley Granger mentions in his book that in retrospect, he now believes that creatively Goldwyn's career ended in 1946 with Best Years of Our Lives. The sand ran out of the producer's hour glass even more rapidly when William Wyler left his studio for good, to be followed by many of the contractees such as Granger & O'Donnell as well as Niven.
One book that brings out Sam Goldwyn's attempts to foster a good working atmosphere earlier in his career is Adventures of a Hollywood Secretary: Her Private Letters from Inside the Studios of the 1920s by Valeria Belletti, (forward by Sam Goldwyn Jr. and edited by Cari Beauchamp). This slim volume documents the inner workings at Goldwyn's studio in the '20s (when a certain R. Colman & G. Cooper showed up on the lot) by a very observant young woman from a background outside of show biz, (who was simply trying to make a living and spread her wings a bit). If you haven't read it, I think that you might enjoy this little book very much. I'd love to read your reaction to it too. Belletti was never intimidated by nor dependent on the mogul since she had worked for somer very high powered NY attorneys prior to her employment at the studio, and had a strong sense of her own worth. Sam Goldwyn, and Goldwyn's wife Frances Howard, came to rely on Belletti for a time--especially when it came to writing Sam's letters!
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Ann Harding
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Hi Moira!
I have read both A. Scott Berg's Bio and Belletti's letters. You're right they provide both some very interesting views of Goldwyn.
But, I was somewhat disappointed by Berg's volume. His assessment regarding movies are downright mediocre. I even wonder if he actually bothered to watch some these films. He goes on at length about the mutli-oscar winning The Best Years of Our Lives (a terrific picture, I agree) and says very little on his silent production and early 30s films. A. Scott Berg is certainly a good biographer, but, I question his actual knowledge of the history of cinema. I would contrast his book with Lee Server's bio of Robert Mitchum which I find terrific in terms of film knowledge. I can't wait to ask him some questions.
I have read both A. Scott Berg's Bio and Belletti's letters. You're right they provide both some very interesting views of Goldwyn.
But, I was somewhat disappointed by Berg's volume. His assessment regarding movies are downright mediocre. I even wonder if he actually bothered to watch some these films. He goes on at length about the mutli-oscar winning The Best Years of Our Lives (a terrific picture, I agree) and says very little on his silent production and early 30s films. A. Scott Berg is certainly a good biographer, but, I question his actual knowledge of the history of cinema. I would contrast his book with Lee Server's bio of Robert Mitchum which I find terrific in terms of film knowledge. I can't wait to ask him some questions.
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moira finnie
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Hi Ann,
I suspect that Berg's interest in Goldwyn may not have extended to the earliest films. Berg seemed to spend more time on the business machinations of Mr. G. and his cohorts in the '20s rather than the films. I think that A. Scott Berg, who had no particular interest in Hollywood prior to being approached by Sam Goldwyn Jr. about writing his bio of his father, was at his best as a biographer when writing about Maxwell Perkins and Lindbergh from that same era. I didn't care much for the Kate Remembered book either. It was too sad and seemed exploitive by being published so soon after Hepburn's death.
Did you like the Belletti book? I found myself becoming most concerned with the course of her life by the end of the letters rather than her experiences on the fringes of Hollywood, (though her comments were pretty incisive).
Ken, old bean,
Don't you think that a.) Haldeman might have been lying (it wouldn't be the first time), and b.) Goldwyn's judgment might have been quite impaired by the time that Nixon gave him that honor and c.) can you show me a Hollywood Mogul from that period who didn't love power, the trappings of power, and the talismans of power and d.) don't you think Goldwyn was probably a Republican?
Also, in the latter days of his life, Goldwyn seems to have been a rather forlorn and neglected figure, culturally and actually. Maybe he responded to the attention so positively and effusively because of this feeling?
To return to Cathy O'Donnell...do you have a favorite part that she played?
I suspect that Berg's interest in Goldwyn may not have extended to the earliest films. Berg seemed to spend more time on the business machinations of Mr. G. and his cohorts in the '20s rather than the films. I think that A. Scott Berg, who had no particular interest in Hollywood prior to being approached by Sam Goldwyn Jr. about writing his bio of his father, was at his best as a biographer when writing about Maxwell Perkins and Lindbergh from that same era. I didn't care much for the Kate Remembered book either. It was too sad and seemed exploitive by being published so soon after Hepburn's death.
Did you like the Belletti book? I found myself becoming most concerned with the course of her life by the end of the letters rather than her experiences on the fringes of Hollywood, (though her comments were pretty incisive).
Ken, old bean,
Don't you think that a.) Haldeman might have been lying (it wouldn't be the first time), and b.) Goldwyn's judgment might have been quite impaired by the time that Nixon gave him that honor and c.) can you show me a Hollywood Mogul from that period who didn't love power, the trappings of power, and the talismans of power and d.) don't you think Goldwyn was probably a Republican?
Also, in the latter days of his life, Goldwyn seems to have been a rather forlorn and neglected figure, culturally and actually. Maybe he responded to the attention so positively and effusively because of this feeling?
To return to Cathy O'Donnell...do you have a favorite part that she played?
Haldeman not telling the truth ! OMG , I would never think such a thing about one of Richard Nixon's most trusted comrades ! Oops !
My favorite Cathy O' Donnell role was as the girl next store ( Wilma ) waiting for her intended ( Harold Russell ) to come come in The Best Years of Our Lives. IMHO it is one of the most poignant and moving performances in the history of films.
My favorite Cathy O' Donnell role was as the girl next store ( Wilma ) waiting for her intended ( Harold Russell ) to come come in The Best Years of Our Lives. IMHO it is one of the most poignant and moving performances in the history of films.
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Ann Harding
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Regarding Belletti, I consider it a rough document. As I am interested in Goldwyn's early productions, it's an interesting account about the Goldwyn productions of the time, though on the fringe. I agree that there are far too much personal details regarding Belletti which is of little interest. This is really a book for somebody like me looking for some documents about a particular era, not a great book per se. As for Cari Beauchamp, her comments contains a LOT of factual errors, alas.....I wished editor/authors spent more time checking their text.
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moira finnie
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Ann Harding
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Moira, if you want to discover Frances Marion, I urge you to read her own memoirs: Off With Their Heads. It's a brilliant book, very well written. With a few brush strokes she can make anybody come alive! 
As for the Cari Beauchamp volume, I haven't read it but I have seen the documentary's Without Lying Down: it's very weak compared with Marion's memoirs. Off With Their Heads offers a fascinating view of American cinema from the 10s to the 30s. You'll meet all the great stars: Marie Dressler, Lillian Gish, Mary Pickford, etc....and also some young beginners like Joe Stern in 1914 who became later Joseph von Sternberg!
An absolute must!
As for the Cari Beauchamp volume, I haven't read it but I have seen the documentary's Without Lying Down: it's very weak compared with Marion's memoirs. Off With Their Heads offers a fascinating view of American cinema from the 10s to the 30s. You'll meet all the great stars: Marie Dressler, Lillian Gish, Mary Pickford, etc....and also some young beginners like Joe Stern in 1914 who became later Joseph von Sternberg!
An absolute must!