Olivia de Havilland Movies

As indicated by the title, The Woman He Loved is the story of the romance between Britain's King Edward VII (Anthony Andrews) and American divorcee Wallis Warfield Simpson (Jane Seymour). Forbidden by the Church of England and Royal Protocol to wed Mrs. Simpson, Edward abdicates in 1936, spending the rest of his life with his beloved Wallis as the world's most visible non-paying guest. Told in flashback (Wallis, preparing for Edward's funeral in 1972, reflects on their life together), this made-for-TV movie manages to sidestep the pricklier aspects of Edward's post-monarch existence, notably his heavy drinking, his flirtation with Nazism his attempts to avoid military service during World War II. Olivia De Havilland, Julie Harris, Robert Hardy, Lucy Gutteridge and Phyllis Calvert are among the familiar faces dotting the supporting cast. The Woman He Loved was first telecast April 3, 1988. ~ Hal Erickson, Rovi

This six-part, 12-hour miniseries was a sequel to the 1985 "mini" North and South, and like its predecessor it was based on a novel by John Jakes (Love and War). In the tradition of The Birth of a Nation (but without the negative racist content), North and South, Book II followed the fortunes of two large families during the Civil War: the Hazards of Pennsylvania and the Mains of South Carolina. As former friends Orry Maine (Patrick Swayze) and George Hazard (James Read) find themselves on opposite sides of the conflict, Orry's sweetheart Madeline (Lesley-Anne Down) is left at the mercy of her sadistic husband Justin LaMotte (David Carradine) and Orry's vixenish sister Ashton (Terri Garber), while George's amour Constance (Wendy Kilbourne) was saddled with an equally disreputable family. Though the series was top-heavy with villains, there was enough time left over for the heroes of the war, notably Abraham Lincoln (Hal Holbrook) and Ulysses S. Grant (Anthony Zerbe). First telecast over the ABC network from May 4-8 and May 11, 1986, North and South, Book II was re-telecast in a six-week block from May 13 to June 17, 1989. ~ Hal Erickson, Rovi

The Royal Romance of Charles and Diana was one of two 1982 TV movies inspired by the 1981 wedding of the Prince of Wales--and, like the competing Charles and Diana: A Royal Love Story was all glitter and no substance. Christopher Baines plays Prince Charles like a Monty Python imitation, while Catherine Oxenberg, a cousin of the real Charles, is decorative as Lady Diana Spencer. This leaves the real acting in the hands of Dana Wynter as Queen Elizabeth, Olivia De Havilland as the Queen Mother, and Stewart Granger as Prince Philip (if you must know, the ever-popular John Hadden portrays Prince Andrew). The fact that Catherine Oxenberg was a blood relative of the Prince of Wales did not prevent her from starring in the 1992 "sequel," Charles and Diana: Unhappily Ever After (We need not go into the shabby history of the Royals in this essay. ~ Hal Erickson, Rovi

The phenomenal success of the 1977 ABC miniseries Roots all but demanded a sequel to writer Alex Haley's epic story of his African and African-American forebears. Debuting February 18, 1979, Roots: The Next Generations picked up where its predecessor left off, with Haley's slave ancestors winning their freedom in the aftermath of the Civil War. Even so, life for black Americans was wrought with hardship and oppression thanks to the rise of the Ku Klux Klan, the staunch refusal of the white power structure to pass anti-lynching laws, and the formation of the dreaded Jim Crow laws which legalized racial segregation in the South (and much of the North). Covering the period from 1882 to the mid-1970s, the miniseries first focuses on blacksmith Tom Harvey (Georg Stanford Brown), great-grandson of Kunta Kinte (the protagonist of the original Roots), and his family. Meanwhile, reacting to the marriage of his son to a black woman, anal-retentive Southern colonel Warner (Henry Fonda) begins setting the legal wheels in motion to deny blacks like Tom the right to vote and to hold "white" jobs. A few decades later, Tom's son-in-law encourages his fellow blacks to stand firm against the KKK's reign of terror. His labors on behalf of his race are rewarded when his daughter Bertha (Irene Cara) becomes the first descendant of Kunta Kinte to receive a college education. It is Bertha Palmer who weds the equally ambitious Simon Haley (Dorian Harewood), who goes on to serve in WWI and to organize farmers and sharecroppers during the Depression. Simon's son Alex (played at various ages by Kristoff St. John, Damon Evans, and finally James Earl Jones) is just as determined to succeed in a white man's world as his father, and to that end becomes a professional writer after his own service stint in the Coast Guard during WWII. At the height of his professional success (largely due to his having ghost-written the autobiography of Muslim activist Malcolm X), Alex Haley pays a visit to his boyhood hometown -- where, almost by accident, he receives the first clue to his heritage, a clue that will lead him on an odyssey of self-discovery, arriving full circle at Kunta Kinte's birthplace in Africa. Although the miniseries' "money scene" was Haley's nervous interview with American Nazi Party leader George Lincoln Rockwell (Marlon Brando in a superb cameo turn), the climactic episode, in which Haley tearfully embraces the living African descendants of Kunta Kinte, is one of the most unforgettable moments in the history of network television. Running 12 episodes and 14 hours, Roots: The Next Generations concluded on February 25, 1979, playing to huge ratings all along the way and ultimately garnering several Emmy nominations (and one win). ~ Hal Erickson, Rovi

The story in this lavish cinemadaptation of Alexandre Dumas' The Man in the Iron Mask remains faithful to the original novel: the right heir to the throne of France is imprisoned in a dungeon by his evil twin brother, his identity kept secret with an uncomfortable iron mask. It's up to the aging D'Artagnan and his three Musketeer companions to set things aright. Though the action takes place in France, the film was rather obviously lensed in Austria, adding an exotic touch to the proceedings. Beau Bridges does double duty as the "right" and "wrong" King Louis, while Beau's dad Lloyd Bridges plays Aramis. Alan Hale Jr. essays the role of Porthos, just as he'd done in 1951's At Sword's Point; also carried over from the 1951 film is Cornel Wilde as D'Artagnan. Other seasoned veterans in the cast include Jose Ferrer (Athos), Ursula Andress (Mme. De la Valliere), Olivia DeHavilland (Queen Anne) and Rex Harrison (Colbert). The Fifth Musketeer was also released as Behind the Iron Mask. ~ Hal Erickson, Rovi

Liv Ullman portrays a female pope -- based on a long-held rumor that the papacy was held by a woman between the reigns of Leo IV and Benedict III -- in this rambling saga directed by Michael Anderson. The British version of the film has been cut, not only removing twenty-one minutes of the film but also an entire contemporary framing story. In the full version, a modern-day woman evangelist, played by Ullman, who feels an affinity to the legendary Pope Joan, pays a visit to her psychiatrist (Keir Dullea). Searching through her past lives to see whether she is the reincarnation of Pope Joan, the film then flashbacks 1000 years to pick up Joan (Ullman in an earlier incarnation of her character) undergoing a succession of trials and tribulations. Joan then meets up with and becomes the mistress of Adrian (Maximilian Schell), a monk with an artistic bent. After the death of Charlemagne when roving bands of Saxons are raping women and ransacking the countryside, Joan flees the country by cutting her hair short and dressing like a man. Together Joan and Adrian escape to Greece. In Greece, Joan's street-corner preaching draws the attention of Pope Leo IV (Trevor Howard), who is impressed by her impassioned rendering of the Gospel. Still disguised as a man, Pope Leo, clueless as to her true sex, hires her as his secretary. From there, she rises up the ladder of the Roman Catholic Church, becoming a cardinal and then Pope Leo's successor. But then she becomes pregnant by a lover from her past (Franco Nero) and Joan must hide her delicate condition from the papal authorities and the rowdy masses. ~ Paul Brenner, Rovi

Based on Harold Robbins' bestseller, The Adventurers stars Yugoslav heartthrob Bekim Fehmiu as Porfirio Rubirosa clone Dax Xenos. Having suffered mightily as a child in a fictional South American country due to the political activities of his parents, Xenos grows up to become a sleazy, sexually manipulative playboy. He romances middle-aged widow Olivia de Havilland, then dumps her after he's run through her fortune. He then takes up with heiress Candice Bergen, who bears his child. When the kid is killed and Xenos turns his back on her, Bergen finds solace in lesbianism. All the while, Xenos is fomenting revolutions aimed at toppling the Trujillo-like despot (Alan Badel) responsible for the death of his father. The Adventurers received a lot of magazine coverage due to a poolside nude scene and the "guess who this is supposed to be?" nature of the cast of characters. But it failed to establish Bekim Fehmiu as an international star. ~ Hal Erickson, Rovi

Olivia de Havilland stars in this sensationalistic shocker as Mrs. Halyard, a wealthy widow recuperating from a broken hip. Inside her mansion, she becomes trapped between floors in her elevator. She activates an emergency alarm but succeeds only in attracting the attention of the wino (Jeff Corey), who steals goods from her house and sells them to a fence. The wino visits Sade (Ann Sothern), a prostitute, who spreads the plight of Mrs. Hilyard's dilemma to three young hoods, Randall (James Caan), Elaine (Jennifer Billingsley), and Essie (Rafael Campos). The trio follows the wino and the hooker back to the mansion, where they have an orgy, kill the wino, and lock Sade in a closet. Randall taunts Mrs. Hilyard and confronts her with a nasty suicide note from her son, Malcolm (William Swan). Mrs. Hilyard, mustering up her strength, attempts to fight back against Randall and the two other goons. ~ Paul Brenner, Rovi

A man is forced to prove who he really is -- and discovers that it isn't as easy as one might think -- in this drama. Sir Mark Loddon (Dirk Bogarde) is a titled member of the British aristocracy who lives a life of wealth, privilege, and notoriety, until one day Jeffrey Buckenham (Paul Massie), a pilot from Canada, makes a startling accusation. Buckenham and Loddon were both inmates in the same POW camp during WWII, and Buckenham is convinced that Loddon is not the man he claims to be; Frank Welney, an actor who was also a prisoner in the same camp, bore a striking resemblance to Loddon, and he is convinced that the actor has taken Loddon's place. The press picks up Buckenham's story, and the question of Loddon's identity becomes the talk of all England; Lady Maggie Loddon (Olivia de Havilland), Mark's wife, is deeply offended and insists that he sue for libel to restore his good name. Mark obtains the services of Sir Wilfred (Robert Morley), one of the nation's best-respected attorneys, but it soon becomes evident that proving Mark's identity in court may not be as simple as it might seem; Mark suffered severe head injuries during the war that cause him to stutter at times and also result in periodic spells of amnesia; the testimony of the many witnesses called by Sir Wilfred and his opponent, Hubert Foxley (Wilfrid Hyde-White), establish no clear consensus of who Loddon really is. Libel was based on the popular stage drama by Edward Wooll. ~ Mark Deming, Rovi

The offspring of the American ambassador to France (the star was then living in Paris with her journalist husband), De Havilland tries to dissuade narrow-minded senator Adolphe Menjou from declaring Paris "off limits" to American servicemen. One such man in uniform is sergeant John Forsythe, who falls in love with De Havilland, whom he mistakes for a model. Eventually Menjou is shown the error of his ways through the combined efforts of De Havilland and his own wife Myrna Loy, while Our Heroine finds true happiness as an Army wife. The Ambassador's Daughter was produced, written and directed by Norman Krasna, a renowned Hollywood wit whose comic gifts were apparently left back in California on this occasion. ~ Hal Erickson, Rovi

Ambitious but impecunious medical student Lucas Marsh (Robert Mitchum) marries the older and (in this film, at least) not especially attractive Kristina Hedvigson (Olivia de Havilland) so that she can pay his tuition fees. Kristina loves Lucas, but he loves nothing but his work. Emotionally shutting himself off from everyone -- including best friend, Alfred Boone (Frank Sinatra), and drunken dad, Job Marsh (Lon Chaney Jr.) -- Lucas survives his training and goes to work as the assistant to tough but tender small-town medico Dr. Runkleman (Charles Bickford). He enters into an affair with wealthy Harriet Lang (Gloria Grahame) (watch for the symbolism-laden tryst in the horse barn!), obliging Alfred, now a big-city doctor, to try to patch up his pal's marriage. But Lucas feels nothing and needs no one because he's come to think of himself as the perfect physician, incapable of making an error. When Lucas fails to revive his mentor Dr. Runkleman during heart surgery (a genuine heart is used in the "massage" close-ups), the young doctor suddenly realizes that he's not infallible after all. He wanders aimlessly through town, finally returning to his wife and collapsing into her arms, sobbing "Help me! Please help me!" Cameo players range from Broderick Crawford as a Jewish doctor denied entry into medicine's upper circles to Carl Switzer as a bug-eyed patient. The film was adapted from the best-selling novel by Morton Thompson. ~ Hal Erickson, Rovi

Henry James based his 1881 novella Washington Square on a real-life incident, wherein a young actor of his acquaintance married an unattractive but very wealthy young woman for the express purpose of living the rest of his life in luxury. Washington Square was turned into a stage play in 1946 by Ruth and Augustus Goetz; this, in turn was adapted for the movies under the title The Heiress. Olivia DeHavilland won an Academy Award (her second) for her portrayal of Catherine Sloper, the plain-Jane daughter of wealthy widower Dr. Austin Sloper (Ralph Richardson). Catherine is not only unattractive, but lacks most of the social graces, thanks in great part to the domineering attitudes of her father. When Catherine falls in love with handsome young Morris Townsend (Montgomery Clift), she is convinced that her love is reciprocated, else why would Morris be so affectionate towards her? Dr. Sloper sees things differently, correctly perceiving that Morris is a callow fortune hunter. Standing up to her father for the first time in her life, Catherine insists that she will elope with Morris; but when Dr. Sloper threatens to cut off her dowry, Morris disappears. Still, Catherine threatens to run off with the next young man who pays any attention to her; Sloper, belatedly realizing how much he has hurt his only child, arranges to leave her his entire fortune. Years pass: Morris returns, insisting that he'd only left because he didn't want to cause Catherine the "grief" of being disinherited. Seemingly touched by Morris' "sincerity", Catherine agrees to elope with him immediately. But when Morris arrives at the appointed hour, he finds the door locked and bolted. Asked how she can treat Morris so cruelly, Catherine replies coldly "Yes, I can be very cruel. I have been taught by masters." Though The Heiress ends on a downbeat note, the audience is gratified to know that Catherine Sloper has matured from ugly-duckling loser to a tower of strength who will never allow herself to be manipulated by anyone ever again. ~ Hal Erickson, Rovi