A few months ago Carmel Magazine's Rebecca L. Knight interviewed Joan at her house in Carmel for a short feature.
In it Joan talks of her love for her dogs, her roses, and Cary Grant!
The interview can be found here, pages 82 through 85, or you can read it in full below.
Special thanks to tumblr user theotherdehavillandgirl for finding the interview!
Interview
On her spacious terrace that overlooks the Pacific, a plate
of smoked salmon tea sandwiches are arranged next to a split of champagne
inside a silver ice bucket. A minute later the cork is popped and Fontaine is proposing
a toast in her soft voice that is a blend of worldly richness and ingénue-like
charm. “Cheers to the day, to this glorious view, and to my beloved dogs.”
Born of British parents in Tokyo, she and her older sister,
the actress Olivia de Havilland, were brought to America by their mother to
Saratoga, California, when they were young girls. A hint of an upper class
British accent is still evident as Fontaine speaks. She is talking about
maintaining five dogs from the local S.P.C.A. “These are my dear, dear babies,”
she says with pride. So serious is her commitment to taking care of dogs who
may otherwise be headed for euthanasia, she takes a moment to explain that
recently a senior dog in her care died of old age. “We did not allow ourselves
more than a day to mourn. Instead I called the S.P.C.A., and got another dog
right away. We did not let ourselves cry on and on about his death. Life goes
on.”
The conversation runs the gamut; from politics—Fontaine is a
life-long Democrat—to her love of things that have nothing to do with
Hollywood. Through the years, she has pursued, and in some cases mastered, her
other interests. She is a licensed pilot, an accomplished equestrienne, a
licensed interior designer, fisherwoman, Cordon Bleu chef, and a hole-in-one
golfer. And then there are her roses.
More than 160 rose bushes flourish in an amphitheater shaped
garden that occupies a portion of the twoplus acres she owns in the Carmel
Highlands. Ascending tiers of Floribunda, Hybrid Tea, Damask, Grandiflora, and
English roses command her attention now, and she generously offers that a
bouquet be taken home. As if on cue, a gardener begins cutting as impossible
choices are made. (Later that afternoon, the bouquet of roses will reappear, arranged
in a vase, and placed inside a box with a cut out for transporting flowers by car.
Again, the consummate hostess.)
Asked how she found this ocean-bluff property, Fontaine
explains, “The husband of a newlywed couple was killed in a car accident
shortly after their marriage. The bride never took possession of the house and
it was put up for sale. It was overlooked by many prospective buyers because
they felt their view of the ocean was obstructed by the large Cypress trees.”
She gestures with a wide sweep of her arm towards the Pacific, saying, “I
realized the trees could be trimmed back without losing any of their beauty and
voila! View of ocean!” Straw hats notwithstanding, the heat of a noonday sun
prompts her to offer a tour of her home.
The downstairs reveals a chic recreation of the tony
Manhattan apartment she had before coming to Carmel. A tall corner shelf holds
an assortment of curios with the small trophy she won for that hole-in-one
sitting on a shelf above the Academy Award she won for best actress in Alfred
Hitchcock’s, “Suspicion!” She pauses to pick up the small golf trophy while
waving off the golden statuette that sits on a shelf below, saying, “Oh yes,
well there’s that.” One gets the sense that Fontaine has cordoned off the movie
business into a place within her life where it is kept behind a virtual velvet
rope of her own design. She pauses and says earnestly, “I have no interest in
Hollywood and I don’t miss it at all.” Still, she cannot escape the fact that
she is a movie icon from the Golden Age.
Fontaine made 47 films between 1935 and 1967 and she was the
only actress to win an Academy Award in a film directed by Alfred Hitchcock.
She also received Best Actress Academy Award nominations for “Rebecca” and “The
Constant Nymph.” She worked with Hollywood royalty and the list is staggering; Director
George Cukor, producer David O. Selznick, and leading men including Charles
Boyer, Laurence Olivier, Fred Astaire, Tyrone Power, Jimmy Stewart and Orson
Wells. Cary Grant wooed her in “Suspicion!” She talks at length and with
genuine affection about Grant. “He was the best leading man I ever worked with,”
and she allows the conversation to wind its way back to the proverbial
Hollywood “lot,” as she begins to reminisce.
Fontaine starred opposite Olivier in “Rebecca” in 1940 and
received an Academy Award nomination for what is considered her breakout
performance. She played a shy, innocent young woman who marries a wealthy widower.
He brought her to live at Manderley, the estate where he and his first wife
lived, and where his housekeeper maintained a destructive devotion to the first
wife. The film, of which some outdoor scenes were shot along the craggy Big Sur
coastline, won Fontaine found on-screen success with Alfred Hitchcock’s “Rebecca,”
co-starring Laurence Olivier (right). She was nominated for an Academy Award
for Best Actress, although she did not win for that film. Her home is decorated
sumptuously, but it is as refined and as understated as its owner. Best Picture
that year. Vivien Leigh, Katherine Hepburn, and Loretta Young were some of the leading
women who tested for producer Selznick for the role of the second Mrs. De Winter,
but he went with Fontaine and he brought Hitchcock in to direct. “Hitch and I
got along quite well. He was what they call an ‘actor’s director,’” Fontaine
begins. “At the time, Olivier was engaged to Vivien Leigh and he wanted her to
play my role. Hitch came to me the first week of shooting and told me that
Olivier said that I was awful and that Vivien was the only one that should play
opposite him. To be so young and to be handed that kind of information! I kept
my head down and did my work and although I couldn’t stand Larry for saying
that, I don’t think it ever showed.”
Walking by one of the dining chairs, she pauses to pick up a
small needlepoint pillow and giving it a slight fluff, she comments, “A gift
from Salvador Dali. He made it for me.” Returning to the subject, Fontaine
explains, “The cast were all British and a cliquey bunch. They didn’t include me
in anything. No chats off set, mind you.” Her tone is matter-of-fact and there
is no trace of bitterness or even a hint of an old grievance. “It made me so
nervous that it affected the way I approached the role I played. I was on edge
all the time during the filming because I could feel their dislike towards me.
It was positively palpable. Hitch never interceded on my behalf. But genius
that he was, he allowed it to continue and because of that I stayed in this
very tense state while filming and that is just what the role called for.”
Going upstairs, Fontaine moves from room to room as she
comments on the décor and answers questions about the provenance of particular
pieces of furniture and fine art. Her home is decorated sumptuously, but it is
as refined and as understated as its owner.
She moves into her library and stretches out on a sofa. Her
ever-present dogs come and go and each one receives a pet and loving words from
her. In the waning hours of the daylight, the conversation has turned away from
Hollywood and onto the stage. Fontaine admits she was happiest doing live
theater and she feels the best work of her career was on the boards. She conquered
Broadway in “Forty Carats,” Noel Coward’s “Private Lives,” “Cactus Flower,” and
“The Lion in Winter,” where she played her favorite role of her career, Eleanor
of Aquitaine. On playing that role in Vienna, she quips, “Best reviews of my
life for that one.”
Remembering a thread of conversation earlier about her passion
for opera, she suddenly hops up with the grace of a dancer and moves across the
room to the stereo. Putting on an aria by Puccini, the music of “Un bel di,” (one
fine day) from “Madame Butterfly” begins to soar and Joan Fontaine breaks into
her signature smile. It is a beguiling combination of wistful elusiveness. She
gives a slight wink. It has been one fine day at Villa Fontana.
6 comments:
What an awesome article! Gosh, wouldn't it have been fun to have been the one to visit her home and interview her?!
Thanks for sharing.
That's what I was thinking! I'd probably end up stealing her Oscar or something though.
Not a problem, glad you enjoyed it
I think the writer did take liberties, as Joan always states Boyer as her favorite leading man, not Grant.
Mrs de Winter interviewed by Rebecca? How interesting!
Thank you very much for posting the entire article.
It would be fantastic if she also took some photos of Villa Fontana though.
I loved that story on Joan Fontaine. I read somewhere that the writer was the last person to interview her and that Fontaine had never allowed anyone to interview her at her home in Carmel so that's pretty cool.
Thank you for the comments, everyone.
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