An Interview with Audrey Dalton on Olivia & Joan, Bob Hope, and William Castle

Born in Dublin in 1934, the beautiful and talented Audrey Dalton fashioned a film and television career that spanned three decades. In the 1950s, she acted alongside screen legends such as Olivia de Havilland and Richard Burton (My Cousin Rachel), Bob Hope (Casanova's Big Night), Barbara Stanwyck (Titanic), and Alan Ladd (Drum Beat). She also starred in cult film favorites The Monster That Challenged the World (1957) and Mr. Sardonicus (1961). In the 1960s, she was a frequent guest star in classic television series such as Wagon Train, Thriller, Perry Mason, and Gunsmoke. Ms. Dalton recently appeared at the Williamsburg Film Festival in Williamsburg, Virginia, and graciously agreed to an interview.

Café:  How did you get into acting?

Audrey Dalton at the 2016
Williamsburg Film Festival.

Audrey Dalton:  I had always wanted to ever since I was very little. I was fortunate enough that my family moved to London when I was 16. I later auditioned for the Royal Academy of Dramatic Art in London and was admitted. I was trained there and, while still at the Academy, a scout from Paramount Pictures saw me in a theater production. That led to an audition for a film in Hollywood. I came over for six months...and here I am. I'm not going to tell you how many years later (laughs).

Café:  So you had a contract with Paramount?

AD:  I was on contract to them for two years. I did loan-outs to Fox and then I became a free agent--not under contract anymore.

Café:  One of your first film roles was My Cousin Rachel. What was it like starring opposite Olivia de Havilland and Richard Burton?

Audrey Dalton and Richard Burton.

AD:  Olivia de Havilland--I was awestruck. It was Richard Burton's first movie in Hollywood. He was a character, such a raconteur. He'd talk and talk. I think he was a little intimidated by Olivia de Havilland, too. She was always so gracious for a major star. It was Richard Burton's first film and he had trouble shooting, as we do, in segments. He wanted to do the whole scene. He didn't like to do it again for different shots and different cuts. But he learned to do it. I saw My Cousin Rachel for the first time in about 30 years just the other night on television. I sat and watched it when I should have been packing to come here. It was a good movie and Richard Burton's performance was wonderful--all that fire and energy and with that wonderful speaking voice.

Café:  His character should have stuck with you instead of Rachel.

AD:  Well, who knows what might happened later after Rachel died? It was all shot on Twentieth Century-Fox's backlot except for the ocean scenes, on what is now Century City. If you have been in Beverly Hills, that's a huge shopping center. So, the place where I shot Titanic and My Cousin Rachel is now all buildings and hotels.

Café:  You starred with Olivia's sister, Joan Fontaine, in Casanova's Big Night. Did you get a feel for the relationship between the sisters? I have read where it was very cool.

AD:  I have heard that, too. But the subject never came up. Those were the kinds of things you didn't talk about. They were so different, in looks and personalities. Joan was very effervescent and a great match for Bob Hope. They just traded barbs all the time and laughed and joked.

Café:  What was it like playing in a Bob Hope comedy?

AD:  It was fun. On the set, he always had the same group of small-part players with him. He knew all these people and would make sure that they were included somewhere in his movie so they always had a job. He took care of people. He was very, very sweet. In fact, when I first came here, I was 18 and on my own. He had a son and a daughter, who were a little younger than me by a couple of years. On Sunday evenings, he would sometime take me to dinner with his wife. They would come pick me and take me to dinner because they figured I needed a little looking after. He and Dolores were kindness itself.

Café:  Did Bob Hope stick with the script when filming?

AD:  Oh, no! He drove the writers and the director crazy. He kept twisting lines to try to make them funnier. He would say "gon-dole-la" instead of "gondola," which the writers wanted him to say. It goes back and forth a bit in the movie.

Café:  How well did you get along with Alan Ladd on Drum Beat?

With Alan Ladd in Drum Beat (1954).

AD:  Alan Ladd was wonderful to work with--very professional. He was very quiet off the set, very much a gentleman. I knew his family in Los Angeles. My father had known Alan because they were both into race horses. When I came here, Alan was asked to keep an eye on me. He took me into his family. He had a daughter who was a student at UCLA and she and I became good friends. We're still friends.

Café:  Delmer Daves is one of my favorite 1950s film directors. How would you describe his working style as a director on Drum Beat?

AD:  He was very tall and gregarious. He had a wonderful background of stories. He knew every day what he was going to shoot and he coaxed and pulled to get people to do what he wanted. He was very upbeat, never down, and always smiling. The world was wonderful. I was so sad when I heard that he had passed away.

Café:  The Monster That Challenged the World has become a well-regarded science fiction film of the 1950s. What was your initial impression when you read the script?

That's not Audrey on the poster!

AD:  I was puzzled by it. I was a working actor. I believed that was my job and you did your job. In those days, I was not picking and choosing. I never really did, unless it was offensive or something I didn't want to do. I thought it was a very interesting experience--as all my movies were in different ways. The director, Arnold Laven, had formed a production company with Jules Levy and Arthur Gardner. The monster stuff was fun, crouching behind a desk with a monster breaking down the wall. But you had to play it very straight. Once you start seeing the funny side of it, it doesn't work. Tim Holt had come out of retirement to do this movie. He was a quiet, very nice man--the most "unactor" actor that I ever worked with. The film's poster features a woman in a bathing suit. People think it's me, but it was the actress whose character was drowned in the opening sequence. She's pulled into the water by the monster. We shot down on the beach for that. I think the rest of it was filmed along the California Aqueduct.

Café:  You and Jacqueline Scott both worked with William Castle on different films. What was it like working with William Castle on Mr. Sardonicus?

Dalton in Mr. Sardonicus.

AD:  William Castle loved those kinds of movies. He got such a kick out of enticing the audience. He would literally giggle and laugh. I even have shots at home of him in the torture chamber of Baron Sardonicus. One of the devices was called an iron maiden, which was like a sarcophagus tomb standing on end. But when you opened it, it had all these nails sticking out. I have a picture of William Castle going into it. Oscar Homolka was the butler and had this face that he could pull in five different directions and he'd threaten young maidens. The clothes, especially the gowns, were beautiful. I had a very good time making that movie.

Café:  You've appeared in a number of fine films and classic TV series. What are some of your favorite roles?

AD:  Usually, I loved the one I was in at the time...which is not giving you an answer. I loved going back to Wagon Train, because I knew everybody. I think I did eight episodes of Wagon Train. There was one where I had to sing an aria from La Traviata. I am one of those people who has been blessed with not having a voice to sing with...at all. I can't carry two notes. I needed to be singing this aria. So, the studio gave me a recording of it and I had to learn it by rote so you could see the throat muscles work during the scene. Later on, of course, they substituted a singing voice for mine. But the poor crew had to listen to me sing it on the set. They deserved some extra money for having to put up with the awful screeching.

Café:  I recently saw one of your Wagon Train episodes. It was one where you fell in love with a man who may have been John Wilkes Booth. We never know for sure.

AD:  I also remember "The Liam Fitzmorgan Story" episode, which had an Irish feel to it.

Café:  Can you still do an Irish accent?

Audrey Dalton and her daughter Tara.

AD:  Well, it's not too hard (spoken in an Irish accent). In fact, if I'm talking on the phone to people at home, it comes without even trying.

Café:  When people come up to you at conventions like this, are there one or two roles that they ask you about the most?

AD:  Titanic (1953) is a big one. People are interested in it and, of course, the Westerns. One of my favorites was a Bonanza episode with Mercedes McCambridge (1962's "The Lady from Baltimore"). I was trying to marry Little Joe and big brother knew what I was up to.

Café:  Were you bad?

AD:  Oh, I was bad! And with a scheming mother.

Café:  Do you have any upcoming projects you'd like to share with our readers?

AD:  I enjoy events like this and do them every once in awhile. We have great grandchildren now and I love to take care of them. My life is more domestic now.

My Cousin Rachel: Is Olivia de Havilland a Murderer?

Can you name two real-life sisters who each starred in a Hollywood adaptation of a Daphne Du Maurier novel? The answer, as you may have known, is Joan Fontaine and Olivia de Havilland. Joan naturally starred in Rebecca, Alfred Hitchcock’s 1940 Oscar-winner. Olivia portrayed the title role in 1952’s lesser-known, but equally compelling, My Cousin Rachel. It’s not surprising that Rebecca was the bigger hit of the two, given its all-star cast and the collaboration of Hitchcock and David O. Selznick. Also, it boasted a happy ending. But while I admire Rebecca, I find the intentionally ambiguous My Cousin Rachel to be the more intriguing film.

Richard Burton (in his first major screen role) plays Philip Ashley, a young man raised by his older cousin Ambrose on an isolated estate along the Cornish coast. The two men have a close relationship, as evidenced by Philip’s description of Ambrose as “father, brother, friend--everything in the world to me.” Thus, Philip is surprised when his cousin departs for an indefinite holiday in Italy for health reasons. That surprise only grows when he receives a letter from Ambrose announcing his marriage to Rachel Sangalletti, a widowed distant cousin. Weeks later, Philip receives a series of disturbing letters in which Ambrose accuses Rachel of trying to kill him. Philip rushes to Florence to see his cousin, only to learn that Ambrose has died and Rachel has vanished.

Philip confronts his cousin's widow.

Shortly after Philip’s return to Cornwall, Rachel (Olivia de Havilland) appears on an apparent pretense to deliver some of her late husband’s possessions. Philip wants to accuse her of Ambrose’s murder, even though there is medical evidence that a brain tumor may have caused his cousin’s paranoid behavior. However, Philip—like everyone else—finds Rachel to be completely charming. In fact, he begins to fall in love with her, despite rumors of questionable behavior on her part.

Philip searches for murder evidence.

There have been numerous films built around the “did they or didn’t they” premise (Suspicion, anyone?). But I can’t think of a movie that plays on that premise more skillfully than My Cousin Rachel. At various points during the film, the viewer is equally convinced that Rachel is a clever, money-grubbing murderer or an innocent woman coping with conflicting emotions. Her actions ensure that she remains a enigma. Rachel appears to return Philip’s affections, but she coldly turns down his marriage proposal. She nurses him when he is gravely ill, but rejects him again when he recovers. She announces her departure from Cornwall, but confides to a friend her strong feelings for Philip. We’re never sure if she’s wrestling with her emotions or just very devious.

As for Philip, there is no doubt that he is naïve and prone to quick decisions. He ignores sound financial advice from his solicitor. He rejects all criticism and acts peevish when he doesn’t get his way. One explanation for his behavior may be his desire to replace Ambrose with Rachel, as if the thought of being alone is more than he can bear. He dismisses any romantic interest in Louisa, his pretty neighbor and long-time friend. It’s as if only Rachel can fill the lonely void left by Ambrose.

Richard Burton and Olivia de Havilland excel at playing these complex characters. Daphne Du Maurier recommended Burton for the part. It’s not a subtle performance, perhaps because the stage-trained actor was still adjusting to the medium of film. However, his tendency to sometimes overplay works to his advantage, imbuing Philip with an almost manic personality. Burton earned an Academy Award nomination for Best Supporting Actor.

Richard Burton at age 27.

Some sources claim that Burton and de Havilland did not get along well. In his biography Richard Burton: Prince of Players, Michael Munn quotes de Havilland: “(Burton is) a coarse-grained man with a coarse-grained charm and a talent not completely developed.” However, in an interview with Irene Kahn Atkins, My Cousin Rachel’s director Henry Koster claimed there was no friction between his two stars. In reference to the young Burton, he stated: “Without him, this picture wouldn't have been what it was.”

Olivia de Havilland as Rachel.

For her part, Olivia de Havilland gives one of her best performances. She had not made a film in three years, but was still basking in the glow of critical acclaim for The Snake Pit (1948) and The Heiress (1949). Still, she was not the first choice for the title role in My Cousin Rachel. George Cukor considered directing the film at one time, with the goal of bringing Greta Garbo out of retirement to play Rachel. Vivien Leigh was also a candidate for the role before Olivia de Havilland was cast.

From a production standpoint, My Cousin Rachel looks impressive and believably recreates the Cornish coast (although some footage was shot in Cornwall). It’s no surprise that the film’s crew earned Oscar nominations for art direction, costume design, and cinematography (black & white).

Daphne Du Maurier’s novel was remade as a four-part British miniseries in 1983 with Geraldine Chaplin as Rachel and Christopher Guard as Philip. Alas, I’ve never seen it so I cannot make a comparison. It would have to be very good, though, to rank with the splendid 1952 version.


This review is part of the CMBA's Fabulous Films of the 1950s Blogathon. Click here to check out this wonderful blogathon's complete schedule.

Let the Countdown Begin! My 100 Favorite Films: From 100 to 91

The idea of listing one's 100 favorite movies seems daunting, unrealistic, and a wee pompous. First, I find it almost impossible to settle on a "top 100"--I'm always thinking of a fave I forgot to include. Furthermore, the definition of "favorite" seems to fluctuate based on my age and state of mind. And yet...I admit that I'm intrigued with lists, especially the countdown variety. I guess I'm just a list kind of guy.

During the Christmas holidays, I found a list of my favorite movies, which I'd compiled many years ago. To my surprise, about 70% of the films were still ones I enjoy watching every year or two. I thought it might be amusing to revise my list and do a monthly series of posts where I count down my faves from #100 to #1. Several of the films are ones I've reviewed at the Cafe, while others are pretty obscure.

My film tastes are pretty eclectic, so my favorites feature performers as diverse as Errol Flynn, Spencer Tracy, Deborah Kerr, Hayley Mills, and Bruce Lee (in fact, I list at least two films by each of those stars). There are Hammer films, foreign-language films, Disney, and Hitchcock. And there are robots, gargoyles, soldier ants, and even "humanimals." Let me stress that these are not what I consider the greatest films ever made (though some of them are). Rather, they are just one film buff's favorites.

Sadly, there were a handful of movies that just missed out on a place on the list. These honorable mentions include Trinity Is Still My Name, Young and Innocent, The Flim Flam Man, Body Heat, The Fury, Cornered, The Five Man Army, Repeat Performance, Star Trek II: The Wrath of Khan, and Random Harvest. And now, it's my proud pleasure to count down 100-91:

100. Ten Little Indians (1965)/John Carpenter’s The Thing - I know, I've already cheated by starting with a tie so I could squeeze in 101 favorite films. But the truth is that these two films both feature a setting and premise that have always appealed to me: an isolated snowy location and a murderer that could be anyone. I know plenty of movie lovers are aghast that I didn't pick the more renowned And Then There Were None. However, it's not set on a snow-covered mountain...and doesn't have a "murder minute."

99. Rocky - The variable quality of the sequels doesn't diminish the original, which presents a gritty, winning underdog story. Whenever it's on TV (which is a lot), I find myself compelled to watch it from whatever point I join the plot.

Natalie Wood recites Wordsworth.

98. Splendor in the Grass - OK, I admit it...I first saw this on the late show when I was around 18 and got the sniffles during the bittersweet closing scene. Natalie Wood is painfully vulnerable as an emotionally fragile young woman in love with Warren Beatty (who has problems of his own) during the late 1920s. A poignant script by the marvelous William Inge has Natalie quoting Wordsworth's Ode: Intimations of Immortality from Recollections of Early Childhood (the source of the title).

97. My Cousin Rachel - Atmospheric adaptation of Daphne du Maurier's haunting novel stars Richard Burton as an intense young man who falls in love with his new aunt (Olivia de Havilland)--even though he suspects her of murdering his uncle. Set among the rocky beaches of Cornwall with its crashing waves (I strongly recommend watching it at the beach).

Diane Lane in Streets of Fire.

96. Streets of Fire - Walter Hill's “rock n’roll fable” is a stylized blend of action, romance, and terrific music set in “another place, another time.” The plot seems lifted from a 1950s biker film, but the sometimes corny dialogue recalls “B” Westerns of the same period. Ignored for years, it's finally been recognized as a cult film, which is a small victory for dedicated fans like me.

95. Inherit the Wind - I love a good courtroom drama (there will be others on my list) and this is one of the best. The case, based on the "Scopes Monkey Trial" of 1925, certainly holds one's interest. However, what lingers are the brilliant performances of Spencer Tracy and Fredric March--plus the film's fascinating portrait of public opinion and the men that try to shape it.

94. The Best Man - Gore Vidal's sharply-observed look inside American politics stars Henry Fonda and Cliff Robertson as rivals fighting for their party's presidential nomination circa 1964. Both candidates harbor secrets that can destroy their political aspirations and their loved ones. This gripping drama features a stellar cast and a most satisfying and realistic conclusion.

Peggy Cummins as the carnival sharp-
shooter with more ambitious plans.

93. Gun Crazy (aka Deadly Is the Female) - Bart (John Dall) is a young man who has been obsessed with guns. After a troubled childhood, he appears to have gotten his life in order when he falls head over heels for Annie Laurie Starr (Peggy Cummins), a carnival sharpshooter who's nothing but trouble. This classic "B" film noir was the career highpoint for both its stars, who are simply marvelous and generate plenty of sparks. An obvious inspiration for the later Bonnie and Clyde...though I much prefer Gun Crazy.

92. Greyfriars Bobby - This forgotten British Disney film may be the finest examination of the special bond between humans and dogs. The plot is based on the amazing true story of a loyal Skye Terrier who slept on his master’s grave in an Edinburgh cemetery every night for 14 years. The low-wattage cast, featuring Donald Crisp and Laurence Naismith, gives sincere performances and the heartfelt story never turns maudlin.

Scary-looking and hard to kill...
because they're dead!

91. Jason and the Argonauts - The first 45 minutes establishes the backstory for this version of the Greek myth about the Golden Fleece. It's all quite well done, but once our heroes set foot on the island of Bronze, the movie becomes a magical experience courtesy of Ray Harryhausen's sensational special effects. Every fan has their favorite Harryhausen sequence, but my top two are both from Jason:  the capture of the winged Harpies and Jason's dual with the "dragon's teeth"--or as I call it--the breath-taking swordfight with the skeletons.

Next month, I'll count down 90-81, which will include the first of multiple list appearances by Alfred Hitchcock and Hammer Films, plus the place I'd like to take my wife for a second honeymoon.