The Two Faces of Joan Fontaine: ‘Born to Be Bad’ 1950

 

(L) Joan Fontaine as conniver Christabel in 1950's "Born to Be Bad."
(R) Carol Burnett from her TV show, spoofed this noir soap as "Raised to Be Rotten!"

By the end of "Born to Be Bad," everyone wants to strangle Christabel, even herself!

Born to Be Bad is a film noir soap opera that toys with Joan Fontaine's on-screen persona. In the role referenced in the title, Joan's seemingly demure miss recalls the cinematic bouquet of shy English roses that Fontaine played in the '40s. Here, this rose reveals her thorns, as the poor relation who’s a two-faced schemer. Fontaine's memoir was titled No Bed of Roses, ironic since a Bad character sneeringly refers to her schemer’s life in a rich marriage as such. Fontaine was also known off-screen for her sharp-tongued wit. On-screen, her characters were usually soft, wide-eyed, one brow raised, with a Mona Lisa smile. 

Christabel Caine comes to San Fran! "Born to Be Bad's" Joan Fontaine with her
go-to expression, the arched eyebrow, slight smile, and "Who, me?" expression!

As conniving Christabel Caine, Joan and director Nicholas Ray use the Fontaine image very cleverly. As other movie fans have noted, Christabel's tactics are much like the same year's passive/aggressive villain, Eve Harrington, in 1950’s All About Eve. Fontaine's acting style is also similar to Anne Baxter’s, but much more dialed down. There's the same raised eyebrow, deer in the headlights looks, and lowered voice, but Baxter often went big!  They even have the same severe curled bob that was mysteriously popular post-war. Christabel wants a rich husband and Eve wants to be a star, and anyone in the way gets steamrollered.

Christabel seems to be the bad seed, an orphan raised by a meek relative. She leaves her Aunt Clara in Santa Flora and moves up to San Francisco to go to business school, and live with career girl Donna, who works for Christabel’s uncle. At first, family and friends are taken by the poor "girl"—it’s amusing to think of over-30 Fontaine’s goal to be a secretary. Not to mention the poor relation arrives with a gaggle of Hattie Carnegie dresses, swanned throughout Born to Be Bad! 

Joan Fontaine's Christabel feigns innocence in 1950's "Born to Be Bad." 

Joan Fontaine plays the part in perfect studio era style. The demure diva smirks as the supposedly sophisticated city folk fall for her manipulations. Or the left eyebrow that gets an aerobic workout every time Christabel gets away with her latest scheme. While Joan Fontaine was naturally pretty, it's an eye roll that men are falling all over her or that she's so charismatic that others are blinded by her blatant insincerity. The film’s posters describe Christabel as man-bait and a female savage! Rita Hayworth or Vivien Leigh, she ain’t. The spinster bob, plus a series of shoulderless gowns that accentuate her slightly hunched posture and modest bosom don’t help at all, either.

"Born to Be Bad" hardly lives up to the poster's captions or depicted cup size of Joan!

As Donna, Joan Leslie is natural and surprisingly holds her own. Just 25 at the time, and while no Janet Leigh or Eva Marie Saint, Leslie's playing is straightforward and strong. 

Joan Leslie's Donna realizes that scheming Christabel is "Born to Be Bad!

As the men in Christabel's life, there's Mel Ferrer as Gabriel Broome, the young artist who paints her portrait. Nicknamed “Gobby,” he’s more of a frenemy, and some film fans think he was a coded gay character. No wonder he didn’t fall prey to this perilous mantrap! Then there's Robert Ryan, well-cast as rugged author Nick Bradley, who sees through Christabel but can't help but be captivated by her alleged charms. I loved it when Ryan’s Nick declares he won’t be the vixen’s “backstreet boy!” Another staple of this era's type of film is the "smart" dialogue that comes off campy. And Ferrer and Ryan get the best/worst of the cheesy zingers, usually directed at that devil in disguise, Christabel.

A young Mel Ferrer plays a glib, gay young artist in 1950's "Born to Be Bad."

Robert Ryan is the rugged writer who charms himself & Joan Fontaine
in 1950's "Born to Be Bad."

Zachary Scott, at home in a tux or ascot, is the millionaire in 1950's "Born to Be Bad."

Zachary Scott played many characters who were either charmers, creeps, or both. Remember him as the cad Monty in Mildred Pierce? As Donna's rich fiancé Curtis Carey, he's sympathetic, but falls for Christabel's conniving. In the 90 minute film, Donna's out and Christabel is in by the half way mark! But, she still hankers for that rough-hewn Ryan. Natch, Christabel overplays her hand and soon enough gets caught and tossed out on her ear. Donna and the millionaire are reunited, natch. And Christabel contentedly drives off with a carload of furs. 

Carol Burnett as "Christinabelle" in her takeoff of "Born to Be Bad," called
"Raised to Be Rotten!" With Harvey Korman, so good at spoofing Scott's rich guys.

Carol Burnett was famed for her television show’s film takeoffs and she lampooned this type of film perfectly. Here, Born to Be Bad is called Raised to Be Rotten. Carol kicks it up a few notches, playing crafty "Christinabelle!" By the end of the skit, she’s a pickpocket to everyone along the way out. Burnett's spoof cleverly skewers every time Christinabelle and the rugged writer go into a clinch, she swoops into his arms, and the music swells. Or when guest star Richard Crenna as Ryan's writer tells Christinabelle to shorten her name! Carol's got Joan's arched eyebrows and smirk down pat and her bad girl aptly tells Crenna’s bad boy to “take your cheap repartee and get out!” This parody is so close to the bone it reminds me of Carol’s take off of Joan Crawford’s Torch Song.

One thing that makes me laugh about Robert Ryan's rugged artsy type is his proclamations about Christabel as a woman. It reminds me of Dane Clark as the opinionated artist giving Bette Davis guff in A Stolen Life or Steven Boyd's editor to new girl Hope Lange in The Best of Everything. The gist of which is generally: "You know what your problem is? You're afraid of being a real woman!" And their characters surely had a solution for what ailed the leading ladies’ “problem.”

"Read any good books lately?" Joan Fontaine's schemer is feeling Zachary Scott
but looking at Robert Ryan, in 1950's "Born to Be Bad."

Born to Be Bad is one of those post-war film noir soaps that served as showcases for its leading lady. Monster hit Mildred Pierce in '45 was surely the inspiration. Joan Crawford herself did a series of such films in the late '40s through the '50s, as did many established female stars. The formula was the film diva was either a woman in jeopardy or a scheming vixen. The latter usually afforded a film fashion show for the star. The supporting cast was usually a bevy of leading men who were knocked over like bowling pins by the star's feminine wiles. Any women in the movies, while usually younger than the star diva, were no competition. Even if the star's character paid for her sins at the finale, she had a lot of fun along the way. And so it is with Born to Be Bad. Enjoy!

Here’s the film that mixed film noir and soap opera, brought Joan Crawford back and created a subgenre for strong female stars.  My look at Mildred Pierce: https://ricksrealreel.blogspot.com/2020/03/how-joan-crawford-became-mildred-pierce.html

"Portrait of Joanie?" Mel Ferrer's artist creates this masterpiece
of Joan Fontaine's charismatic schemer in 1950's "Born to Be Bad."

Elizabeth Taylor Engaging as 'Ordinary' Women in Two TV Movies

ET was excellent as two women facing middle age: Below, in 1978's 'Return Engagement'
with Joseph Bottoms; above, in 1983's 'Between Friends,' with Carol Burnett.

As with Carol Burnett, Elizabeth Taylor became good friends with co-star Joseph Bottoms.

Even after Elizabeth Taylor’s glory days as a top box office star, she made movies regularly right until the mid-1970s. When Elizabeth Taylor and Richard Burton divorced a second time in ‘76, both quickly remarried, to far less volatile partners. Elizabeth helped new hubby John Warner win a senator’s seat and her weight went up to new highs, signaling among other things, semi-retirement.

This photo was from a series with celebrities wearing black turtlenecks/black background.

One of the few projects Elizabeth did during this time was Hallmark Hall of Fame's Return Engagement in 1978. Soon after her divorce from Warner in ’82, Taylor made Between Friends for HBO. What did the two television movies have in common? Aside from acting as bookmarks to her Warner years, Taylor plays women facing middle age and loneliness. One is a college professor, another is a pampered housewife. Elizabeth is not fab and fit in either, but she is quite touching in both.

ET as Emily Loomis.

Soft lighting, heavy makeup! 

In Return Engagement, Taylor plays college professor Emily Loomis, who had a brush with showbiz fame years ago. Now living a quiet life, Emily's peace is disrupted when she takes in a boarder. Stewart is a college student who is a show biz fan and a hyper personality, played by Joseph Bottoms. When he finds out that Emily was once in the biz, Stewart signs her up for the school fundraiser show. She balks, he persists, and sure enough, she gives in. They bond in rehearsals and bask in the enthused reception. Somewhere along the line, the history professor develops romantic feelings for her renter. Despite tears, he moves on, and Emily rejoins the world herself.

Elizabeth Taylor as a history professor, with a showbiz past.

Let me be direct. Return Engagement is a small, old-fashioned story, and was considered so even at the time. Most critics seized on this aspect and Taylor's size to pan the project. At this point, this was a knee jerk reaction for most pundits when it came to Elizabeth Taylor, anyway. But those who gave it a chance were pleased with the rapport between Taylor and Bottoms, and surprised that Elizabeth’s performance was simple and sincere, after years of playing blaring, baroque broads, after her classic role as Martha in Who's Afraid of Virginia Woolf?

Thankfully, ET's Ann Miller flip was toned down for the actually movie!

For those who admire Taylor mainly for her beauty, you’ll need to put that bias aside to enjoy ET here. This is the Elizabeth Taylor that “inspired” Joan Rivers to rip on her weight for decades. At this time, this was a shock to audiences, but in hindsight, we got used to Elizabeth’s yo-yo weight gains, and her growing older. Edith Head dresses her simply, flatteringly, and most importantly, character appropriately. Though, for the student show, Taylor wears a tasteful red Halston! What is distracting, no matter what time of day or night, ET is in full '70s makeup: lots of bright red lipstick, smoky eye makeup, and magic marker eyebrows. It looks hard against the soft shadows of Taylor’s lighting. So does the jet black dye job, fashioned in a simple, but rather odd Ann Miller flip. 

Joseph Bottoms and ET, in a Halston from her own closet.
Let's just say the film wisely doesn't dwell on their song and dance number.

Yet, Taylor's performance draws you in and her visuals become less jarring. Emily, who took the divorce from her show biz partner/hubby hard, has reinvented herself as an academic and immersed her life in work. This is the antithesis to Taylor's life experience, but Elizabeth’s work here is restrained and natural. Once her character warms up to her young boarder, Taylor's humor comes into play, too. And though you expect to cringe during the rehearsals and performance of her former musical act, it's made clear Emily was window dressing, not the talent. ET approaches it straightforwardly, and it’s engrossing as the two grow closer. 

Joseph Bottoms was indeed adorable!

How adorable was Joseph Bottoms? Although his character Stewart is a bit much, Bottoms is charming, enthusiastic, and wholesomely handsome. Taylor became close to him, and even tried to play matchmaker with daughter Liza. I also recall him gallantly defending Elizabeth against critics who focused on her weight.

Elizabeth Taylor & Carol Burnett in 'Between Friends,' one of HBO's first films.

Return Engagement is a marker to Taylor’s life as a Republican senator’s wife. Between Friends is one for Elizabeth, back in showbiz full time, and on her own. Again, don't expect classic drama or Elizabeth at her beautiful best. Though 1983’s Between Friends was made five years after Return Engagement, she looks ten years younger. In one of HBO’s first films, this was another step in Elizabeth trying to update her image. Even in her post-superstardom, Elizabeth wasn't afraid to take chances and put herself out there.

As with Joseph Bottoms, Taylor made yet another good friend in a co-star, this time Carol Burnett. The two play a pair of divorcees who form an unlikely friendship. The movie should have kept the catchier title of the source novel, Nobody Makes Me Cry. The story gives Carol the chance to play a tough career woman who likes hook ups, with no strings. Elizabeth plays a nice Jewish girl who just wants to marry again and have a man take care of her.

ET& Carol's divorcees become pinkie pals!

Burnett & Taylor became buds, too.

The diva duo won good personal reviews, but more than a few (male?) critics thought Carol playing mantrap Mary Catherine and ET as desperate Deborah, who can’t get a date, was a stretch. Why couldn't Carol play a desirable woman, because she's not a classic beauty? Burt Reynolds, in his heyday, said Carol was his pick to take on a desert island, because he thought her sexy and funny. As for Elizabeth, often cast as the femme fatale, some critics overlooked the aspect of the Taylor persona that softened people toward her—the thwarted efforts to find happiness through marriage. Some of the lines sound like Taylor could have written them: "I like being married, I like doing for a man." As for Carol, after a snowbound evening bonding over wine, ET’s character talks about her strong father, Burnett flatly says, "Mine drank." This was Burnett's own experience, too.

ET's Deborah Shapiro faces divorce and an empty nest with drinking.
Four months after 'Between Friends' aired, Taylor went to Betty Ford.

As the two women grow closer, Mary Catherine goes from realtor to real friend, and it becomes apparent that Deborah has a drinking problem. Between Friends aired Sept. of ‘83, and by December, Elizabeth Taylor was the first celebrity to go public about going to the Betty Ford Center. This makes some of the story elements and dialogue regarding Taylor’s character prophetic. Ultimately, Burnett's character gives up her free and easy ways and Taylor’s hits bottom with the bottle and her bogus rich boyfriend. 

Elizabeth's Deborah just wants things the way they used to be.
This is one of Taylor's best latter day performances.

The interaction between Elizabeth and Carol is marvelous, both straightforward and occasionally bawdy. Again, Taylor gets to play a middle-aged woman at a crossroads, much like herself, minus her extraordinary stardom. I always thought this was the key to the enduring popularity of Elizabeth Taylor. Despite the trappings, ET's life has been typical of her generation: gaining weight with motherhood, falling into the post-war cocktail and “mother's little helper” era, marital woes, facing middle age as a divorcee, health issues—in short, all stuff her fans went through. Heck, my Dad would foam at the mouth anytime an Elizabeth Taylor movie came on during her heyday, with all the usual criticism. After Taylor went public about Betty Ford, he softened up toward her, as he was an ex-drinker with health woes himself. 

Just as the modest Return Engagement was followed by the smash Broadway show The Little Foxes, starring Mrs. John Warner, the intimate Between Friends was followed by a splashy reunion with Richard Burton in Private Lives. Those Broadway shows received far more press and demonstrated her still-great stardom, but these two little TV movies show Elizabeth Taylor at her most warm and human.

FYI: I put all the movie overflow on my public FB  movie page. 

Check it out & join!  https://www.facebook.com/groups/178488909366865/

Carol & ET were big soap fans. Taylor already appeared on 'General Hospital'
as Helena Cassadine. Here, ET interrupts Carol's gig on 'All My Children.'