Maureen O'Hara
Maureen O'Hara was an Irish and American actress who became successful in Hollywood from the 1940s through to the 1960s. She was a natural redhead who was known for playing passionate but sensible heroines, often in Westerns and adventure films. She worked with director John Ford and long-time friend John Wayne on numerous projects.
O'Hara was born into a Catholic family and raised in Dublin, Ireland. She aspired to become an actress from a very young age. She trained with the Rathmines Theatre Company from the age of 10 and at the Abbey Theatre from the age of 14. She was given a screen test, which was deemed unsatisfactory, but Charles Laughton saw potential in her and arranged for her to co-star with him in Alfred Hitchcock's Jamaica Inn in 1939. Laughton insisted that she change her surname from FitzSimons against her wishes, and she became "O'Hara". She moved to Hollywood the same year to appear with him in the production of The Hunchback of Notre Dame, and was given a contract by RKO Pictures. From there, she went on to enjoy a long and highly successful career, and acquired the nickname "the Queen of Technicolor".
O'Hara appeared in films such as How Green Was My Valley , The Black Swan with Tyrone Power, The Spanish Main, Sinbad the Sailor, the Christmas classic Miracle on 34th Street with John Payne and Natalie Wood, and Comanche Territory. O'Hara made her first film with John Wayne, the actor with whom she is most closely associated, in Rio Grande ; this was followed by The Quiet Man, The Wings of Eagles, McLintock! and Big Jake. Such was her strong chemistry with Wayne that many assumed they were married or in a relationship. In the 1960s, O'Hara increasingly turned to more motherly roles as she aged, appearing in films such as The Deadly Companions, The Parent Trap and The Rare Breed. She retired from the industry in 1971, but returned 20 years later to appear with John Candy in Only the Lonely.
In the late 1970s, O'Hara helped run her third husband Charles F. Blair Jr.'s flying business in Saint Croix in the United States Virgin Islands, and edited a magazine, but later sold them to spend more time in Glengarriff in Ireland. She was married three times, and had one daughter, Bronwyn, with her second husband. Her autobiography, Tis Herself, published in 2004, became a New York Times bestseller. In 2009, The Guardian named her one of the best actors never to have received an Academy Award nomination. In November 2014, she was presented with an Honorary Academy Award with the inscription "To Maureen O'Hara, one of Hollywood's brightest stars, whose inspiring performances glowed with passion, warmth and strength". In 2020, she was ranked number one on The Irish Times list of Ireland's greatest film actors.
Early life and education
Born on 17 August 1920, O'Hara began life as Maureen FitzSimons on Beechwood Avenue in the Dublin suburb of Ranelagh. She stated that she was "born into the most remarkable and eccentric family I could have possibly hoped for". She was the second eldest of six children of Charles and Marguerite FitzSimons, and the only red-headed child in the family. Her father was in the clothing business and bought into Shamrock Rovers Football Club, a team O'Hara supported from childhood.O'Hara inherited her singing voice from her mother, a former operatic contralto and successful women's clothier, who in her younger years was widely considered to have been one of Ireland's most beautiful women. She noted that whenever her mother left the house, men would leave their houses just so they could catch a glimpse of her in the street. O'Hara's siblings were Peggy, the eldest, and younger Charles, Florrie, Margot and Jimmy. Peggy dedicated her life to a religious order, becoming a Sister of Charity.
O'Hara earned the nickname "Baby Elephant" for being a pudgy infant. A tomboy, she enjoyed fishing in the River Dodder, riding horses, swimming and soccer, and would play boys' games and climb trees.
O'Hara was so keen on soccer that at one point, she pressed her father to found a women's team, and professed that Glenmalure Park, then home ground of Shamrock Rovers F.C., became "like a second home". She enjoyed fighting, and trained in judo as a teenager. She later admitted that she was jealous of boys in her youth and the freedom they had, and that they could steal apples from orchards and not get into trouble.
O'Hara first attended the John Street West Girls' School near Thomas Street in Dublin's Liberties Area. She began dancing at the age of 5, when a fortune teller predicted that she would become rich and famous, and she would boast to friends as they sat in her back garden that she would "become the most famous actress in the world". Her enthusiastic family fully supported the idea. When she recited a poem on stage in school at the age of six, O'Hara immediately felt an attraction to performing in front of an audience. From that age she trained in drama, music and dance along with her siblings at the Ena Mary Burke School of Drama and Elocution in Dublin. Their affinity with the arts prompted O'Hara to refer to the family as the "Irish von Trapp family".
At the age of 10, O'Hara joined the Rathmines Theatre Company and began working in amateur theatre in the evenings after her lessons. One of her earliest roles was Robin Hood in a Christmas pantomime. O'Hara's dream at this time was to be a stage actress. By the age of 12, O'Hara had reached the height of, and it worried her mother for a while that she would become "the tallest girl" in Ireland as Maureen's father was. She expressed relief when O'Hara only grew another two inches.
At the age of 14, O'Hara joined the Abbey Theatre. Though she was mentored by playwright Lennox Robinson, she found her time at the theatre disappointing. In 1935, at the age of 15, she won the first Dramatic Prize of the national competition of the performing arts, the Dublin Feis Award, for her performance as Portia in The Merchant of Venice. She trained as a shorthand typist, working for Crumlin Laundry before joining Eveready Battery Company, where she worked as a typist and bookkeeper. She later put her skills to use when she typed the script of The Quiet Man for John Ford.
In 1936, she became the youngest pupil to graduate from the Guildhall School of Music at the time, and the following year, she won the Dawn Beauty Competition, winning £50. As she matured into a young woman, O'Hara, like many actresses, became increasingly self-conscious, which affected her for a while. In one performance, which was watched by her father from the back of the theatre, O'Hara "sensed there was someone out front watching me, perhaps critically. My arms felt like lead. I gave a rotten show that night. I grew up with the terrible feeling that I was being laughed at".
Film career
1937–1940: Early career
At the age of 17, O'Hara was offered her first major role at the Abbey Theatre but was distracted by the attentions of actor-singer Harry Richman. Richman arranged with the manager of the Gresham Hotel in Dublin to meet her at the hotel while she was dining with her family. He proposed that she go to Elstree Studios for a screen test and become a film actress. O'Hara arrived in London shortly afterwards with her mother. During the screen test, the studio adorned her in a "gold lamé dress with flapping sleeves like wings" and heavy makeup with an ornate hair style, which was deemed to be far from satisfactory. O'Hara detested the audition, during which she had to walk in and pick up a telephone. She recalled thinking to herself, "My God, get me back to the Abbey". Charles Laughton later saw the test and, despite the overdone makeup and costume, was intrigued, paying particular notice to her large and expressive eyes. After seeking the approval of his business partner Erich Pommer, they arranged to meet O'Hara through a talent agency run by Connie Chapman and Vere Barker. Laughton was impressed with O'Hara, particularly by her lack of nerves and refusal to read an extract upon his request unprepared, during which she said: "I am very sorry but absolutely no". She was offered an initial seven-year contract with their new company, Mayflower Pictures. Though her family were shocked at her being given a contract so young, they accepted, and O'Hara traveled across Ireland in celebration before arriving back in London to commence her film career. O'Hara later stated that "I owe my whole career to Mr. Pommer".File:Maureen_O'Hara_and_brothers_James_and_Charles_1954.jpg|thumb|right|O'Hara with brothers James O'Hara and Charles B. FitzSimons in 1954
O'Hara made her screen debut in Walter Forde's Kicking the Moon Around, although she did not consider it a part of her filmography. Richman had introduced her to Forde at Elstree Studios, but as she was not cast in the film in a notable role, she agreed to deliver one line in it as a favor to Richman for helping with her screen test. Laughton arranged for her to appear in the low-budget musical My Irish Molly, the only film she made under her real name, Maureen FitzSimons. In the film, she plays a woman named Eiléen O'Shea, who rescues an orphan girl named Molly. Biographer Aubrey Malone stated of it: "One could argue that O'Hara never looked as enticing as she does in Little Miss Molly, even if she isn't 'Maureen O'Hara' quite yet. She wears no makeup, and there's no Hollywood glamour, but despite that, she is rapturously beautiful. Her accent is thick, which is perhaps why she didn't mention the film much. It also looks as if it were made in the 1920s rather than the 1930s, so primitive are the sets and characters". Malone added that though the lot was "ham-fisted", it is a "quaint film which O'Hara scholars should view if only to see early evidence of her natural instinct for dramatic timing and scene interpretation".
O'Hara's first major film role was that of Mary Yellen in Jamaica Inn, directed by Alfred Hitchcock and co-starring Laughton. O'Hara portrayed the innkeeper's niece, an orphan who goes to live with her aunt and uncle at a Cornish tavern, a heroine which she describes as "torn between the love of her family and her love for a lawman in disguise". Laughton insisted that she change her name to the shorter "O'Mara" or "O'Hara", and she eventually decided on the latter after expressing contempt at both. When she said "I like Maureen FitzSimons and I want to keep it", Laughton replied with, "Very well, you're Maureen O'Hara." O'Hara noted that Laughton had always wanted a daughter of his own, and treated her as such, and she later stated that Laughton's death in 1962 was like losing a parent. She worked well under Hitchcock, professing to have "never experienced the strange feeling of detachment with Hitchcock that many other actors claimed to have felt while working with him." On the contrary, Laughton was engaged in a bitter battle with Hitchcock throughout the production and resented many of Hitchcock's ideas, including changing the nature of the villain from the novel. Though Jamaica Inn is generally seen by critics and the director himself as one of his weakest films, O'Hara was praised, with one critic stating "the newcomer, Maureen O'Hara is charming to look at and distinct promise as an actress". Seeing the film was an eyeopener for O'Hara and change in self-perception, having always seen herself as a tomboy and realizing that on screen she was a woman of great beauty to others. When she returned to Ireland briefly after the film was completed it dawned on her that life would never be the same again, and she was hurt when she attempted to make pleasant conversation to some local girls and they rejected her advances, considering her to be very arrogant.
Laughton was so pleased with O'Hara's performance in Jamaica Inn that she was cast opposite him in The Hunchback of Notre Dame for RKO in Hollywood. She boarded the RMS Queen Mary with him and her mother to New York, and then traveled by train to Hollywood. O'Hara's agent, Lew Wasserman, arranged for a pay increase from $80 a week to $700 a week. As the new face of RKO, she garnered much attention from the Hollywood press and society before the film was even released, something that made her uncomfortable, as she felt that she was being viewed as a "novelty" and "people were making a fuss over me because of something I hadn't yet done, something they just thought I might do". O'Hara portrayed Esmeralda, a gypsy dancer who is imprisoned and later sentenced to death by the Parisian authorities. Director William Dieterle initially showed concern that O'Hara was too tall and disliked her wavy hair, asking for her to step under a shower to straighten it out. Filming commenced in the San Fernando Valley, at a time when it was experiencing its hottest summer in its history. O'Hara described it as a "physically demanding shoot", due to the heavy makeup and costume requirements, and recalls that she gasped at Laughton in makeup as Quasimodo, remarking, "Good God, Charles. Is that really you?" O'Hara insisted on doing her own stunts from the outset, and for the scene in which the hangman places a noose around her neck, no safety nets were used. The film was a commercial success, taking $3 million at the box office. O'Hara was generally praised for her performance though some critics thought that Laughton stole the show. One critic thought that was the strength of the film, writing: "The contrast between Laughton as the pathetic hunchback and O'Hara as the fresh-faced, tenderly solicitous gypsy girl is Hollywood teaming at its most inspired".
After the completion of The Hunchback of Notre Dame, World War II began, and Laughton, realizing his company could no longer film in London, sold O'Hara's contract to RKO. O'Hara later professed that this "broke my heart, I felt completely abandoned in a strange and faraway place". She next featured in John Farrow's A Bill of Divorcement, a remake of George Cukor's 1932 film. O'Hara portrayed Sydney Fairchild, who was played by Katharine Hepburn in the original, in a film which she considered to have had a "screenplay was mediocre at best". The production became difficult for O'Hara after Farrow reportedly made "suggestive comments" to her and began stalking her at home; once he realized that O'Hara was not interested in him sexually, he began bullying her on set. O'Hara punched him in the jaw one day, which put an end to the mistreatment. O'Hara's performance was criticized by reviewers, with the critic from The New York Sun writing that she "lacked the intensity and desperation it must have; nor does she seem to have a sparkle of humor". She next found a role as an aspiring ballerina who performs with a dance troupe in Dance, Girl, Dance. She considered it to have been a physically demanding film, and felt intimidated by Lucille Ball during the production as she had been a former Ziegfeld and Goldwyn girl and was a superior dancer. The two remained friends for many years after the film was completed.