ERROL HAD AN ASTRONOMICALLY LARGE, VARIED AND WIDESPREAD NUMBER OF FAMILY, FRIENDS, COLLEAGUES, ASSOCIATES & AFFILIATIONS.
THIS POST IS TO HELP CREATE A COMPREHENSIVE RECORD OF PEOPLE AND GROUPS OF PEOPLE WHO HAD A ROLE IN ERROL’S EXTRAORDINARY LIFE – FROM A to Z – In Repeated Cycles – from Aadland to Zimbalist and Beyond!
I’ll start posting alphabetically, with hope and encouragement that all of you will join in by posting other names & photos of The Flynn Crowd!
— Tim
I just finished watching “Portrait of a Swashbuckler” and came across a gentleman identified as Otto Reichow, one of Errol's pallbearers. I had never heard of him and wondered how close a connection he might have to Errol when he was among his friends who were pallbearers, too. So I looked aroung a bit and found that he is (or was, as he died in 2000, aged 95!) of German origin and that he played in several films with Errol. He has got quite an impressive list of movie appearances, but most uncredited. And he played with Errol in 4 films: Desperate Journey, Silver River, Mara Maru, and Istanbul! He was crying when he talked about Errol, so there must have been more than a casual acquaintance? Is anything known about him?
Here is a photo:
To Rachel: This is a bit sarcastic, but remember when you said you had only seen one picture with Errol and Johnny? Well, here's another one, read the comments posted on the website…
— Inga
In the 2005 Turner documentary, The Adventures of Errol Flynn, Olivia de Havilland recorded a series of reminiscences about Flynn, including the recounting of an episode that took place soon after they first met: “He sat down, and he said to me, 'What do you want out of life? And so I said, 'Well, I want respect for difficult work well done.' And then I said to him, 'What do you want out of life?' And he said, 'I want success.' And by that he meant fame and riches. And I thought, 'That’s not enough.'”<?xml:namespace prefix = o ns = “urn:schemas-microsoft-com:office:office” />
In Olivia’s mind, Errol wanted one thing, and she wanted another. By implication his desires were material and hers were artistic; his were wrong, and hers were right. His were “not enough.” What she doesn’t account for is that Errol Flynn had by 1935 at age 26 already graduated from the school of hard knocks, getting by on equal parts charm, looks, and guile. Despite her harsh upbringing in stepfather G.M. Fontaine’s home, she had not spent much time out in the world. As has been well documented, particularly in John Hammond Moore’s excellent The Young Errol, Flynn had kicked around Australia and New Guinea working at various jobs for years—dozens of jobs, in fact. His failure in these jobs might have had less to do with character deficiencies than always assumed by his biographers, and more to do with a condition that might today be diagnosed as ADHD. Sometimes, just maybe, this disability set him up to fail. Flynn was always getting fired, although on one occasion when he managed a copra plantation, it may have been a conspiracy by area farmers against the “new kid in town” that led to his failure. These experiences gave Flynn a hard, cynical veneer that prepared him for what was, in his mind, the inevitability of losing this gig as an actor just like he had lost all the others. Proof of this can be found in his early, constant griping to the press that he might just chuck it all and return to the South Seas. He figured he ought to quit the business before the business quit him.
Olivia, on the other hand, had survived a militaristic existence at home in Saratoga, California, as described by Olivia's sister Joan Fontaine in the memoir, No Bed of Roses. Olivia, the older sister, had been forced to become the poised, well-read, and well-spoken young lady who hit the screen at age 18. In response to her harsh home environment, she had by necessity become an intense loner and a person who sought the control as an adult that she had been denied as a child and adolescent. But she had not, and would not ever, wait tables like the typical struggling actor and have to cope with a variety of bosses with different work styles and temperaments. In other words, she didn’t know what she didn’t know, and when Flynn made his statement about wanting fame and fortune, it struck de Havilland as capricious when it was in fact the product of many ego blows that accompanied each pronouncement, “Flynn, you’re fired!”
I discovered a thousand and one things about Errol and Olivia that I didn’t know. Learn about all of them in Errol & Olivia: Ego & Obsession in Golden Era Hollywood, coming in October 2010 from GoodKnight Books.
— Robert Matzen
|
 Una O'Connor (1880 – 1959) She most often played Cockney and English roles but she was pure Irish. This delightful, diminutive, at 5' 2″, actress was a joy to watch. With a sharp featured face, cackling voice and birdlike mannerisms she was often cast as shrews, maids, spinsters, nagging wives and gossips. She was a most memorable character actress. Born Agnes Teresa McGlade in Belfast, Northern Ireland on October 23, 1880 she began her acting career with Dublin's famed Abbey Theatre graduating on to the London and Broadway stages. She made her film debut in 1929 in “Dark Red Roses” as Mrs. Meeks. Among her other film credits were: “Murder!” (1930) as Mrs. Grogram; “Cavalcade” (1933) which brought her to Hollywood to recreate her stage role as Ellen Bridges; “Timbuctoo” (1933) as Myrtle; “Pleasure Cruise” (1933) as Mrs. Signus; “The Invisible Man” (1933) with Claude Rains, as Jenny Hall; “Mary Stevens, M.D.” (1933) as Mrs. Arnell Simmons; “Orient Express” (1934) as Mrs. Peters; “The Poor Rich” (1934) as Lady Fetherstone; “The Barretts of Wimpole Street” (1934) as Wilson; “All Men Are Enemies” (1934) as Annie; “Stingaree” (1934) as Annie; “Chained” (1934) as Amy, Diane's Maid; “The Perfect Gentleman” (1935) as Harriet; “Father Brown, Detective” (1935) as Mrs. Boggs; “David Copperfield” (1935) as Mrs. Gummidge; “The Informer” (1935) with Victor McLaglen, as Mrs. McPhillip; “Bride of Frankenstein” (1935) as Minnie; “Rose-Marie” (1936) as Anna; “Lloyds of London” (1936) as Widow Blake; “Little Lord Fauntleroy” (1936) with Freddie Bartholomew, as Mary; “The Plough and the Stars” (1936) as Maggie Gogan; “Suzy” (1936) as Mrs. Bradley, Suzy's Landlady; “Personal Property” (1937) as Clara; “Call It a Day” (1937) as Mrs. Milson, the Housekeeper; “The Adventures of Robin Hood” (1938) with Errol Flynn, as Bess; “Return of the Frog” (1938) as Mum Oaks; “We Are Not Alone” (1939) as Susan; “All Women Have Secrets” (1939) as Mary; “His Brother's Keeper” (1939) as Eva; “It All Came True” (1940) as Maggie Ryan; “The Sea Hawk” (1940) as Miss Latham; “Lillian Russell” (1940) as Marie; “He Stayed for Breakfast” (1940) as Doreta; “Her First Beau” (1941) as Effie; “Three Girls About Town” (1941) as Maggie O'Callahan; “How Green Was My Valley” (1941) in an uncredited bit part; “The Strawberry Blonde” (1941) as Mrs. Timothy Mulcahey; “Kisses for Breakfast” (1941) as Ellie the Maid; “My Favorite Spy” (1942) as Cora the Maid; “Always in My Heart” (1942) as Angie; “Random Harvest” (1942) as Tobacconist; “Forever and a Day” (1943) as Mrs. Ismay; “Holy Matrimony” (1943) as Mrs. Leek; “This Land is Mine” (1943) as Mrs. Emma Lory; “Government Girl” (1943) as Mrs. Harris; “My Pal Wolf” (1944) as Mrs. Blevin; “The Canterville Ghost” (1944) as Mrs. Umney; “Christmas in Connecticut” (1945) as Norah; “The Bells of St. Mary's” (1945) one of my favorite of her roles, as Mrs. Breen; “The Return of Monte Cristo” (1946) as Miss Beedle; “Child of Divorce” (1946) as Nora the Maid; “Of Human Bondage” (1946) as Mrs. Foreman; “Cluny Brown” (1946) as Mrs. Wilson; “Banjo” (1947) as Harriet; “Unexpected Guest” (1947) as Mathilda Hackett; “Lost Honeymoon” (1947) as Mrs. Tubbs; “The Corpse Came C.O.D.” (1947) as Nora; “Ivy” (1948) as Mrs. Thrawn; “The Adventures of Don Juan” (1948) with Errol Flynn, as Duenna; “Fighting Father Dunne” (1948) as Miss O'Rourke; “Ha da veni… don Calogero!” (1952) an Italian film, as Perpetua; and “Witness for the Prosecution” (1957) as Janet McKenzie, her last film. She also guest starred on an episode of “Philco Television Playhouse” in 1948. She died on February 4, 1959 in New York City, New York of a heart ailment at age 78.
|
— Kathleen
|
May 25, 1974 Donald Crisp, actor and director (Beloved Brat, Dawn Patrol, Sea Hawk), dies at 91 |
|
|
Basil Rathbone: Born: Johannesburg, South Africa, of British parents, 13 June 1892. Education: Attended Repton School, England. Family: Married 1) Ethel Marian Forman (divorced), one son; 2) the writer Ouida Bergere, late 1920s, daughter: Cynthia. Died: 21 July 1967. Captain Blood, Dawn Patrol |
|
Ralph Bellamy, a veteran character actor who appeared in more than 100 movies but who attained his greatest recognition on Broadway as the stricken Franklin D. Roosevelt struggling to walk in “Sunrise at Campobello,” died November 29, 1991 at St. Johns Hospital and Health Center in Los Angeles. He was 87 years old. Ralph Rexford Bellamy was born in Chicago on June 17, 1904. Among his recent films were “Trading Places” (1983), with Eddie Murphy, Dan Aykroyd and Don Ameche, and “Pretty Woman” (1990), with Julia Roberts and Richard Gere. He also played a canny defense counsel in “The Court-Martial of Billy Mitchell” (1955) and a satanic doctor in “Rosemary's Baby” (1968). In 1987, the Academy of Motion Picture Arts and Sciences presented him with an honorary Oscar for his body of work. His autobiography, “When the Smoke Hit the Fan,” was published in 1979.
Dive Bomber, Footsteps in the Dark
Born February 17, 1914 in Worcester, Massachusetts
Died January 5, 1990 in Branford, Connecticut (brain tumor)
They Died With Their Boots On
Van Heflin
— Kathleen
Greer Garson, the actress who epitomized a noble, wise and courageous wife in some of the sleekest and most sentimental American movies of the 1940's, died yesterday morning at Presbyterian Hospital in Dallas. She was 92. Miss Garson, who had a history of heart problems, had lived at the long-term-care hospital for the last three years, according to Ann Harper, a spokeswoman at the hospital. Greer Garson was born on Sept. 29, 1903, in County Down, Northern Ireland.
— Kathleen
IMDb Mini Biography By:
fr*******@ya***.com
Played either a supporting role or a cameo in 13 of his friend and fellow actor Errol Flynn's films. (Adventures of Robin Hood, Dawn Patrol, Private Lives of Elizabeth and Essex, Adventures of Don Juan, Prince and the Pauper, Dodge City, Santa Fe Trail, Virginia City, Footsteps in the Dark, Desperate Journey, Gentlemen Jim, Sea Hawk, The Sisters)
He holds the record for appearing as Little John in separate productions: he played the part in Robin Hood (1922), The Adventures of Robin Hood (1938) and Rogues of Sherwood Forest (1950), filmed just a year before he died.
— Kathleen
26 April 1899, Decatur, Texas, USA
6 June 1962, Burbank, California, USA (uremic poisoning)
Guinn Terrell Williams Jr.
6' 2″ (1.88 m)
The son of a rancher-turned-politician, Guinn Williams was given the nickname “Big Boy” (and he was, too – 6' 2″ of mostly solid muscle from years of working on ranches and playing semi-pro and pro baseball) by Will Rogers, with whom he made one of his first films, in 1919. Although his father wanted him to attend West Point (he had been an officer in the Army during World War I), Williams had always wanted to act and made his way to Hollywood in 1919. His experience as a cowboy and rodeo rider got him work as a stuntman, and he gradually worked his way up to acting. He became friends with Rogers and together they made around 15 films together. Williams starred in his own series of silent westerns and easily made the transition from silents to talkies. Although he also starred in a series of low-budget westerns in the early and mid-1930s, he really came into his own as a supporting player in the late 1930s and early 1940s, especially at Warner Bros., where he appeared in such resoundingly successful westerns as Dodge City (1939) and Santa Fe Trail (1940) with his friends Errol Flynn and Alan Hale. Williams specialized in the somewhat dim and quick-tempered but basically decent sidekick, a role he would play for the next 20 years or so. He also made films other than westerns, and was in, for example, A Star Is Born (1937) and played strongly against type as a vicious, sadistic killer in The Glass Key (1935). In the early 1960s Williams' health began to deteriorate, which was noticeable in his last film, The Comancheros (1961), in which he had a small part and, sadly, did not look well at all. He died of uremic poisoning shortly afterwards.
— Kathleen
