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|Also Known As:||David Oliver Selznick,Oliver Jeffries,David Selznick||Died:||June 22, 1965|
|Born:||May 10, 1902||Cause of Death:||acute coronary occlusion|
|Birth Place:||Pittsburgh, Pennsylvania, USA||Profession:||Producer ... producer|
over that his first wife died under mysterious circumstances. Not only was "Rebecca" one of Hitchcockâ¿¿s most enduring films, it also was a big hit for Selznick that also won him his second Best Picture Academy Award. Ironically, it was the financial success of his films that actually led to the dissolving of Selznick International Pictures. Because he had no major studio set-up in which to reinvest the profits he made, Selznick was faced with a substantial tax burden that led to a deal with the Internal Revenue Service to liquidate the company over a span of three years. One of the final pictures he released under the banner was Hitchcockâ¿¿s superb thriller, "Spellbound" (1945), starring Ingrid Bergman as a psychoanalyst who falls in love with her boss (Gregory Peck), an amnesiac who may or may not be a killer.
After releasing Hitchcockâ¿¿s "The Paradine Case" (1947) and dissolving his production company, Selznick immediately formed David Selznick Productions and set about trying to match the success of his own benchmark, "Gone with The Wind." The closest he came was "Duel in the Sun" (1946), an overblown and overtly sexualized Western dubbed "Lust in the Dust" that starred Gregory Peck and Selznickâ¿¿s future second wife, Jennifer Jones. Selznick and Jones had begun an illicit affair while both were married â¿¿ he to Irene Mayer, a theatrical producer and daughter to Louis B. Mayer, while Jones had wed Robert Walker, an actor who secured a contract with MGM thanks to Selznickâ¿¿s own efforts. Jones and Walker divorced in 1945, which left him in a severe state of depression that led to alcoholism, a stay in a mental health facility and eventually his death at 32 from an accidental overdose of barbiturates and alcohol. Meanwhile, Selznick divorced Mayer in 1948 and married Jones the following year, with whom he had one daughter, Mary, a victim of suicide at 21 years old. Neither apparently looked back at the wreckage left in their wake.
Meanwhile, Selznick produced fewer films after "Portrait of Jennie" (1948), a romantic drama about an impoverished painter (Joseph Cotten), who becomes attracted to an enigmatic young woman (Jones), only to slowly realize that she may be the ghost of a girl who died in a hurricane years ago. Though later considered to be a minor classic, "Portrait of Jennie" was not a success upon release. Selznick stepped away from producing films largely to support Jonesâ¿¿ career while also realizing that the advent of television threatened the movie business. He did try his hand at television producing with the two-hour "Lightâ¿¿s Diamond Jubilee" (1954), which aired on all four television networks. On the big screen, Selznick was one of the producers on the classic espionage thriller, "The Third Man" (1950), before returning to the more mawkish sentimentality of "Gone to Earth" (1952) and a remake of "A Farewell to Arms" (1957), starring Jones and Rock Hudson. The latter marked the last time the Selznick name graced a film. He went into retirement while Jones also wound down her own career. Following a number of heart attacks, Selznick died on June 22, 1965 in Los Angeles. He was 63. A giant that loomed over the industry both during and after his death, Selznick played a significant role in creating the mystique and glamour of classic Hollywood. Moreover, he showed that it was possible, however briefly, to work outside the studio system and still produce films of technical polish and timeless appeal.'s predilection for glossily produced stories about self-sufficient females was first displayed in films like "A Bill of Divorcement" (1932), featuring Katharine Hepburn in her film debut, "What Price Hollywood?" (1932), with Constance Bennett, and "Little Women" (1933), which also starred Hepburn. He was also a producer on the iconic "King Kong" (1933), which broke new ground in special effects while becoming a major box office success. When MGMâ¿¿s Thalberg became seriously ill, Louis B. Mayer sought Selznick as a unit producer, an offer that was readily accepted. Now back at MGM, Selznick once again promoted strong production values and storylines, which usually meant an adaptation of a classic novel or popular play.
Following "Dancing Lady" (1933) and "Manhattan Melodrama" (1934), Selznick shepherded adaptations of some of literatureâ¿¿s most popular works, including Charles Dickensâ¿¿ "David Copperfield" (1935) by George Cukor and "A Tale of Two Cities" (1935) from Jack Conway, as well as one of the most famous film productions of Leo Tolstoyâ¿¿s "Anna Karenina" (1935), starring Greta Garbo in the titular role. Selznick left MGM in 1936 to form his own independent company, Selznick International Pictures, and distributed movies through United Artists. His intention was to produce only a few prestige films each year, allowing him to meticulously follow the progress of every project, from selecting the properties to overseeing the shooting and supervising the editing and retakes, in order to achieve a degree of perfection unattainable in a studio environment. Without studio front office restrictions, however, Selznick's nitpicking ways went unchecked and the films emerged at a sluggish pace. When they were released, however, they were not merely films â¿¿ they were major events. "The Garden of Allah" (1936), starring Marlene Dietrich, and "Little Lord Fauntleroy" (1936) were among the first pictures released by his new company, while Selznickâ¿¿s first major success came with "A Star is Born" (1937), which earned seven Academy Award nominations, becoming the first color film to receive a Best Picture nod.
Selznick soon followed with such critical and popular successes as the Carole Lombard screwball comedy "Nothing Sacred" (1937), "The Prisoner of Zenda" (1937) and Ingrid Bergmanâ¿¿s American film debut "Intermezzo" (1939), before achieving his ultimate triumph with "Gone With the Wind" (1939), one of the most financially successful films ever made and winner of 10 Academy Awards. After paying a then-whopping $50,000 for the rights to Margaret Mitchellâ¿¿s romantic bestseller, Selznick beat out the likes of Jack Warner as well as his old compatriots at RKO and MGM. Once he owned the rights, Selznick went through a number of potential actresses to play Scarlett Oâ¿¿Hara, eventually settling on little-known British starlet Vivien Leigh after filming had begun. Meanwhile, he was highly covetous of Clark Gable playing Rhett Butler and accepted a financially restrictive deal to loan the actor from MGM. But nearing production, Selznick fired longtime collaborator, director George Cukor, after objections raised by Gable and brought in Victor Fleming, who allegedly directed "Wind" and "The Wizard of Oz" (1939) concurrently. An epic romance set against the atrocities of the Civil War, "Gone with the Wind" followed the mercurial Scarlett Oâ¿¿Hara (Leigh), who falls for the scoundrel Rhett Butler (Gable) at the onset of the war. After suffer the indignity of hunger and the ravages of the burning of Atlanta, Scarlett eventually agrees to marry Rhett, who hopes she will eventually reciprocate his love instead of pining for family friend Ashley Wilkes (Leslie Howard), only to suffer a tragedy that drives the pair apart for good. Ending with Rhettâ¿¿s line "Frankly, my dear, I donâ¿¿t give a damn," arguably the most famous in cinema history, "Gone with the Wind" became one of the most iconic films of the era while boasting the distinction of featuring the first African-American actress, Hattie McDaniel, to win an Academy Award.
Because of the success of "Gone with the Wind," Selznickâ¿¿s production company became the top money-making studio in Hollywood in 1940. Meanwhile, he brought British director Alfred Hitchcock to Hollywood to direct his first American film, "Rebecca" (1940), a psychological thriller about a naÃ¯ve young woman (Joan Fontaine) newly married to an aristocratic widower (Laurence Olivier) who moves into his country estate, only to slowly disc
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