Why did golden age actresses not translate well into New Hollywood?

The funniest part about Ava Gardner in Earthquake was that she was playing Lorne Greene's daughter, who was only 7 years older than she was.

Because they were old.

The only one who made a good go of it was Katherine Hepburn. Yes, she went on to do some crap but she did win 2 best actress Oscars in the latter half of the 1960s.

Ingrid Bergman did pretty well too.

Ummm

You do know none of those films are considered “New Hollywood” right? You know what New Hollywood is, right? Raging Bulls, Easy Riders?

Those films were studio schlock.

Gloria was awful in Sunset Boulevard.

NEVER TALK SHIT ABOUT AIRPORT ‘75.

OR AIRPORT ‘77.

Lucy did ok..

Eve Arden was great as Principal McGee in Grease (1978). Sid Cesar was great as Coach Calhoun in Grease (1978). Joan Blondell was great as Vi, the waitress in Grease (1978).

Op, I agree with R5. None of these films represent New Hollywood. They don't even represent Old Hollywood.

The actresses who had more hits than misses after the Golden Age were probably Lauren Bacall and Audrey Hepburn, both of whom were very young during the "Golden Age" and who were never thought of as serious actresses anyway. "Art Deco Femme Fatale" and "Vulnerable Continental Gamine" are more durable than many more serious characters.

R10 just stfu

[quote]The actresses who had more hits than misses after the Golden Age were probably Lauren Bacall and Audrey Hepburn

It was Katherine Hepburn.

But special mention has to go to Lucille Ball who transferred to TV and became a bigger star than all of them.

Sit on your finger and pretend it's your dad's dick, R11.

Because Golden Age acting was like acting in a play, and New Hollywood was method/realism (or supposed to be).

Audrey Hepburn was thought of pretty seriously - an Oscar and numerous nominations. I used to dismiss her as well, but I’ve watched a majority of her films now and she was pretty damn good. Yes she had a “type” of role she excelled but so did every single actress - they were all personalities as much as talents.

I won’t dispute that Lauren Bacall rode on Bogie’s balls to immortality.

The answer is that all of them were too old to play anything beyond grandmother roles. Most of them were successful in theatre or TV. Katharine Hepburn wasn’t in any “New Hollywood” films - she also mainly did theatre and TV.

Roles for women were also not as good in general save a handful of films every DLer knows by heart. I’d argue the decline really began in the post-war era and continues today. It wasn’t until I started watching 30s and 40s genres like melodrama and screwball that I realized how much women centric films dominated cinema in the early years.

Katherine Hepburn won an Oscar for On Golden Pond in 1982.

What "New Hollywood" films were Bacall in?

Bacall did only a few films of note after 1950.

K. Hepburn was nominated 5 times for an Oscar in the 1950s...and later went on to win 3.

I wouldn’t call On Golden Pond “New Hollywood” - that era more or less ended with Heaven’s Gate flopping in 1980. It was a throwback movie for the older crowd, starring two icons of days gone by.

The point is, K. Hepburn maintained a prestigious A-List career during that time. Even her TV "Glass Menagerie" in 1973 was a huge event.

The only one to actually work with a New Hollywood director was Joan Crawford.

Is that how you get off r10?

R13 wouldn’t know golden age or new Hollywood if it fucked his asshole twice

R6. I don’t think your view that Swanson was awful in Sunset Boulevard is widely shared.

R12: Lucy was made ever worse series and "Mame". Hepburn finished with more class and respect.

Funnily, Katherine Hepburn seemed more contemporary, less ancient days in the 60s-70s-80s than many of the women who were working alongside her in the 30s. Is it because she had at least a major part every decade? She always seemed to be attached to a major or hit or critically acclaimed film - African Queen, Guess Who's Coming to Dinner, Lion in Winter, Rooster Cogburn, Golden Pond. Crawford and Davis sunk to junk. De Havilland went away for the most part (and I'm gonna argue de Havilland, much as I loved her, was not a particularly great actress.) Somehow Hepburn did translate. Did anybody else have a better career as an old lady?

If Davis had been difficult and perhaps smoked and drank less, she could have had a career more like Hepburn. Crawford made the mistake of trying to play younger than her actual age in the 50s and ended her career in Trog---a couple decades of camp. de Haviland had starring roles but was never quite as big a star as the others.

Hepburn latched on to the late 1960s zeitgeist.

It's 1968 and she's on the cover of LIFE magazine ....sitting on the floor and wearing men's clothes.

Meanwhile, Joan Crawford was doing interviews wearing white gloves and a tiara.

OP Dumb fuck you've obviously never seen...

R29, it really was a tour de force and should have received more acclaim. It was originally supposed to be a feature film and I believe Michael Cimino was attached, but after the debacle that was Heaven's Gate, Hollywood wouldn't let him near anything. In the original script, Clarabelle was a lot more desperate and there were going to be close-up shots of IV drug use and even handjobs next to a dumpster at a KFC parking lot. As it is, it's still an astonishing piece of acting. Sadly it's lost to time. It's such a shame that outside influences inhibited Lucy from making the daring film choices that were offered her (Dressed to Kill, Don't Look Now, Carnal Knowledge) and she could have shown that not only was she an expert comedienne but perhaps even more gifted dramatically.

[quote] "Art Deco Femme Fatale"

You rang?

[quote]it was originally supposed to be a feature film and I believe Michael Cimino was attached

Before Cimino it was Bernardo Bertolucci but Lucy nixed that pretty fast.

R30. I always thought it was a pity that Gary convinced Lucy to turn down Belle de Jour.

Physical vanity may have something to do with it. Katherine Hepburn and Ingrid Bergman were willing to appear on screen looking their age.

Paulette Goddard. I can't stand her, anyway. That she got as far as she did is a miracle in and of itself.

What leading roles in New Hollywood films would any of those 1930s/40s stars been cast or even considered? It was not a movement that was kind to aging women. Do you think Joan Crawford or Bette Davis would have accepted the role of Nurse Ratched?

Barbara Stanwyck had a pretty good run with "The Big Valley".

Hepburn would have.

"The Big Valley" was television and she had that pathetic "Miss Barbara Stanwyck" billing.

Bette Davis, Jean Arthur and Betty Hutton tried TV and it didn't go so well.

Along with Stanwyck, Ann Sothern, Betty Garrett and Eve Arden were able to make it.

It was the B-picture people who succeeded in a big way in tv. People who couldn't carry an A-picture proved to be quite good at carrying a half-hour sitcom.

Look at older female celebrities, actors, singers, you name it, now in 2023, compared to the same-aged such artists in the early 1970s...all of them today adopt looks, fashions, makeup and hair that looks younger, since contemporary styles now span many decades. In the '70s, there was still that division where older women were more anticipated to wear their hair and clothes, and to carry themselves, in a more..."matronly" way. (Think Lucille Ball in "Here's Lucy" in 1968, and compare her at her age then with any similar working female TV or film actresses today.) So the so-called "Golden Age" actresses didn't necessarily transition as well, unless usually we were talking about character parts including maybe in the horror or suspense genres.

OP chooses the most ridiculous representations of these actresses' "New Hollywood" (as if she knows what that actually means) end-of-career periods. Rather hand-selected among performances in of-the-times disaster-genre movies, which called for camp work, Miss Snoot.

Don't forget that Helen Fucking Hayes won her second Oscar for her "work" in "Airport."

They're all older actresses in bad films.

Bette Davis seems to be the only one who played great roles in great movies after she was old as dirt. She wasn't trying to be a glamour queen anymore in "Baby Jane". Most these other aging beauty queens would have recoiled at playing an old ugly role even if it was a great role.

There are not really that many actresses now in their 70s frequently working save Streep, and even she doesn’t work much. Why would it have been different in the 1970s?

Nanette Fabre on One Day At A Time

I love Marjorie Main

R45: Helen Mirren is in her 70s. Jane Fonda is in her 80s. Maggie Smith is nearly 90.

They wanted Lucy to play Rooster Cogburn but Gary talked her out of it.

British actresses are unlike others. They allow themselves to age gracefully, they continue taking grueling work on the London stage and television, and they star in roles in prominent British films.

Maggie Smith, Vanessa Redgrave, Judi Dench, Helen Mirren, Eileen Atkins, Franscesca Annis, Diana Rigg (RIP), Joan Plowright, Charlotte Rampling, even Miriam fucking Margolyes, may be slowing down now, but all worked consistently in quality film projects well into their 70s and 80s. Though, I'm talking more about the 1990s through now, not the new Hollywood of the 1970s,

Bunny O’Hare…!

Hollywood doesn't go in for old and wrinkled.

Gabrielle Carteris just didn't translate well into talkies.

Ahem.

R50: Doesn't explain Jane Fonda

What is there to explain, r55?

I never said anything that contradicts Fonda's career.

Ann Miller was perfect/creepy in Mulholland Drive.

I love Ann for her enthusiastic embrace of her campy status.

I saw Ann Miller as a special guest at Les Mouches one night, and she was delightful.

Gloria Swanson blended seamlessly into New Hollywood.

Ask Theda Bera.

I'm sure Swanson loved singing with Barbara Eden.

R18, whatever you think of her or the films, Bacall worked with Altman, Lars Von Trier and voiced work for the great Japanese animator Hayao Miyazaki.

Hardly a shabby legacy, not even counting her truly star turn in Murder on the Orient Express.

Hepburn's final two films after Pond were Grace Quigley and Love Affair. Robert Osbourne was reviewing films on LA newscasts and he said that watching her in Grace Quigley was sadism.

Audrey Hepburn was a nepo baby who only made it cuz of her sister Katherine.

R62, Rob Reiner, “Misery”, Streisand, “The Mirror Has Two Faces”, Edward Bianchi, “The Fan”.

Look at that LIFE cover of Hepburn. Her personal style was out-of-time. The washer woman hair from the early 1900s, the wide legged trousers from the 30s, the bobby sox from the 50s. Light makeup if any. You couldn’t put a date on her. That plus her vigorous personality guaranteed she could work as long as she chose to.

Jean Arthur could’ve made it, with a better team. Comedies were not sophisticated in early 50s tv. It’s weird when you think of it, there were plenty of screwball movies with witty dialog starting from the 30s but nobody could distill William Powell/Carole Lombard/Cary Grant/Claudette Colbert and Ralph Bellamy and Melvyn Douglas thrown in for good measure and write that for television?? Can someone explain?

R66, “I Love Lucy” was the #1 show week after week for nearly all of its six seasons,1951 to 1957.

Yes? ILL as beloved as it is, is not sophisticated or witty. Jean Arthur could never plug into that.

R68, Not the earlier episodes, but “ILL” improved and some episodes were quite sophisticated and witty, especially the “Lucy-Desi Comedy Hours”.

ILL was the most unsubtle comedy imaginable. Lucy couldn't carry an A-list film, but she could play the same wacky character week after week. Most sitcoms in the 50s were like that--some had a lighter touch like "our Miss Brooks" are were what some people called "wamedies" ("Leave it to Beaver", "The Donna Reed Show", "Father Knows Best").

The movies were going for a big experience you couldn't have on tv (splashy musicals, technicolor Bible epics, adaptations of serious plays, etc). The cheaper films tended more toward exploitation. Not a lot of space for sophisticated comedy but occasionally it was part of a drama like "All About Eve". During the late 50s, you get the Doris Day sex comedies which were considered either "sophisticated" or sitcoms depending on your perspective.

R50 Although it has changed somewhat, British performers generally still treat acting like a craft. Until about 20 years ago, British actors generally had to undertake stage apprenticeships before they could get their Equity cards which meant the formative years of their careers were largely on stage. Also, the fact that most British actors age naturally brings a level of authenticity to their performances that Hollywood actors lack.

Jean Arthur was Streep's acting teacher. Jean was also an animal rights activist before it was popular. She took some potshots at a neighbor who repeatedly beat his dog.

R71, you do realize that Equity is a stage actor's union, so if they wanted to appear on stage and make a decent living, then they needed to have an Equity card. Equity has nothing to do with film and television which is SAG-AFTRA (formerly separate unions).

[quote]It’s weird when you think of it, there were plenty of screwball movies with witty dialog starting from the 30s but nobody could distill William Powell/Carole Lombard/Cary Grant/Claudette Colbert and Ralph Bellamy and Melvyn Douglas thrown in for good measure and write that for television?? Can someone explain?

Topper attempted that.

R71, there's also the fact that most British actors are desperate to get out of Britain. American actors don't have that impetus.

Because modern acting is flopping ones tits out and an unleashing an unashamed faucet of mucus.

R76. That is true. I think reluctance to do nudity limited the roles Audrey and Lauren got.

Katherine H did plenty of nudity - on her hands and knees, cleaning out half the muffs between here and Vegas.

The problem really was that Hollywood always had plenty of leading roles for aging men but not so many for aging women. So William Holden and Charlton Heston continued to get good leading man roles, but not so much the women. Even Elizabeth Taylor found good roles dried up when she became too aged.

Liz accepted roles that were junk and then got fat.

One who always makes me sad is Alexis Smith, since she was genuinely a fine actress and was capable of doing refined and subtle work. She has a small but important role as Louisa van der Luyden in "The Age of Innocence," and she's terrific--she's listens intently to everything her husband (Michael Gough) says as if he's a high priest, and she speaks firmly but gently to everyone younger but less important than her character. I wish she had had the chance to have done more work in her later years.

R81, And she was already battling brain cancer then.

It’s Katharine Hepburn, not Katherine.

The point seems kind of muddled, as people struggle to figure out what OP means by “New Hollywood.” Actual New Hollywood, or just newer films.

But it’s ludicrous to suggest Hepburn (or Henry Fonda) didn’t give naturalistic performances in On Golden Pond. The “theatrical” one was Jane Fonda. She often needed toning down. Watch Bette Davis in the TV movie White Mama - she’s not big or theatrical. I don’t always know what people are seeing. I think they just accept simplistic tropes.

[quote]ILL was the most unsubtle comedy imaginable. Lucy couldn't carry an A-list film, but she could play the same wacky character week after week.

The Facts Of Life (with Bob Hope) (1960) Was a popular hit. “It is a grandly good-natured picture, full of thoroughly sparkling repartee and word-gags and sight-gags that crackle with humor and sly intelligence." (Crowther, NYT).

Yours, Mine and Ours (with Henry Fonda) (1968) wasn’t a particular critical success but made a fortune at the box office.

Myrna Loy seemed to make the transition into new-era films easily enough. She was directed by Sidney Lumet, a pretty modern director (as was Katharine Hepburn, in Long Day’s Journey Into Night). Maureen O’Hara was good in Only The Lonely with John Belushi and Ally Sheedy. Maureen O’Sullivan continued to work into the new era and was always good (better than she had been in back at MGM in the ‘30s. Sylvia Sidney did some newer films and was good in them. Not to mention Jessica Tandy.

[quote]Ava Gardner in Earthquake. Olivia de Havilland in The Swarm and Airport ‘77. Katharine Hepburn in Rooster Cogburn. Gloria Swanson in Airport ‘75. All of their performances are overwrought and overly dramatic

Quite possibly because all those movies, OP, were overwrought and overly dramatic.

Can you all please all understand that New Hollywood and post-Golden Age Hollywood are not the same?

Thank you

Some of the golden era guys didn't fare so well, either: hams Kirk and Charlton, both who liked to show off their bods past their sell-by date; Brando got lazier and fatter, after his early '70s comeback. Whereas Paul Newman became a better actor than during his smirking anti-hero heyday, where he played his age.

I tried to tell them!

I came on here for sex, hooking up and dick pics. Not fags discussing washed up old queens.

Most Golden Age actresses didn’t progress in the post studio era is Hollywood’s never had much use for old bags. The good roles went to Katherine (as DL lovingly spells her name!), Bette, and Ingrid.

The rest scrambled for the relatively few roles that were left.

I meant:

[quote]Most Golden Age actresses didn’t progress in the post studio era [bold]because[/bold] Hollywood’s never had much use for old bags.

[quote]The rest scrambled for the relatively few roles that were left.

Fuck you, R91!

^^ oh Shelley aka as Shirley… of course you were better than all the rest! You were a GREAT character actress!

Jessica Tandy had a very successful career as a senior (Cocoon, Driving Miss Daisy).

[quote]Maureen O’Hara was good in Only The Lonely with John Belushi

John Candy

France is pretty much the only country where a “name” woman over 50 can regularly get leading roles in films. Which is why a number of Brits took their careers there, but oddly never an American.

[quote] Can you all please all understand that New Hollywood and post-Golden Age Hollywood are not the same Thank you

R87 So...which golden age actresses appeared in New Hollywood films? Can you name any? I don’t think many did. What’s the point of the thread?

I know Ann Miller auditioned for the Kitty Winn role in The Panic in Needle Park and the Margot Kidder role in Sisters, so even though she wasn't cast in the latter and had to drop out of the former, she was a part of the New Hollywood scene...

I already mentioned Bette Davis in Bunny O’Hare.

Bunny O’Hare was an American International film (founded by Roger Corman and his partners) directed by Gerd Oswald (who had been a director in Hollywood for years, including at Monogram and later of ‘50s films like A Kiss Before Dying.) Not sure why this film would be “New Hollywood.” A lot of New Hollywood got their start with Corman (who had been in films since at least the ‘50s) but not this director...

One Golden Age actress I can think of in a (possibly) New Hollywood film is Geraldine Fitzgerald, who has a small part in Paul Mazurski’s Harry And Tonto as Jessie, an old love interest of Harry’s who lives in a nursing home and seems to have dementia (Fitzgerald was about 60). Another one is Ida Lupino who played Steve McQueen’s mother in Junior Bonner (1972), directed by Sam Peckinpah. They both did fine.

(I’m afraid the same person will pass judgment over this post and say these films weren’t “New Hollywood” by his standards. I really don’t know but I wait, cowering.)

I don't know if Shelley Winters could be considered Golden Age but part of the reason she kept working was because of her appearances on talk shows. Also, her specialty became loud, obnoxious old ladies, something she was an expert at.

R102, Shelley was on the cusp of the Golden Age, like Debbie Reynolds.

I would consider prior to 1950 as the Golden Age.

R101, Bette Davis told Shirley Jones that Jack Cassidy kept telling her that he wanted to fuck her during the filming of “Bunny O’Hare”.

I guess we should also remember that not all of the older actresses were dying to get back to work. But I don’t think there was a lot of interest in them from New Hollywood because at least some of the New Hollywood directors were trying to distance themselves from the previous era. Dennis Hopper was sometimes a houseguest of Jennifer Jones and David O. Selznick, for example (he and his wife Brooke Hayward) but he wasn’t going to put Jennifer Jones in a movie. He himself had started in the studio era but his image was New Hollywood.

Jennifer Jones made a few turkeys near the end of her career.

R103 What you say is true, Im just going to embellish. They were still more a part of the studio system than not. Debbie was totally a product of the MGM studio. Shelley started in movies as far back as the early 40s but didn’t become anything like well known or successful until George Cukor cast her in A Double Life (1947). (She had also been on the stage and would continue to be.) Shelley went under contract to Universal in the ‘50s after her first Oscar nomination (for Paramount’s A Place In he Sun (1951).

R106 The Idol wasn’t too bad (just dull) and she was actually good in in (she replaced Kim Stanley). The really bad one was Angel, Angel, Down We Go. Those two and The Towering Inferno were all she did in her later career, though she was in The Country Girl onstage (City Center revival) and did another play, on the West Coast, I think.

*in it

[quote]R102 I don't know if Shelley Winters could be considered Golden Age

She auditioned in New York for Scarlett O’Hara, to George Cukor’s bewilderment. She reminded him when she later read for A DOUBLE LIFE and he said, “Yes! My Jewish Scarlett!”

If Shelley is indeed considered Golden Age, then she is the flag bearer for those who transitioned perfectly into New Hollywood. I still remember her as the Nazi-esque villainess in Cleopatra Jones and how the audiences cheered when Tamara Dobson kicked her ass in the finale.

In Carroll Baker’s autobiography she remembers how when she screen tested for “Giant” a studio employee described the Warner Bros. lot as empty, even though they had multiple films in production. Comparatively, it was a shadow of the old days.

So even by the mid 50s Hollywood had changed.

[quote]r111 If Shelley is indeed considered Golden Age, then she is the flag bearer…

I thought this said [italic]flea bearer.

Jennifer Jones made turkeys all throughout her career,

Winters transition to "New Hollywood" mostly consisted of playing cartoonish Jewish mothers, which Lanie Kazan took over later. Reynolds rarely got big roles and wound up playing mothers.

Ida Lupino didn't have much of career and mostly directed episodic tv in her later years.

[quote]Bette Davis told Shirley Jones that Jack Cassidy kept telling her that he wanted to fuck her during the filming of “Bunny O’Hare”.

The story goes that on the first day of filming Bette Davis was sitting in the hair and makeup trailer when Jack Cassidy walked in (the two had never met before) and the first thing he said to her was "Bette, you've got one good fuck left in you and I'm gonna give it to you."

Bette Davis was laughing so hard she almost fell out of her chair. She had a really raunchy sense of humor and loved sex jokes.

That Jack. I wonder if he made a similar remark to any of the men of the company.

What a dumbshit that OP person is.

Ruth Gordon in Rosemary's Baby

and Harold and Maude

It seems she wasn’t actually a “star” until those movies, so very late in her career.

R117. Oh he did to Ernest Borgnine, he must have been really drunk at the time

Gold is better than silver (screen)

R121, “Inside Daisy Clover” rejuvenated her career and earned her an Oscar nomination.

“Rosemary’s Baby” won her an Oscar and made her a “star”.

I think the industry in general treated those old movie queens with fake fawning respect and admiration so they didn’t appear in anything as characters, just their ‘legendary’ selves. Gloria Swanson being Gloria Swanson in a film. Hepburn being the great actress Hepburn in anything. For me the saddest of all was Ava Gardner. Still admired her, but in many of her last films, with all the lighting, make up etc she just looked like a rough boozy old housewife. Not even a vestige of that once spectacular breathtaking beauty yet they talked in hushed tones ‘with….. Ava Gardner.’ Don’t know who was foolin’ who but to me she just looked fuckin’ rough!

The cigs and booze really did a number on Ava Gardner's looks.

R126, All that Spanish dick couldn’t save her.

Ava was approaching 42 here and looks older.

Ruth Gordon was a "golden age actress," debuting in film and Broadway by 1920. Her first "comeback" was in 1927, for fuck's sake.

She translated "well" into New Hollywood in the 1960s, with two Golden Globes and an Oscar.

Again, dumbshits.

R129, Ruth was best known for her work on Broadway until the 1960s.

Prior to then, she was best known for playing Garbo’s secretary in her final film, “Two Faced Woman” in 1941.

Trying to turn a character player like Ruth Gordon into a golden age star is a bit much.

Damn r128! She looked mid-50s.

I love that movie, I’ve never seen a color still from it

R132. That’s a very unforgiving photo. She didn’t look particularly old yet.

[quote]Trying to turn a character player like Ruth Gordon into a golden age star is a bit much.

The thread title speaks of "golden age actresses".

Geraldine Fitzgerald in Harry and Tonto

There's a name for it it... there's a phrase that fits.

Shirley MacClaine (late Golden Age?) in Hal Ashby's "Being There".

This is such a ridiculous question because they almost all spoke English!

R129 in the Golden Age of Hollywood she was a screenwriter not an actress.

Bette Davis took a number of shit roles because she supported her entire family and was always in need of money. If her family hadn't been such leeches she could've afforded to be more picky about the movies she did.

Bette did well in TV after her AFI award, winning an Emmy for Strangers and getting nominated for White Mama and Little Gloria. Many of the Golden Age actresses landed okay in TV and supporting film roles in the 70s. The first that come to mind are Sylvia Sidney and Joan Blondell.

Women of a certain age, let's say over 55, have been able to "translate" better starring in Hollywood or international films after 1975. Between Marie Dressler and May Robson in the early 1930s and Katharine Hepburn in the early 60s, no actress over 55 was nominated for a Best Actress Oscar. Since 1975 Bergman, Katharine Hepburn, Geraldine Page, Jessica Tandy, Joanne Woodward, Ellen Burstyn, Diane Keaton, Meryl, Glenn, McDormand and Viola have done it. Judi Dench, Fernanda Montenegro, Julie Christie, Emmanuelle Riva, Charlotte Rampling, Helen Mirren, Isabelle Huppert and Michelle Yeoh have done it outside of Hollywood. And then there's the whole set of geriatric movies along the lines of Book Club and 80 for Brady.

R141, Bette’s mother died in 1961 and her sister died in 1979, both of whom she financially supported.

She also financially supported B. D. and her family, but that was surely stopped after B. D.’s book in 1985.

From 1985 to her death in 1989, Bette’s money was her own.

R143, I believe Bette was still repsonsible for her daughter Margot's full-time care.

R144, Gary Merrill, who outlived Bette by a year, also contributed to Margot’s care.

r143 that was only four years. Bette supported her leech family for decades. BD and her useless husband never worked and Bette supported them at a very comfortable level.

R136, see R101

Is The Gypsy Moths (1969) (directed by John Frankenheimer) considered New Hollywood? Deborah Kerr was the lead in that. With Burt Lancaster, Gene Hackman, Scott Wilson.

Kerr's nude scene in They Gypsy Moths and de Havilland's in The Adventurers didn't exactly light their careers on fire.

Wait...did Olivia de Havilland flash beav?

At auditions she did.

She flashed it at Deborah Kerr.