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Miriam Hopkins: Life and Films of a Hollywood Rebel
Miriam Hopkins (1902–1972) first captured moviegoers’ attention in daring precode films such as Dr. Jekyll and Mr. Hyde (1931), The Story of Temple Drake (1933), and Ernst Lubitsch’s Trouble in Paradise (1932). Though she enjoyed popular and critical acclaim in her long career—receiving an Academy Award nomination for Becky Sharp (1935) and a Golden Globe nomination for The Heiress (1949—she is most often remembered for being one of the most difficult actresses of Hollywood’s golden age. Whether she was fighting with studio moguls over her roles or feuding with her avowed archrival, Bette Davis, her reputation for temperamental behavior is legendary.
In the first comprehensive biography of this colorful performer, Allan R. Ellenberger illuminates Hopkins’s fascinating life and legacy. Her freewheeling film career was exceptional in studio-era Hollywood, and she managed to establish herself as a top star at Paramount, RKO, Goldwyn, and Warner Bros.
Over the course of five decades, Hopkins appeared in thirty-six films, forty stage plays, and countless radio programs. Later, she emerged as a pioneer of TV drama. Ellenberger also explores Hopkins’s private life, including her relationships with such intellectuals as Theodore Dreiser, Dorothy Parker, Gertrude Stein, and Tennessee Williams. Although she was never blacklisted for her suspected Communist leanings, her association with these freethinkers and her involvement with certain political organizations led the FBI to keep a file on her for nearly forty years.
This skillful biography treats readers to the intriguing stories and controversies surrounding Hopkins and her career, but also looks beyond her Hollywood persona to explore the star as an uncompromising artist. The result is an entertaining portrait of a brilliant yet underappreciated performer.
In the first comprehensive biography of this colorful performer, Allan R. Ellenberger illuminates Hopkins’s fascinating life and legacy. Her freewheeling film career was exceptional in studio-era Hollywood, and she managed to establish herself as a top star at Paramount, RKO, Goldwyn, and Warner Bros.
Over the course of five decades, Hopkins appeared in thirty-six films, forty stage plays, and countless radio programs. Later, she emerged as a pioneer of TV drama. Ellenberger also explores Hopkins’s private life, including her relationships with such intellectuals as Theodore Dreiser, Dorothy Parker, Gertrude Stein, and Tennessee Williams. Although she was never blacklisted for her suspected Communist leanings, her association with these freethinkers and her involvement with certain political organizations led the FBI to keep a file on her for nearly forty years.
This skillful biography treats readers to the intriguing stories and controversies surrounding Hopkins and her career, but also looks beyond her Hollywood persona to explore the star as an uncompromising artist. The result is an entertaining portrait of a brilliant yet underappreciated performer.
- GenresBiographyNonfictionFilm
396 pages, Hardcover
Published January 12, 2018
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Displaying 1 - 7 of 7 reviews
January 30, 2018
Allan Ellenberger's biography of Miriam Hopkins is a nuanced and in-depth look at one of the most dazzling and provocative personalities from Hollywood’s Golden Age. The book follows Hopkins’ rise to stardom; her participation in some of Hollywood’s most revolutionary films; the fascinating events and people that marked her personal life as well as her inexplicable disappearance from the public eye. Most astonishing, Ellenberger’s book is probably the first biography ever written on Hopkins.
Hopkins was a Georgia-born southern belle, raised by a domineering mother, with whom she regularly clashed. As a young girl Hopkins developed a taste for performing, and when old enough, she fled to New York to elbow her way into a career in the theater. She garnered a degree of acclaim for her stage work, and that's when Paramount Studios came knocking at her door. Looking for talent to populate the newly minted talking pictures, Paramount offered her a contract. In the 1930s Miriam achieved the fame she sought, becoming one of Hollywood’s most revered stars, and more importantly, she was recognized as one of its most talented actresses. She became involved with many landmark productions including the first sound film version of Dr. Jekyll and Mr. Hyde (1931), the film credited with ushering in enforcement of the Production Code; The Story of Temple Drake (1933), the first Technicolor feature; Becky Sharp (1935); Ernst Lubitsch’s The Smiling Lieutenant (1931); Trouble in Paradise (1932); and Design for Living (1933); as well as four films with director William Wyler, including two undisputed classics: These Three (1936) and The Heiress (1949). In the 1930s, Hopkins was gold and became a prominent figure in the talkies, where she was universally praised for her talent. However it was her off-screen theatrics that quickly earned her the reputation as a prima donna.
Hopkins was notoriously difficult, and in many respects, it may have been her downfall. She was infamous for her temperamental attitude and being generally difficult while working on both stage and film. She regularly upstaged and undermined her co-stars and most of her directors were left exasperated. Sometime co-star Bette Davis described Hopkins as unprofessional, explaining that she was a “real bitch," and the two were at odds throughout the pair of films they made together. Edward G. Robinson had a similar experience with Hopkins on the set of Barbary Coast (1935), and he chastised her for what he saw as underhanded behavior. Of course Hopkins' “difficulty” also extended to confronting studio heads like Samuel Goldwyn and Jack Warner whenever she believed she was justified in doing so. There were few who would dispute the assertion that Hopkins was difficult to work with, including those with whom she was friendly. For example, Tennessee Williams befriended Hopkins when she starred in his first produced play, but seemed to feel that her difficulty was part of her charm. He would describe her as a “magnificent bitch,” and the two formed a bond that would last throughout Hopkins’ lifetime.
Despite the chaos she may have stirred up at work, her personal life was nothing short of intriguing. Hopkins was an art collector and avid reader who spent years decorating her dream house to perfection. She adopted a child while unmarried (it’s still unclear if the child was her biological offspring); engaged in casual love affairs with F. Scott Fitzgerald and other well-known men; financially supported her mother and sister; married upon a whim and divorced just as quickly, then had to suffer through the death of her true love. She found herself embraced by artists, writers, intellectuals and other creative personalities who had genuine affection for her. She maintained friendships with Theodore Dreiser, Dorothy Parker, Gertrude Stein and held the distinction of being Margaret Mitchell’s choice to play Scarlett O’Hara in the film version of Gone with the Wind. Within these circles Miriam and her temperament were welcomed, and these friendships helped to shape her social and political consciousness. Gradually, Miriam’s once conservative southern values developed into more liberal, progressive ideas that would ultimately bring her under scrutiny by the FBI for possible communist sympathies.
Among the more sensational episodes in the book are the chapters that recount the hostilities between Hopkins and Bette Davis. For decades Davis openly reviled Hopkins and questioned her professionalism in books and televised interviews. Despite narratives to the contrary, Hopkins denied any animosity between the two and chose not to publicly comment on Davis. Ellenberger examines the conflict, confirming that hostilities did exist and provides answers as to why Hopkins may have been antagonistic to Davis, and in many respects her hostility was defensible.
Ellenberger spent nearly a decade researching Hopkins’ life and his book is full of rich details that bring us as close as possible to understanding this complex, accomplished actress. He has clearly scoured every resource imaginable, which included befriending surviving family members, and may have written the definitive text. Her son Michael passed away shortly before the book’s publication, but shared many personal stories about his mother, and provided the family photos found throughout the book. The author rewards the reader with a meticulous and fascinating biography of a complicated, yet undeniably talented artist, as well as a woman who was nothing short of captivating.
Reviewed by Nicholas Beyelia, Librarian
Hopkins was a Georgia-born southern belle, raised by a domineering mother, with whom she regularly clashed. As a young girl Hopkins developed a taste for performing, and when old enough, she fled to New York to elbow her way into a career in the theater. She garnered a degree of acclaim for her stage work, and that's when Paramount Studios came knocking at her door. Looking for talent to populate the newly minted talking pictures, Paramount offered her a contract. In the 1930s Miriam achieved the fame she sought, becoming one of Hollywood’s most revered stars, and more importantly, she was recognized as one of its most talented actresses. She became involved with many landmark productions including the first sound film version of Dr. Jekyll and Mr. Hyde (1931), the film credited with ushering in enforcement of the Production Code; The Story of Temple Drake (1933), the first Technicolor feature; Becky Sharp (1935); Ernst Lubitsch’s The Smiling Lieutenant (1931); Trouble in Paradise (1932); and Design for Living (1933); as well as four films with director William Wyler, including two undisputed classics: These Three (1936) and The Heiress (1949). In the 1930s, Hopkins was gold and became a prominent figure in the talkies, where she was universally praised for her talent. However it was her off-screen theatrics that quickly earned her the reputation as a prima donna.
Hopkins was notoriously difficult, and in many respects, it may have been her downfall. She was infamous for her temperamental attitude and being generally difficult while working on both stage and film. She regularly upstaged and undermined her co-stars and most of her directors were left exasperated. Sometime co-star Bette Davis described Hopkins as unprofessional, explaining that she was a “real bitch," and the two were at odds throughout the pair of films they made together. Edward G. Robinson had a similar experience with Hopkins on the set of Barbary Coast (1935), and he chastised her for what he saw as underhanded behavior. Of course Hopkins' “difficulty” also extended to confronting studio heads like Samuel Goldwyn and Jack Warner whenever she believed she was justified in doing so. There were few who would dispute the assertion that Hopkins was difficult to work with, including those with whom she was friendly. For example, Tennessee Williams befriended Hopkins when she starred in his first produced play, but seemed to feel that her difficulty was part of her charm. He would describe her as a “magnificent bitch,” and the two formed a bond that would last throughout Hopkins’ lifetime.
Despite the chaos she may have stirred up at work, her personal life was nothing short of intriguing. Hopkins was an art collector and avid reader who spent years decorating her dream house to perfection. She adopted a child while unmarried (it’s still unclear if the child was her biological offspring); engaged in casual love affairs with F. Scott Fitzgerald and other well-known men; financially supported her mother and sister; married upon a whim and divorced just as quickly, then had to suffer through the death of her true love. She found herself embraced by artists, writers, intellectuals and other creative personalities who had genuine affection for her. She maintained friendships with Theodore Dreiser, Dorothy Parker, Gertrude Stein and held the distinction of being Margaret Mitchell’s choice to play Scarlett O’Hara in the film version of Gone with the Wind. Within these circles Miriam and her temperament were welcomed, and these friendships helped to shape her social and political consciousness. Gradually, Miriam’s once conservative southern values developed into more liberal, progressive ideas that would ultimately bring her under scrutiny by the FBI for possible communist sympathies.
Among the more sensational episodes in the book are the chapters that recount the hostilities between Hopkins and Bette Davis. For decades Davis openly reviled Hopkins and questioned her professionalism in books and televised interviews. Despite narratives to the contrary, Hopkins denied any animosity between the two and chose not to publicly comment on Davis. Ellenberger examines the conflict, confirming that hostilities did exist and provides answers as to why Hopkins may have been antagonistic to Davis, and in many respects her hostility was defensible.
Ellenberger spent nearly a decade researching Hopkins’ life and his book is full of rich details that bring us as close as possible to understanding this complex, accomplished actress. He has clearly scoured every resource imaginable, which included befriending surviving family members, and may have written the definitive text. Her son Michael passed away shortly before the book’s publication, but shared many personal stories about his mother, and provided the family photos found throughout the book. The author rewards the reader with a meticulous and fascinating biography of a complicated, yet undeniably talented artist, as well as a woman who was nothing short of captivating.
Reviewed by Nicholas Beyelia, Librarian
December 27, 2023
I want to start out on this reflection that I discovered who actress Miriam Hopkins was because of the two films she costarred with Bette Davis- "The Old Maid" and "Old Acquaintance". Those films became the stuff of Hollywood gossip and lore, because they were made out to be the ultimate catfight between two alpha women who did not put up with shit from anyone. I personally read about their feud in James Spada's stellar biography on Bette Davis, and it seemed that Ms. Davis, who was also considered "difficult" to work with, was an actress who had a vision for her roles, with preparation and technical skill that she already had in mind as the cameras rolled.
Ms. Hopkins, also stage trained, used stage bits that were used to steal scenes from Ms. Davis, such as using her hands and moved her body around in herky jerky ways that took the viewer's eyes from Davis; but instead made her seem like the consummate scene stealer, fraught with constant anxiety and insecurity with the need to stabotage.
In Mr. Ellenberger's biography (and could it be the first one about Miriam Hopkins?) it read like a fascinating novel and character study. Miss Hopkins was an actress with a capital A. She used her stage technique to both mesmerize and exasperate audiences, directors and costars alike. Sometimes it worked, giving great performances in her two films with Bette Davis; William Wyler's "The Heiress" costarring Olivia de Havilland and Montgomery Clift; and according to the book, she gave her crowning performance in the stage production of "Look Homeward Angel", replacing Jo Van Fleet. But her personal life was full of strife with her mother, ex husbands, and lovers. She doted on her adopted son Michael and her grandson. It is fascinating to know that she was one of the first major Hollywood actresses who adopted a kid into the Hollywood lifestyle- but Michael Hopkins was unscathed and did not end up traumatized like Christina Crawford or BD Hyman from having had Joan Crawford and Bette Davis as their parents. Instead, Miriam Hopkins loved her son, and was one of the few people in her life she truly loved and did not treat with any invective.
I learned that she was in the first official technicolor film, 1935's "Becky Sharp" adapted from "Vanity Fair". She was nominated for a Best Actress Oscar, losing to Bette Davis. She was also an accomplished stage actress whose career began more successfully than Davis’s when they were in the same stock company. She was in classics that I have heard about such as "Design for Living", "Dr. Jekyll and Mr. Hyde" starring Fredric March in a role that earned him his first Best Actor Oscar; and the first adaptation of "The Children's Hour" which was written as "These Three" to placate the censors who did not want a lesbian themed film in the 1930s. Hopkins also had a really domestic side to her, especially decorating and cherishing her Sutton Place New York Apartment, an avid collector of Picasso and other modern artists, and had friendships with Tennessee Williams, Theodore Dreiser, and Dorothy Parker and was interested in the current trends in art, literature and politics of the current state of the world.
My final assessment is that because of her massive talent, weighed by massive insecurity with the need to self sabotage if things didn't go her way, Hopkins would have had the kind of career her contemporaries Bette Davis, Katharine Hepburn, Joan Crawford, Olivia de Havilland and Greer Garson had. Those women, equally complex, equally fiery and independent in their own ways with personalities that were all larger and life- all were savvy enough to play the game if they wanted things to go their way.
Bette Davis was a Hollywood rebel herself- but she knew how to pare it down if needed. As did Crawford and Hepburn. Hopkins played on instinct and had mercurial personality that would be read today as borderline personality disorder, and was often vengeful and jealous. This is well documented in her feud with Bette Davis most famously. Especially, when she starred in an ill fated Broadway production of "Jezebel"; when the film adaptation was made in 1938, it became one of Bette Davis' signature roles, and launched the career of William Wyler as a formidable director. Hopkins was so jealous this happened, that she did everything she could to upstage Davis in the two films they starred in together. But at the end of the day, Hopkins' career faltered as Davis' had reached the height of hers. It's no secret that Hollywood has always been sexist towards women, and actresses, and pitting them against each other for roles, men, and lifestyles.
Miriam Hopkins was a rebel to me because she often reverted to her instincts and the occult for career guidance- but a rebel in that by refusing to play the game, she lost.
Ms. Hopkins, also stage trained, used stage bits that were used to steal scenes from Ms. Davis, such as using her hands and moved her body around in herky jerky ways that took the viewer's eyes from Davis; but instead made her seem like the consummate scene stealer, fraught with constant anxiety and insecurity with the need to stabotage.
In Mr. Ellenberger's biography (and could it be the first one about Miriam Hopkins?) it read like a fascinating novel and character study. Miss Hopkins was an actress with a capital A. She used her stage technique to both mesmerize and exasperate audiences, directors and costars alike. Sometimes it worked, giving great performances in her two films with Bette Davis; William Wyler's "The Heiress" costarring Olivia de Havilland and Montgomery Clift; and according to the book, she gave her crowning performance in the stage production of "Look Homeward Angel", replacing Jo Van Fleet. But her personal life was full of strife with her mother, ex husbands, and lovers. She doted on her adopted son Michael and her grandson. It is fascinating to know that she was one of the first major Hollywood actresses who adopted a kid into the Hollywood lifestyle- but Michael Hopkins was unscathed and did not end up traumatized like Christina Crawford or BD Hyman from having had Joan Crawford and Bette Davis as their parents. Instead, Miriam Hopkins loved her son, and was one of the few people in her life she truly loved and did not treat with any invective.
I learned that she was in the first official technicolor film, 1935's "Becky Sharp" adapted from "Vanity Fair". She was nominated for a Best Actress Oscar, losing to Bette Davis. She was also an accomplished stage actress whose career began more successfully than Davis’s when they were in the same stock company. She was in classics that I have heard about such as "Design for Living", "Dr. Jekyll and Mr. Hyde" starring Fredric March in a role that earned him his first Best Actor Oscar; and the first adaptation of "The Children's Hour" which was written as "These Three" to placate the censors who did not want a lesbian themed film in the 1930s. Hopkins also had a really domestic side to her, especially decorating and cherishing her Sutton Place New York Apartment, an avid collector of Picasso and other modern artists, and had friendships with Tennessee Williams, Theodore Dreiser, and Dorothy Parker and was interested in the current trends in art, literature and politics of the current state of the world.
My final assessment is that because of her massive talent, weighed by massive insecurity with the need to self sabotage if things didn't go her way, Hopkins would have had the kind of career her contemporaries Bette Davis, Katharine Hepburn, Joan Crawford, Olivia de Havilland and Greer Garson had. Those women, equally complex, equally fiery and independent in their own ways with personalities that were all larger and life- all were savvy enough to play the game if they wanted things to go their way.
Bette Davis was a Hollywood rebel herself- but she knew how to pare it down if needed. As did Crawford and Hepburn. Hopkins played on instinct and had mercurial personality that would be read today as borderline personality disorder, and was often vengeful and jealous. This is well documented in her feud with Bette Davis most famously. Especially, when she starred in an ill fated Broadway production of "Jezebel"; when the film adaptation was made in 1938, it became one of Bette Davis' signature roles, and launched the career of William Wyler as a formidable director. Hopkins was so jealous this happened, that she did everything she could to upstage Davis in the two films they starred in together. But at the end of the day, Hopkins' career faltered as Davis' had reached the height of hers. It's no secret that Hollywood has always been sexist towards women, and actresses, and pitting them against each other for roles, men, and lifestyles.
Miriam Hopkins was a rebel to me because she often reverted to her instincts and the occult for career guidance- but a rebel in that by refusing to play the game, she lost.
January 11, 2018
What a woman,
As a long time fan of Miriam Hopkins, I want to thank author Allen Ellenberger for his 10 year exhaustive research on this incredible woman, an actress with immense talent, intelligence, and a woman who was true to herself, sometimes to the detirmement of her career.
As a long time fan of Miriam Hopkins, I want to thank author Allen Ellenberger for his 10 year exhaustive research on this incredible woman, an actress with immense talent, intelligence, and a woman who was true to herself, sometimes to the detirmement of her career.
May 3, 2021
At some stage earlier this year, I became slightly obsessed with Pre-Code Hollywood, those wild west years when anything seemed to go. One of the leading lights of this period was Miriam Hopkins, who I first became aware of from Ernst Lubitsch's romantic comedy Trouble in Paradise (1932). Even with Travis Banton's drop-dead gorgeous bias cut gowns clinging to the phenomenal Kay Francis, Hopkins' wit and comedic timing stood out. I sought out her other films: more Lubitsch collaborations like Design for Living (1933), the silliness of The Smiling Lieutenant (1931) with Maurice Chevalier, and her breakthrough role Dr. Jekyll and Mr. Hyde (1931). Of course, it's the controversial The Story of Temple Drake (1933) that will be remembered as one of her finest screen performances, an impressive claim in a career that spanned stage, screen, television and radio. Ellenberger pulls no punches in depicting her warts and all, including her difficult on-set encounters, her notorious feud with Bette Davis and her decline later in her career. While some periods are covered in detail more than others, this complete career biography through to her death in 1972 is a must for fans of classic cinema.
September 24, 2018
I had been looking for a few years for a biography of Miriam Hopkins. As a fan of her work in film I was curious to know more about her. The wait for a biography was well worth it! Mr. Ellenberger has written a beautifully researched book that provides much information on Ms. Hopkins life as a Broadway and Hollywood star.
April 7, 2022
There are few biographies about stars from the Golden Age Hollywood that was very well written and this is one of it. It really gives insight of Miriam back when she was still starting her career until the end.
February 7, 2018
Excellent book!
Displaying 1 - 7 of 7 reviews