Maureen O'Hara appears on page 49 of Big Star Album, no. 1, Winter 1943, a large magazine from the Dell Publishing Company. The paper is not glossy, being the wartime stock, but the issue is loaded with full-page portraits of the stars of the day. One is struck by the repeated references to Miss O'Hara's Irish birth, not as a matter of biography but rather, it seems inferenced, as a selling point, an important part of her studio publicity.
To have been foreign born is naturally exotic to us, and to have trained in Dublin's illustrious Abbey Theater is certainly impressive, but her blurb is filled with Blarney Stone and leprechaun references, of being an Irish colleen. Did Marlene Dietrich's German heritage, Ingrid Bergman's Swedish heritage, or Greer Garson's English heritage matter as much to their careers? Were they selling points, or merely interesting trivia?
The article stresses that despite her beauty, Miss O'Hara was an accomplished actress, that she was not just building a career on her charm. Indeed, she was a splendid actress, nor did she lean on predominantly Irish roles, which would have limited her career, though she was obviously proud of her ancestry and even recorded an album of Irish folk songs. Even charming tropes are still tropes, and one must wonder if they weren't occasionally an exhausting burden.
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Jacqueline T. Lynch is the author of Ann Blyth: Actress. Singer. Star. and Memories in Our Time - Hollywood Mirrors and Mimics the Twentieth Century.
The Maureen O'Hara of my imagination wouldn't let anything, especially Irish tropes, become an exhausting burden. She would embrace them and turn them to her own making, and to her advantage. In my mind's eye, I see her dusting off her hands and saying "That's how it's done."
ReplyDeleteCW, I think you're probably right.
ReplyDeleteShe was the best.
ReplyDeleteYou bet she was.
ReplyDelete