After the success of last year's #JeanHagenJune, when I enjoyed a chronological deep dive into Jean Hagen's filmography, this June I dug into Joan Fontaine's filmography. In a career spanning from 1935 to 1994, Joan Fontaine made 50 feature-length films (including TV movies), and I tracked down 49! I was unable to find the TV drama The Light That Failed (1961), but 49 films, from 1935's No More Ladies to 1994's Good King Wenceslas, kept me busy.
No More Ladies (1935, Edward H. Griffith) Ladies' man Sherry (Robert Montgomery) is now married to Marcia (Joan Crawford), but his past keeps catching up with him, including one brief scene with Caroline (Joan Fontaine), who makes her film debut here, billed as Joan Burfield. Average fare.
A Million to One (1936, Lynn Shores) After her debut (a very small role) at MGM, Joan Fontaine is cast as the female lead in a Poverty Row B movie as the love interest opposite real-life Olympic athlete Herman Brix. There's rivalry between their fathers, and romantic competition. Poor.
Quality Street (1937, George Stevens) At 20, Phoebe (Katharine Hepburn) falls for a soldier (Franchot Tone). Returning after 10 years apart, she worries that he's no longer interested in her, so she glams up and pretends to be her younger niece. Joan Fontaine is a flirty young thing! Charmed.
The Man Who Found Himself (1937, Lew Landers) Joan Fontaine may be on the poster/second-billed, but she's not in the first half of the film. The 'man' is a former doctor (John Beal) who, following a death in a plane crash, needs to 'find himself.' A nurse (Joan) helps! Perfectly OK.
You Can't Beat Love (1937, Christy Cabanne) Playboy prankster Jimmy (Preston Foster) agrees to run for mayor as a dare. During the process, he finds some principles and love in the form of the incumbent mayor's daughter (Joan Fontaine). An efficient, yet somewhat generic screwball.
Music for Madame (1937, John G. Blystone) An Italian tenor (Nino Maretti) arrives in Hollywood and is tricked by thieves. Thought to be part of the gang, he has to prove his innocence while also falling for a composer (Joan Fontaine). Nino has a lovely voice, the plot’s fine, but Joan is wasted.
A Damsel in Distress (1937, George Stevens) Fred Astaire stars in this fun Gershwin musical set in a P.G. Wodehouse world, where he woos an aristocrat (Joan Fontaine). He leads the musical numbers with comedic support from George Burns and Gracie Allen. “Things Are Looking Up” for Fontaine!
Maid's Night Out (1938, Ben Holmes) To win a bet with his dad, Bill (Allan Lane) has to complete a month-long milk route for the family’s dairy business. During his rounds, he meets socialite Sheila (Joan Fontaine), whom he mistakes for a servant. A charming rom-com. A hidden gem!
Blond Cheat (1938, Joseph Santley) Its alternate title, The Muddled Deal, hints at both the chaos Julie (Joan Fontaine) causes for pawnbroker Mike (Derrick de Marney) and the dense plot—one that was inconsistent, incoherent, and inexplicable. Yet, I somehow remained invested! Likable.
Sky Giant (1938, Lew Landers) Meg (Joan Fontaine) is romantically torn between two interchangeable chaps (Richard Dix, Chester Morris). There’s as much rapport between the men, both training as pilots, as they have with Meg, which may explain the ending. Challengers not this daring!
The Duke of West Point (1938, Alfred E. Green) An American (Louis Hayward) educated in England arrives at West Point with a reputation for sporting prowess and standoffishness. He has his work cut out to win around his fellow recruits and a young woman (Joan Fontaine). Not that bad!
Gunga Din (1939, George Stevens) Joan Fontaine is fifth on the cast list as the fiancée to Ballantine (Douglas Fairbanks Jr.), but it's not much of a part. This is the boys' movie as three soldiers (Fairbanks Jr., Cary Grant, Victor McLaglen) and Gunga Din (Sam Jaffe) go adventuring. Not for me!
Man of Conquest (1939, George Nicholls Jr.) Biopic of politician Sam Houston (Richard Dix), who, after splitting from his fiancée (Joan Fontaine), accepts the president's offer to become ambassador to the Cherokee tribe. Fontaine looks luminous in her tiny role. Film not of interest to me!
The Women (1939, George Cukor) An all-female cast, including Norma Shearer, Joan Crawford, Rosalind Russell, Paulette Goddard, and Joan Fontaine (in the dullest role), is caught up in the drama of love, marriage, and divorce. It’s full of gossip, gloss, and gorgeousness. Wicked and fab!
Rebecca (1940, Alfred Hitchcock) Widowed Maxim (Laurence Olivier) meets a young, shy paid companion (Joan Fontaine) who he marries and takes back to his estate, where she has to contend with memories of his first wife, kept alive by the formidable housekeeper (Judith Anderson). Brilliant!
Suspicion (1941, Alfred Hitchcock) Charming, charismatic scoundrel Johnnie (Cary Grant) woos and marries the shy Lina (Joan Fontaine). When he discovers that she’s not as wealthy as he supposed, he has to make other plans, which keep us/her on edge. At turns light and tense. Masterful.
This Above All (1942, Anatole Litvak) Prudence (Joan Fontaine) defies her aristocratic family's expectations by: a) joining the WAFs and b) falling in love with a working-class chap (Tyrone Power) with strong views. A charming WWII romance hijacked by overt treatises on class and duty.
Breakdowns of 1942 Flubs and bloopers from major Warner Bros movies shot in 1942, including Joan Fontaine and Charles Boyer from The Constant Nymph (not that fun). But stay for Bette Davis, Barbara Stanwyck, Claude Rains, Humphrey Bogart, and many more...
The Constant Nymph (1943, Edmund Goulding) 14-year-old Tessa (Joan Fontaine) is infatuated with her older cousin (Charles Boyer), a composer. Despite their age difference and his marriage, their relationship remains ambiguous. A well-executed but unsettling watch, reflective of its time.
Jane Eyre (1943, Robert Stevenson) The resilient, independent Jane (Joan Fontaine) becomes a governess at Thornfield Hall, where she meets the brooding, mysterious Mr. Rochester (Orson Welles). Fontaine captures Jane’s strength and vulnerability, while Welles brings out Rochester’s tortured soul.
Frenchman's Creek (1944, Mitchell Leisen) Lady Dona St Columb (Joan Fontaine), bored with her stifling aristocratic life, finds adventure and romance in the arms of a charming French pirate (Arturo de Córdova). Despite its lavish production design, it is a somewhat dull affair!
The Affairs of Susan (1945, William A. Seiter) On the cusp of her second marriage, Susan’s (Joan Fontaine) fiancé (Abel) learns about her from her former husband (Brent) and beaus (O'Keefe, DeFore). Each remembers her differently, letting Fontaine showcase a quirky range of female representations.
From This Day Forward (1946, John Berry) A young couple, Susie (Joan Fontaine) and Bill (Mark Stevens), navigate postwar life. Bill's struggle to find stable employment becomes a bit of a drag, despite a quirky detour into freelance erotica illustration! Fontaine brings warmth to a one-dimensional role.
Ivy (1947, Sam Wood) Dissatisfied with her married life, Ivy (Joan Fontaine) uses her charm to entangle wealthy men in her web, leading to a series of deceptions and ultimately murder. Fontaine’s ruthless femme fatale makes this a fascinating contribution to the film noir genre. Ace!
Letter from an Unknown Woman (1948, Max Ophüls) Told in flashback via letter, pianist Stefan (Louis Jourdan) learns more about Lisa (Joan Fontaine), who had loved him since she was a teen and whose fleeting encounters had emotionally devastating consequences. Visually stunning melodrama.
The Emperor Waltz (1948, Billy Wilder) American salesman (Bing Crosby) is in Austria trying to sell phonographs. He meets a Countess (Joan Fontaine) and, despite their initial friction and class differences, they (and their dogs) fall in love. Visually appealing, if somewhat lightweight.
Kiss the Blood Off My Hands (1948, Norman Foster) Bill (Burt Lancaster), a former soldier with a violent streak, is on the run when he meets Jane (Joan Fontaine). They fall in love, but his past (Robert Newton) catches up with him. Atmospheric but somewhat underwhelming film noir.
You Gotta Stay Happy (1948, H.C. Potter) An heiress (Joan Fontaine) reluctantly marries her sixth fiancé, but unable to face the wedding night, she hides out in a pilot's (James Stewart) room and persuades him to fly her to California. A good, if not quite good enough screwball comedy.
September Affair (1950, William Dieterle) A pianist (Joan Fontaine) and an engineer (Joseph Cotten) fall in love while flying home. When the plane they missed crashes, they’re presumed dead, allowing them to start over. A mature, romantic melodrama with beautiful Italian locations.
Born to Be Bad (1950, Nicholas Ray) Christabel (Joan Fontaine) schemes away the rich fiancé (Zachary Scott) from her cousin (Joan Leslie). The second Mrs. de Winter, aka Fontaine, gets to play 'Rebecca' in his melodrama whose title promises much wickedness, and delivers! Delicious.
Darling, How Could You! (1951, Mitchell Leisen) After years away from their kids, parents (Joan Fontaine, John Lund) return to find their daughter (Mona Freeman) is now on the cusp of womanhood, and her ill-informed notions of romance cause complications. OK.
Othello (1951, Orson Welles) As an adaptation of Shakespeare’s chilling tale of jealousy and manipulation, this is amazing. As a Joan Fontaine film, it’s... I must have missed her! She’s listed as Page (uncredited), but her role seems to have been cut.
Something to Live For (1952, George Stevens) A former alcoholic (Ray Milland), now an AA mentor, is called to help an alcoholic actress (Joan Fontaine). Professional boundaries are crossed as they fall in love, straining his marriage (Teresa Wright). Unconvincing and unsatisfactory.
Ivanhoe (1952, Richard Thorpe) Ivanhoe (Robert Taylor) returns from the Crusades to restore Richard to the throne, battle Prince John, and get 'romantic' with Lady Rowena (Joan Fontaine) and Rebecca (Elizabeth Taylor). Swashbuckling nonsense. Everyone looked lovely in Technicolor.
Decameron Nights (1953, Hugo Fregonese) Episodic adventure as a storyteller (Louis Jourdan) shares tales of love, deception, and humor in medieval Italy with Fiammetta (Joan Fontaine). Joan and Louis feature in the framing device and the vignettes. It was all a bit ropey.
Flight to Tangier (1953, Charles Marquis Warren) A group of people, including Susan (Fontaine) and Gil (Jack Palance), get involved in a perilous search for a missing plane carrying gold in Tangier. The film’s convoluted plot and underwhelming execution fail to deliver, despite actors’ efforts.
The Bigamist (1953, Ida Lupino) The direction, performances, and script tread a fine line in making the bigamist husband (Edmond O’Brien) at the center of this drama understandable and sympathetic, as well as making both wives (Joan Fontaine and Ida Lupino) genuine and authentic.
Casanova’s Big Night (1954, Norman Z. McLeod) A wealthy couple mistakes a tailor (Bob Hope) for Casanova and hires him to test their future daughter-in-law's virtue. He brings along the woman (Joan Fontaine) he's smitten with. Fun times ensue, with an incredible supporting cast!
Serenade (1956, Anthony Mann) A wealthy woman (Joan Fontaine) who enjoys discovering poor but gifted young men finds a farmer (Mario Lanza) and turns him into an opera star. When she breaks his heart, he goes to Mexico for a fresh start, marries, but is drawn back to NY. Average.
Beyond a Reasonable Doubt (1956, Fritz Lang) A newspaper editor (Sidney Blackmer) stages his soon-to
-be ex-wife's (Joan Fontaine) murder to show that a man can be wrongly convicted of a crime. He soon finds himself the prime suspect in a real crime. A rare misfire from Lang.
Island in the Sun (1957, Robert Rossen) A Caribbean-set romance/drama with four interweaving plotlines, two of which involve interracial romances. One features Joan Fontaine and Harry Belafonte, which is the most interesting but least developed. Michael Rennie romances Dorothy Dandridge with a more successful outcome. Joan Collins grapples with concerns over her mixed heritage affecting her marriage to a Lord (Stephen Boyd), while James Mason is up to no good! The film juggles too many storylines, leaving some underdeveloped. But it looks lush!
Until They Sail (1957, Robert Wise) The eldest three of four sisters (Jean Simmons, Joan Fontaine, Piper Laurie) in New Zealand get caught up in wartime romances with American servicemen, to varying degrees of success—or not. Simmons and Laurie have the strongest plotlines. Solid drama.
A Certain Smile (1958, Jean Negulesco) A young Parisian student (Christine Carère) is torn between her dull boyfriend and a charming older man (Rossano Brazzi), whose wife (Joan Fontaine) remains graceful and composed despite her suspicions. Not for me—definitely a product of its time!
The Light That Failed (1961, Marc Daniels) This was the only Joan Fontaine film I couldn’t find. Given that it was a CBS TV movie sponsored by The Breck Shampoo Company, it may well not exist anywhere now! TX: 16 March 1961. Can’t even find an image!
Voyage to the Bottom of the Sea (1961, Irwin Allen) In the near future, a submarine crew faces a catastrophic climate disaster. Its Admiral (Walter Pidgeon) has a plan, but others, including Dr. (Joan Fontaine), disapprove, causing unrest. Looks great (design/FX), but lacks spark!
Tender Is the Night (1962, Henry King) Based on F. Scott Fitzgerald's novel, Dick (Jason Robards) and Nicole (Jennifer Jones) Diver live lavishly on the French Riviera, funded by Nicole’s wealth. Their marriage is upended when Dick becomes infatuated with Rosemary (Jill St. John), a young actress. Joan Fontaine stars as Baby Warren, a glamorous family friend whose presence adds panache to their social circle. Not on screen often, but lights it up with extravagant outfits and sparkling wit. But the film itself is oh so dull!
The Witches (1966, Cyril Frankel) In this Hammer horror, Joan Fontaine stars as a teacher who moves to a remote English village, only to discover dark and disturbing goings-on. She’s excellent in the role of a woman unraveling the secrets of the witchcraft she’s inadvertently stepped into.
The Users (1978, Joseph Hardy) A small-town gal (Jaclyn Smith) marries an aging film star (Tony Curtis), determined to restart his career. Hollywood legends Red Buttons and Joan Fontaine bring some Golden Age glam, while George Hamilton exudes sleazy charm. Despite prominence on the poster, John Forsythe doesn’t appear much!
Dark Mansions (1986, Jerry London) This pilot to an aborted TV series sees a matriarch (Joan Fontaine) hire a young woman (Linda Purl) to help write her memoir. However, dark secrets lurk within this wealthy family, drawing heavily on the better-known Fontaine vehicle, Rebecca. Absolute nonsense.
Crossings (1986) Danielle Steel’s pre-/during WW2 saga is lavishly brought to the screen, with a cast of TV and film favorites, including Cheryl Ladd, Jane Seymour, Lee Horsley, and Christopher Plummer. Stewart Granger and Joan Fontaine also appear, with Fontaine in a very small role.
Good King Wenceslas (1994, Michael Tuchner)
Wenceslas (Jonathan Brandis) is set to be a good king, but here he battles for his rightful place on the throne against his wicked stepmother (Stefanie Powers). Joan Fontaine’s last screen role is as his kindly grandmother.
And with the Christmas movie on a warm June day, that brings to an end my #JoanFontaineJune viewing project: 49 movies (including TV movies/series) watched, spanning seven decades from 1935 to 1994. Check out my ranked list on letterboxd: Joan Fontaine List
My Top Four #JoanFontaine First-Time Watches were:
Maid’s Night Out (1938)
Ivy (1947)
September Affair (1950)
Casanova’s Big Night (1954)
Two comedies, one romantic drama, and one crime thriller, which demonstrate her range from charming ingénue to wicked femme fatale.
My Top Four #JoanFontaine Re-Watches were:
Rebecca (1940)
The Women (1939)
Suspicion (1941)
Letter from an Unknown Woman (1948)
#JoanFontaineJune has been a wonderful experience. I’ve so enjoyed these deep dives into an actor's body of work, and I’m already planning next June's!
I also read No Bed of Roses, Joan Fontaine's autobiography, which helps to fill in the blanks between films. It covers her multiple marriages, children, stage work (I would've loved to have seen her in Dial M for Murder) and TV panel shows. Some gossip was spilled, but not too much!
