Book Review: Miriam Hopkins: The Life and Films of a Hollywood Rebel

One of many notable actresses during Hollywood’s golden age, Miriam Hopkins scored in such timeless films as “Dr. Jeckyl and Mr. Hyde” (1932), “Trouble in Paradise “ (1932), “Design for Living” (1933), “Becky Sharp” (1935), “Barbary Coast” (1935), and “These Three” (1936). She remained active throughout the 1940s, and well into the television age, appearing on many TV shows in the 50s and 60s. She died in 1972, her last appearance being in an odd indie film entitled “Savage Intruder” (1970). Author Allan Ellenberger’s book explores Miriam’s life and career with fascinating detail in his new book from the University Press of Kentucky.

Hopkins comes off as pretty difficult in many situations. She clashes with a lot of stars and directors, causing friction with some actors and actresses that resulted in her losing roles later on. Paul Muni refused to work with her after their experience on the film “The Woman I Love” (1937), causing her to lose the female lead in “We Are Not Alone” (1939). Her rivalry with Bette Davis is duly noted in several of the biography’s passages. While making “Virginia City” (1940), she clashed with director Michael Curtiz, while she and the film’s star, Errol Flynn, hated each other. The book also recounts Miriam’s many alleged affairs with actors and directors -- Anatole Litvak, Robert Montgomery, John Gilbert, Fritz Lang, Herbert Marshall, and King Vidor among them.

But the bulk of the text is a brilliant look at a major star during a most fascinating period in American cinema. The author takes us through cinema’s development during what is usually referred to as its golden age. And we learn a great deal about Miriam Hopkins the actress. Her approach to different roles, her creative ideas, her process as a thespian, and her connection with directors and stars who understood her and could work with her cohesively are recounted in accurate and enlightening detail.

Because she was, as the title states, “a Hollywood rebel,” Ms. Hopkins would either find a way to creatively work within the system, or would rail against it. Her tenacity, her determination, her creative ambition, and her innate talents override her rather consistent penchant for being disagreeable.

Ellenberger offers all of the details regarding Miriam’s life and work, positive and negative, without any judgment or editorializing. Each fascinating new bit of info further illustrates this very complex woman whose talents were frequently utilized to their fullest, but too often underappreciated. Some of this is due to her behavior, other times it was because of a caste system during the studio era of American cinema. In any case, the book never becomes tedious or discursive -- its nearly 400 pages offering interesting and highly readable information throughout.

During a year that has included some top drawer film-related biographies, “Miriam Hopkins: The Life and Films of a Hollywood Rebel” is among the very best. It is most passionately recommended to all fans of Hollywood’s golden age. Along with Ms. Hopkins's life and work, one learns a great deal about this cinematic period, its directors, its stars, and its system.

The book is available here.