Luise Rainer
Luise Rainer | |
|---|---|
 Rainer in 1941 | |
| Born | 12 January 1910 |
| Died | 30 December 2014 (aged 104) Belgravia, London, England |
| Citizenship | Germany United States United Kingdom |
| Occupation | Actress |
| Years active | 1926–2003 |
| Known for | |
| Spouses | |
| Children | 1 |
| Awards | Academy Award for Best Actress |
Luise Rainer (/ˈraɪnər/ RY-nər, German: [ˈʁaɪnɐ]; 12 January 1910 – 30 December 2014) was a German-born film actress.[1][2] She was the first thespian to win multiple Academy Awards, and the first to win back-to-back; at the time of her death, thirteen days shy of her 105th birthday, she was the longest-lived Oscar recipient (and the longest-lived female star from Classic Hollywood), a superlative that has not been exceeded, as of 2026.[3]
Rainer started her acting career in Germany at age 16, under the tutelage of Austria's leading stage director, Max Reinhardt. Within a few years, she had become a distinguished Berlin stage actress with Reinhardt's Vienna theater ensemble. Critics highly praised the quality of her acting. After years of acting on stage and in films in Austria and Germany, she was discovered by Metro-Goldwyn-Mayer talent scouts, who signed her to a three-year contract in Hollywood in 1935. A number of filmmakers predicted she might become another Greta Garbo, MGM's leading female star at the time.
Her first American film role was in Escapade in 1935. The following year she was given a supporting part in the musical biography The Great Ziegfeld, where, despite limited appearances, her emotion-filled performance so impressed audiences that she was awarded the Academy Award for Best Actress. She was later dubbed the "Viennese teardrop" for her dramatic telephone scene in the film.[4] For her next role, producer Irving Thalberg was convinced, despite the studio's disagreement, that she would also be able to play the part of a poor, plain Chinese farm wife in The Good Earth (1937), based on Pearl Buck's novel about hardship in China. The subdued character role was such a dramatic contrast to her previous vivacious character that she again won the Academy Award for Best Actress.[5] Rainer, Jodie Foster and Hilary Swank are the only actresses ever to win two Oscars by the age of 30.
However, she later stated nothing worse could have happened to her than winning two consecutive Oscars, as audience expectations from then on would be too high to fulfill.[6] After a string of insignificant roles, MGM and Rainer became disappointed, leading her to end her brief three-year film career, soon returning to Europe. Adding to her rapid decline, some feel, was the poor career advice she received from her then-husband, playwright Clifford Odets,[7] along with the unexpected death in 1936 at age 37 of her producer, Irving Thalberg, whom she greatly admired. Some film historians consider her the "most extreme case of an Oscar victim in Hollywood mythology".[8]
Early life and career
[edit]The daughter of Heinrich and Emilie (née Königsberger) Rainer, known familiarly as "Heinz" and "Emmy", Rainer was born on 12 January 1910 in Düsseldorf, Germany[9] and raised in Hamburg and later in Vienna, Austria. Some sources list her birthplace as Vienna.[10][11][12] Describing her childhood, she stated, "I was born into a world of destruction. The Vienna of my childhood was one of starvation, poverty and revolution."[13] Her father was a businessman who settled in Europe after spending most of his childhood in Texas, where he was sent at the age of six as an orphan. As an adult, Rainer described herself as an American citizen "by birth" due to her father's citizenship status.[14] Rainer's family was upper-class and Jewish, but assimilated enough that she was "unaware of [her] Jewishness" until she was twenty-three.[15]: 402 [16][17] She converted to Christianity in the 1940s, but was later quoted as saying “I do not believe in any religion as it only creates strife".[17]
Rainer had two brothers and was a premature baby, born two months early. She describes her father as being "possessive" and "tempestuous", but whose affections and concern were centered on her. Luise seemed to him as "eternally absent-minded" and "very different". She remembers his "tyrannical possessiveness", and was saddened to see her mother, "a beautiful pianist, and a woman of warmth and intelligence and deeply in love with her husband, suffering similarly".[15] Although generally shy at home, she was immensely athletic in school, becoming a champion runner and a fearless mountain climber. Rainer said she became an actress to help expend her physical and overly emotional energy. It was her father's wish, however, that she attend a good finishing school and "marry the right man."[15] Rainer's rebellious nature made her appear to be more of a "tomboy" and happy to be alone. She also feared she might develop what she saw as her mother's "inferiority complex".[15]
She was only six when she decided to become part of the entertainment world, and recalled being inspired by watching a circus act:
I thought that a man on the wire was marvelous, in his spangles and tights. I wanted to run away and marry him but I never had an opportunity. I am sure, though, that the experience first disclosed to me the entertainment world. For years I longed to be able to walk on a tight wire, too.[18]
At age 16, Rainer chose to follow her dream to become an actress; under the pretext of visiting her mother, she traveled to Düsseldorf for a prearranged audition at the Dumont Theater.[19]
In the 1920s the theatre director Louise Dumont separated from her husband. Dumont was attached to a number of young actresses including Fita Benkhoff, Hanni Hoessrich, and Rainer. It has been presumed that Dumont was bisexual.[20]
Rainer later began studying acting with Max Reinhardt, and, by the time she was 18, there was already an "army of critics" who felt that she had unusual talent for a young actress.[15] She soon became a distinguished Berlin stage actress as a member of Reinhardt's Vienna theater ensemble.[7][21] Her first stage appearance was at the Dumont Theater in 1928, followed by other appearances, including Jacques Deval's play Mademoiselle, Kingsley's Men in White, George Bernard Shaw's Saint Joan, Measure for Measure, and Pirandello's Six Characters in Search of an Author.[9]
In 1934, after appearing in several German language films, she was seen performing in the play Six Characters in Search of an Author by MGM talent scout Phil Berg, who offered her a three-year contract in Hollywood.[19] He thought she would appeal to the same audience as Swedish MGM star Greta Garbo.[22] Initially, Rainer had no interest in films, saying in a 1935 interview: "I never wanted to film. I was only for the theater. Then I saw A Farewell to Arms and right away I wanted to film. It was so beautiful."[19]
Hollywood career
[edit]Early roles
[edit]Rainer moved to Hollywood in 1935 as a hopeful new star.[10] Biographer Charles Higham notes that MGM studio head Louis B. Mayer and story editor Samuel Marx had seen footage of Rainer before she came to Hollywood, and both felt she had the looks, charm, and especially a "certain tender vulnerability" that Mayer admired in female stars.[23] Because of her poor command of English, Mayer assigned actress Constance Collier to train her in correct speech and dramatic modulation, and Rainer's English improved rapidly.[23]
Her first film role in Hollywood was in Escapade (1935), a remake of one of her Austrian films, co-starring William Powell.[24] She received the part after Myrna Loy gave up her role halfway through filming.[21] After seeing the preview, Rainer ran out of the cinema displeased with how she appeared: "On the screen, I looked so big and full of face, it was awful."[25] The film generated immense publicity for Rainer, who was hailed as "Hollywood's next sensation."[26] However, she did not like giving interviews, explaining:
Stars are not important, only what they do as a part of their work is important. Artists need quiet in which to grow. It seems Hollywood does not like to give them this quiet. Stardom is bad because Hollywood makes too much of it, there is too much 'bowing down' before stars. Stardom is weight pressing down over the head — and one must grow upward or not at all.[26]
The Great Ziegfeld (1936)
[edit]
Rainer's next performance was as the real-life character Anna Held in the musical biography The Great Ziegfeld, again co-starring William Powell.[27] Powell, impressed by Rainer's acting skill, had given her equal billing in Escapade.[26]
According to Higham, Irving Thalberg felt that only Rainer, of all the studio's stars, could play the part as he saw it. But Rainer recalled that studio head Mayer did not want her playing the part, seeing it as too small: "You are a star now and can't do it," he insisted.[13]: 13 Shortly after shooting began in late 1935, doubts of Rainer's ability to pull off the role emerged in the press.[28] She was criticized for not resembling the Polish-born stage performer.[28] The director admitted that the main reason Rainer was cast was her eyes, claiming that they "are just as large, just as lustrous, and contain the same tantalizing quality of pseudo naughtiness" the part required.[28]
As Thalberg expected, she successfully expressed the "coquettishness, wide-eyed charm, and vulnerability" required.[23] Rainer "so impressed audiences with one highly emotional scene," wrote biographer Charles Affron, that she received the Academy Award for Best Actress.[7] In one scene, for example, her character is speaking to her ex-husband Florenz Ziegfeld over the telephone, attempting to congratulate him on his new marriage: "The camera records her agitation; Ziegfeld hears a voice that hovers between false gaiety and despair; when she hangs up she dissolves into tears."[7][29]
Powell, having worked with her in two films, gave his impressions of her acting style and quality:
She is one of the most natural persons I have ever known. Moreover, she is generous, patient and possesses a magnificent sense of humor. She is an extremely sensitive organism and has a great comprehension of human nature. She has judgment and an abiding understanding which make it possible for her to portray human emotion poignantly and truly. Definitely a creative artist, she comprehends life and its significance. Everything she does has been subjected to painstaking analysis. She thinks over every shade of emotion to make it ring true. In Europe she is a great stage star. She deserves to be a star. Unmistakably she has all the qualities.[25]
On the evening of the Academy Award ceremonies, Rainer remained at home, not expecting to win. When Mayer learned she had won, he sent MGM publicity head Howard Strickling racing to her home to get her. When she finally arrived, master of ceremonies George Jessel, during the commotion, made the mistake of introducing Rainer, which Bette Davis had been scheduled to do.[23] She was also awarded the New York Film Critics' Award for the role.
The Good Earth (1937)
[edit]Rainer's next film was The Good Earth (1937), in which she co-starred with Paul Muni; she had been picked as the most likely choice for the female lead in September 1935.[30][31] The role, however, was completely the opposite of her Anna Held character, as she was required to portray a humble Chinese peasant subservient to her husband and speaking little during the entire film. Her comparative muteness, stated historian Andrew Sarris, was "an astounding tour de force after her hysterically chattering telephone scene in The Great Ziegfeld", and contributed to her winning her second Best Actress Oscar.[32]
The award made her the first actress to win two consecutive Oscars, a feat not matched until Katharine Hepburn's two wins thirty years later.[7] In later years, however, Rainer felt that winning the two Oscars so early may have been the "worst possible thing" to befall her career.[6] She said that it made her "work all the harder now to prove the Academy was right."[33]
Rainer later recalled early conflicts even before production. Studio head Louis B. Mayer, for example, did not approve of the film being produced or her part in it, wanting her to remain a glamorous film star: "He was horrified at Irving Thalberg's insistence for me to play O-lan, the poor uncomely little Chinese peasant," she said. "I myself, with the meager dialogue given to me, feared to be a hilarious bore."[34]: 142 Rainer remembered hearing Mayer's comments to Thalberg, her producer: "She has to be a dismal-looking slave and grow old; but Luise is a young girl; we just have made her glamorous — what are you doing?"[13]: 13 She considered the part as one of the "greatest achievements" in her career, stating that she was allowed to express "realism," even refusing to "wear the rubber mask 'Chinese look,'" suggested by the makeup department. She was allowed to act "genuine, honest, and down-to-earth," she said.[34]
Other serious problems took place during production. Director George W. Hill, who had spent several months in China filming backgrounds and atmospheric scenes, committed suicide soon after returning to Hollywood. The filming was postponed until Sidney Franklin could take over.[24] A few months later, before the film was completed, Irving Thalberg died suddenly at the age of 37. Rainer commented years later, "His dying was a terrible shock to us. He was young and ever so able. Had it not been that he died, I think I may have stayed much longer in films."[34] The film's opening screen credit includes a dedication to Thalberg: "To the Memory of Irving Grant Thalberg – his last greatest achievement – we dedicate this picture."[35]
In late 1936, MGM conceived a script called Maiden Voyage especially for Rainer.[36] The project was shelved and eventually released as Bridal Suite in 1939, starring Annabella as 'Luise'. Another 1936 unrealized film project that involved Rainer was Adventure for Three, which would have co-starred William Powell. In 1938, she played Johann Strauss's long-suffering wife Poldi in the successful Oscar-winning MGM musical biopic The Great Waltz, her last big hit.[citation needed]
Her four other films for MGM, The Emperor's Candlesticks (1937) with William Powell, Big City (1937) with