15 December 2013 6:43 PM, PST | IMDb News

Academy Award-winning actress Joan Fontaine, the leading lady known for her string of roles as demure, well-mannered and often well-bred heroines in the 1940s, and the younger sister of actress Olivia de Havilland, died today at her home in Carmel, California; she was 96.

Known best for her back-to-back roles in two Alfred Hitchcock thrillers -- the 1940 Best Picture winner Rebecca and the 1941 film Suspicion, for which she won a Best Actress Oscar, making her the ony actor in a Hitchcock film to receive an Academy Award -- she and her sister were enshrined in Hollywood lore as intense rivals, and their rivalry reached a peak of sorts when Fontaine beat de Havilland for the 1941 Best Actress Oscar.

Born Joan de Beauvoir de Havilland in 1917 in Tokyo, Japan, Fontaine suffered from recurring ailments throughout her childhood, resulting in her mother moving both her and Olivia to California. While her mother, stage actress Lillian Fontaine, desired for both her daughters to be actresses, it was only Olivia who initially pursued an acting career, as Fontaine returned to Japan for two years when she was 15 years old to live with her father, who divorced Lillian in 1919. Upon returning to the states, Fontaine found that Olivia was already becoming an established actress, and began to embark on her own career. Starting out in theater, Joan initially changed her name to Joan Burfield, then Joan Fontaine (so as to avoid confusion with her sister), and soon found herself in moderately noteworthy parts in such films as You Can't Beat Love (1937), A Damsel in Distress (1937, opposite Fred Astaire) and Gunga Din (1939, alongside Cary Grant, her future leading man in Suspicion). Though she garnered more notice in 1939 in the supporting part of naive newlywed Peggy Day in the classic comedy The Women, she was far eclipsed in fame and reputation by her sister, who had already starred along Errol Flynn in a number of romance adventures, and who received her first Oscar nomination for the blockbuster Gone With the Wind.

It was the same man who cast de Havilland in Gone With the Wind who would make Fontaine into a major star. Looking to follow up the monstrous success of Gone With the Wind with another noteworthy literary adapation, producer David O. Selnick snapped up the rights to the Daphne du Maurier bestseller Rebecca, in which an unnamed, demure heroine -- known only as "the second Mrs. de Winter" -- is taunted by the memory of her husband's first wife, the beautiful and seductive title character. Selznick brought director Alfred Hitchcock over for his first American production, cast matinee idol and rising star Laurence Olivier as moody, mysterious husband Maxim de Winter, and embarked on a Scarlett O'Hara-style talent search for his leading lady. Rejecting Loretta Young, Margaret Sullavan, Vivian Leigh (then Olivier's wife), and a then-unknown Anne Baxter along with hundreds of other actresses, Selznick decided on Fontaine, who though not an established star projected the right mix of beauty, insecurity, and tenacity needed for the part. Fontaine's insecurity, however, was heightened by Olivier's sometimes cruel treatment of her on set, as he had lobbied aggressively for Leigh to get the role, and Hitchcock capitalized on her inferiority complex to shape her performance. The resulting film, released in 1940, was an unqualified critical and financial success, catapulting Fontaine into the tier of top Hollywood leading ladies, establishing Hitchcock firmly in the United States, and nabbing the film 11 Academy Award nominations, includine ones for both Fontaine and Olivier; it would go on to win Best Picture.

Selznick, pleased with the combination of Hitchcock and Fontaine, signed the two on for a follow-up about a demure heiress who begins to suspect that her playboy husband is out to murder her for her money. Initially titled Before the Fact, it would later be retitled Suspicion, and Cary Grant was cast as the charming but caddish husband. Though the final ending of the film was tinkered with -- studio heads thought making Grant guilty would be bad for box office, and insisted on a twist to make him actually heroic -- it was another success, earning three Oscar nominations, including Fontaine's second Best Actress nod. It was at the 1941 Academy Awards that Fontaine, once considered the also-ran to her movie star sister, beat Olivia de Havilland for the Best Actress Oscar (de Havilland had been nominated for Hold Back the Dawn). In what became part of Hollywood and Academy Award legend, Fontaine coolly rejected her sister's efforts at congratulations, and What had always been a fractious relationship since childhood became officially estranged. Hollywood wags often reported that because de Havilland lost to her sister, she would retaliate by winning two Oscars -- in 1946 for To Each His Own and 1949 for The Heiress -- in order to top Fontaine. The two would officially stop speaking to one another in 1975.

Fontaine received a third Oscar nomination in 1943, for the music melodrama The Constant Nymph, and that same year essayed the title role in the commercially successful if moderately well-regarded version of Jane Eyre opposite Orson Welles. She remained a star throughout the 1940s, appearing in the comedy The Affairs of Susan (1945), the thriller Ivy (1947), and opposite Bing Crosby in The Emperor Waltz (1948). Fontaine also gave what many consider to be her best performance in 1948's Letters from an Unknown Woman, Max Ophuls' romantic drama opposite Louis Jourdan. In 1945 she divorced her first husband, actor Brian Aherne, and in 1946 married producer William Dozier, whom she would divorce in 1951. Two years later, she was embroiled in a bitter custody battle with him over their daughter, Debbie, and the ongoing lawsuit would prevent Fontaine from accepting the role of frustrated military wife Karen Holmes in the Oscar-winning drama From Here to Eternity -- Deborah Kerr was instead cast, and received an Oscar nomination for the part.

Though she continued to work throughout the 1950s, most notably in the lavish Technicolor adaptation of Ivanhoe (1952), Ida Lupino's film noir The Bigamist (1953), and in the pioneering if often campy racial drama Island in the Sun (1957), her work in both film and television lessened, and her last film appearance was in Hammer Films horror movie The Devil's Own (1966). Television work followed in the 1970s and 1980s, and Fontaine received a Daytime Emmy nomination for the soap opera Ryan's Hope. She published an autobiography, No Bed of Roses, in 1978, and after the television film Good King Wenceslas (1994), retired officially to her home in Carmel, California.

Fontaine is survived by her daughter, Debbie Dozier.


- Mark Englehart

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