Sir Laurence Olivier found himself becoming increasingly annoyed with director William Wyler's exhausting style of filmmaking. After yet another take, he is said to have exclaimed, "For God's sake, I did it sitting down. I did it with a smile. I did it with a smirk. I did it scratching my ear. I did it with my back to the camera. How do you want me to do it?" Wyler's retort was, "I want it better." However, Olivier later said these multiple takes helped him learn to succeed as a movie actor.
Merle Oberon and Sir Laurence Olivier apparently detested each other. Legend has it that when director William Wyler yelled "Cut!" after a particularly romantic scene, Oberon shouted back to Wyler about Olivier, "Tell him to stop spitting at me!"
Producer Samuel Goldwyn felt that script was too dark for a romance movie, so he asked several people to do a re-write on the script, including a young John Huston, who said that the script needed no re-write, it was perfect as it was.
David Niven dreaded this movie not only because he was playing a thankless, secondary role, but because he dreaded working with director William Wyler again. Merle Oberon was uncomfortable working with Niven after their year long love affair ended in 1936.
Los Angeles - April 5, 1939: Samuel Goldwyn has withdrawn "Wuthering Heights" from the entire province of Quebec. Quebec censors demanded deletions because certain sequences dealt with divorce and infidelity, situations long frowned upon by the Quebec board. Goldwyn refused to make the cuts. Whether the picture will play in other provinces is not known.
Sir Laurence Olivier's first on-set confrontation occurred in a dispute with Merle Oberon. Although they had worked together happily on The Divorce of Lady X (1938), Olivier now resented that Oberon had the role he felt should have gone to Vivien Leigh. In one particularly passionate scene, Oberon became upset that Olivier kept letting spit fly from his mouth and land on her. "Why you amateur little bitch", Olivier responded. "What's a little spit for Chrissake between actors? You bloody little idiot, how dare you speak to me?" Oberon stormed off the set in tears, and director William Wyler forced Olivier to apologize.
In one scene, director William Wyler insisted that David Niven break down. When Niven told him his contract said he would never have to cry on-camera, Wyler didn't believe him. Niven got the contract and the "no crying" clause was in there.
Sir Laurence Olivier admitted his first takes were full of overacting and "extravagant gestures". Director William Wyler stopped him: "Do you think you're at the Opera House in Manchester?" Olivier answered with all of his disdain for movies: "I suppose this anemic little medium can't take great acting." He was humbled when the entire cast and crew, including Wyler, burst out laughing.
David Niven stated that the heather, imported from England and replanted in Thousand Oaks, enjoyed the Californian sunshine to such an extent that it tripled in size and had to be radically cut back before filming could take place.
Sir Laurence Olivier dove into the role of Heathcliffe armed with the techniques he had perfected playing Hamlet on stage in 1937. Given a collection of essays on psychoanalysis by the play's director, Tyrone Guthrie, Olivier developed a staccato rhythm in his lines based on his Freudian conception of the melancholy Dane. Using that as a basis for Heathcliff, he eschewed the stock-in-trade doomed lover and sought to make something more smoldering and dangerous of the part.
Suffering from a debilitating foot ailment, Sir Laurence Olivier was often in pain and hobbled around on crutches between takes. Thinking he would get producer Samuel Goldwyn on his side against director William Wyler, he played up the crippled act, until one day Goldwyn called him over and put his arm around him. Much to his surprise, Goldwyn yelled out in front of everyone, "Will you look at his ugly face? He's dirty! His performance is rotten! It's stagy! It's just nothing! Not real for a minute. I won't have it, and if he doesn't improve, I'm gonna close up the picture." The incident had actually been cooked up by Goldwyn and Wyler so Wyler could defend Olivier and gain his trust.
Sir Laurence Olivier also came to the set armed with, what he later admitted, was an abominable pomposity and conceit. Already lionized for his performances on the British stage, the young actor thought he knew everything about acting. Working with director William Wyler soon beat that arrogance out of him.
Cinematographer Gregg Toland rejected the typical Hollywood soft-focus, one-plane depth, and strove for razor-sharp black-and-white images. To achieve the maximum contrast between shadow and light on this movie, he used high-powered Technicolor arc lamps and a film stock four times faster than customary without an appreciable increase in graininess. He achieved the mood Wyler wanted for the movie by using candle-like effects, keeping the characters partially in darkness before coming fully into the light at climactic moments, and shooting from a low angle to capture the ceilings of the sets, emphasizing the confining loneliness of Wuthering Heights.
Both of the leading players began work on the movie, miserable at having to leave their loved ones back in England. Sir Laurence Olivier was missing his fiancée Vivien Leigh, and Oberon had only recently fallen in love with movie producer Alexander Korda.
All of the actors and actresses, particularly Sir Laurence Olivier and David Niven, were incensed by director William Wyler's propensity for numerous takes. Niven quickly found that despite Wyler's earlier assurances to the contrary, he had not changed at all. He demanded at least forty takes for Niven's first scene in the movie.
The one happy relationship on the set was between director William Wyler and cinematographer Gregg Toland. The two had worked together successfully on three prior movies and collaborated on three more after this. They had great respect for each other and were perfectly in sync with their ideas of lyrical, fluid camera movements, long takes, and deep-focus photography that would reveal backgrounds as clearly as characters and images close to the camera.
Montreal, Québec-April 6, 1939: "Wuthering Heights" may be shown in Quebec Province if certain excisions are made, Arthur Laramee, censor chairman said yesterday. He denied that the film had been formally banned.
The time-setting of the novel, the early nineteenth century, was updated to about 1841 because producer Samuel Goldwyn and his designers thought the later period's off-the shoulder gowns would showcase Merle Oberon and the other actresses to greater effect.
Animal lovers were incensed when they read in a press release, that to keep the barnyard noises from overwhelming the soundtrack, the animal trainer had snipped the vocal cords of the ducks and geese on the set.
Contemporary news items note that Emily Brontë societies worldwide wrote to producer Samuel Goldwyn and urged him to remain as faithful in detail as possible to the original novel, and protested the use of any one of several replacement titles for the story that were rumored to have been considered. Titles reportedly considered by the Goldwyn sales office were Gypsy Love, Fun on the Farm, and He Died for Her.
The production was not an easy one, and all of the way through shooting of what he would later say was his favorite amongst all of the films he made, producer Samuel Goldwyn constantly referred to it as "a doubtful picture".
More than once, Merle Oberon was reduced to tears by director William Wyler's methods. When Cathy had to run out onto the moors in a fierce storm to stop Heathcliff from leaving, Wyler ordered her over and over into propeller-driven winds and rain. After many takes, she began to choke and vomit. She ran a fever and had to be confined to a hospital bed, costing the production thousands of dollars. She refused to do the scene again until producer Samuel Goldwyn rigged heaters to warm the driving rain.
William Wyler wired producer Samuel Goldwyn " HAVE FOUND HEATHCLIFF AMAZING YOUNG ENGLISH ACTOR". Wyler was referring to Robert Newton who had tested for the part . Goldwyn rejected the casting, saying Newton photographed "Ugly".
The trivia items below may give away important plot points.
In the final sequence, the spirits of Heathcliff and Cathy are seen walking their favorite pathway. This was added after filming was complete, and because Sir Laurence Olivier and Merle Oberon had already moved on to other projects, doubles had to be used.
In a departure from the novel, there is an afterlife scene in which we see Heathcliff and Cathy walking hand in hand, visiting their favorite place, Penistone Crag. William Wyler hated the scene and didn't want to do it, but Samuel Goldwyn vetoed him. Goldwyn subsequently claimed, "I made 'Wuthering Heights', Wyler only directed it."
Director William Wyler and producer Samuel Goldwyn clashed over Merle Oberon's deathbed scene. Because of the somber sadness of it, Goldwyn wanted her to be beautifully gowned and shown in glamorous close-ups. Wyler thought that was ridiculous and kept her in less glamorous long shots as much as possible. When he saw the finished product, Goldwyn told Oberon it was the finest work she had ever done in movies.
David Niven remembered the filming of Merle Oberon's deathbed scenes (recorded in his bestselling book, The Moon's a Balloon) as less than romantic. After telling William Wyler he didn't know how to "sob", he had been given a menthol mist substance to help it appear as if he were crying, which instead had the effect of making "green goo" come out of his nose. Oberon immediately exited the bed after witnessing it.