Tuesday, March 22, 2011
7:30pm
The film will be shown at The American Library in Paris, 10 rue du General Camou in the 7th arrondisment near the Eiffel Tower.

Berna Huebner, the film’s co-director, along with Olivia de Havilland, the film’s narrator, will introduce the film at the start of the evening. A short Q&A session will follow.
 
For more information about the screening, please visit http://irememberbetterwhenipaint.wordpress.com/2011/02/10/screening-on-march-22-in-paris/

For information on the film and other screenings of this film, including screenings in the United States, please visit the I remember better when I paint blog at http://irememberbetterwhenipaint.wordpress.com/

Today, I was reading my GWTW google alert and found the following article, Old palace theaters saved in the South: Will Houston join in before everything's gone with the wind?   I was so disturbed by the tone, quotes, and point of view of the article that I had to write this response. 

Throughout the article, the author and those whom he chooses to quote, imply that historical theaters have no purpose for screening of classic films.  " Becker knows too many urban theaters have slipped into dark and decay. People don’t go downtown into huge theaters to watch Gone with the Wind on a big screen. Suburban multi-screen movie theaters edged out the big dinosaurs long ago." 

I could not more profoundly disagree with Mr. Becker.  Classic films are constantly being shown around the country.  In fact, in Texas where Mr. Becker is from, a wonderful theater called the Paramount Theater ran over 100 different classic films this summer, including Gone With the Wind; which they chose to use as two-showing grand finale!  As the film screenings page of this site shows, over 36 showings of Gone With the Wind, alone, have occured this year in 14 different states and in a multitude of historical classic theaters within those states since March 2010!

I ask, how many multi-plex, 3-d, movie theaters, now charging as much as 20 dollars a person to see the latest blockbuster in 3d, are going to reserve a theater for classic films?  Who would really want to see the screen greats in that situation anyway?   First of all those theaters are not equipped to show classic films, even if they are on DVD.  The aspect ratio is of a classic is totally different from today.  The experience of watching the film is different, as well.  
 
Those who are classic fans want to see these films as they were originally intended, in a huge theater, with a huge screen, and maybe a Wurlitzer thrown in for good measure.  It seems from my recent experiences at The Tennessee Theater, where they are showing It's a Wonderful Life this December,  The Alabama Theater, where an entire Christmas Classic film series will be shown,  and The Orpheum Theater, as well as the research that I've done to compile information about the classic film showings of Olivia de Havilland, there are enough other people like me in cities and towns across this country that demand classic films to be shown in historical theaters.  Those fans will attend the showings, pay the admission, which is often cheaper than the multi-plex,  and enjoy the experience in their local historical theater!

Going to see a classic film in a historical theater is not going to be the same experience as a teenage date night.  People buy tickets early to these screenings, dress up for the screenings, and plan an entire evening around the experience of seeing a classic film in a historical theater.  It is special and only a historical theater can treat the audience and film with the respect that each deserves - as I documented in my August blog about seeing GWTW at the Alabama Theater!

This article concludes with an equally disturbing statement, "Big movie palaces aren’t needed for film exhibitions any more. But perhaps redevelopment projects like the Saenger and the Plaza can show us why these theater buildings need to be saved and how they can be adapted for other uses."

Dismissing the idea that a historical theaters should never be utilized for the purpose of screening any films, is absolutely preposterous! Ironically, The Orpheum Theater, which is pointed out in the article as an example of a successful restoration and utilization of space, has an annual summer film festival!  At the Orpheum, contemporary films are shown on Thursday evening and classics are shown on Friday night. This summer, I attended their showing of Casablanca and the house was filled nearly to capacity.  Additionally, it was at that showing that the head of the Board of Directors of the Orpheum announced plans to extend the classic portion of the film festival to a year-round event!  Thankfully, The Orpheum Theater seems to have no issue or problem with showing classic films! 

Classic film screenings can be an important part of the annual operating schedule and budget of a theater.  For less than 10 dollars a person a classic film screening can fill a historical theater and give an audience member a special evening at that theater that may motivate them to invest in tickets to more expensive future events such as ballets, operas, or touring broadway, in the exact same theater.  In other cases, a classic film experience, may be the only time that an audience member can afford to attend an event in their historical theater; which is often refurbished with tax payer money!

In conclusion, films, and especially classic films, were made to be seen in the theater and audiences want to have the opportunity to see those films in the theater!  I want to return to the film which was called out at the beginning of this article, and happens to be my personal favorite, Gone With the Wind.  Gone With the Wind was made to be seen in front of an audience on a HUGE screen!  This is evident from the beginning, where the words blaze across the screen, to the end, where Scarlett tells us, "after all tomorrow is another day."  If you haven't ever sat in a red-velvet seat and simultaneously shared the experience with hundreds (or maybe thousands) of people and watched those King Kong sets burn as Scarlett, Rhett, Melanie, and Prissy barely escape out of Atlanta, then you've never seen Gone with the Wind. Everything in GWTW is amplified in a historical theater and no experience outside of the historical theater can match seeing this film as it was originally intended, in the way it was originally intended, in a historical theater!  So, do yourself a favor support your local theater when they run classic films, take the kids to see the classic films at the theater, ask your theater to run your favorite classic film (you might be surprised and they'll do it), and enjoy the experience!  Finally, if you're looking for Gone With the Wind, you can check out my facebook page http://www.facebook.com/gwtwshowtimes! 

Let the film begin!

A new book on Olivia de Havilland and Errol Flynn was released on October 1, 2010!  "Digging deep into the vaults of Warner Brothers and the collections of the Academy of Motion Picture Arts and Sciences as well as other private archives, this book explores the complex personal and professional relationship of Errol Flynn and Olivia de Havilland. Flynn, even 50 years after his death, continues to conjure up images to the prototypical handsome, charismatic ladies' man; while de Havilland, a two-time Best Actress Academy Award winner, is the last surviving star of Gone with the Wind. Richly illustrated with both color and black-and-white photos, most previously unpublished, this detailed history tells the sexy story of these two massive stars, both together and apart."

To get more information on the book please click HERE

Please note: I receive no compensation from the sale of this book!  Just passing along information.  Hope you enjoy!

Gone With the Wind made its annual run at the Alabama Theatre in Birmingham, Alabama on Saturday August 7 and Sunday August 8, 2010.  After sitting through several less than desirable showings of Gone With the Wind over the last few years, the Alabama Theatre presented two nearly flawless screening of the film and they did it in style!

The audience was treated to the hi-definition DVD projected through the theater's brand new system!  The result was what I considered to be a nearly perfect showing of the film!  The color, lighting, and aspect ratio were nearly perfect and every piece came together to make this one of the all-time best showings I have ever attended! 

Before I talk about the almost perfect showing of GWTW, I want to share with you, the beautiful photos of the Alabama Theater and the history of the theater.  The Alabama Theater has three levels, a floor, balcony, and mezzanine.  When you get to the top of the theater, you absolutely feel like you are flying!  It is wonderful and this is the best place to truly appreciate the piece of art that is the Alabama Theater.  The theater is trimmed in ornate gold with red velvet seats.  You cannot go to any production, here, and not feel you are part of something special!

Entering the Alabama Theatre is like taking a step back in time.  The original ticket booth is located at the front entrance.  Once you pass the ticket booth, you are greeted to an ornately decorated lobby complete with marble floors and chandeliers.  The concession stand attendees were busily popping popcorn for the film patrons and mixing an assortment of fun drink specials for the afternoon with Scarlett and Rhett!

This theater was so much fun to walk around in because it was almost limitless in places to explore.  It had so many levels, so many little alcoves, lots of fun hallways, and great places to discover.  I could imagine having a great time with an overnight event in this theater because of all the wonderful places to discover!! 

One important aspect I discovered about this theater is that there are restrooms on the second floor.  Whenever you go to a GWTW showing in the theater, it's always important to find out where the less-known restrooms are because Max Steiner just didn't leave enough intermission music for an audience that is majority women to get to the restrooms and back before Sherman burns his way across Georgia leaving Tara to face the famine and hell of defeat!  It's definitely worth the walk up the stairs to visit those restrooms because there was no line and they were absolutely adorable complete with black and white tile floors!!!!

One of the things I look forward to with any screening of GWTW is to have an experience.  I believe this film is one that should be an experience.  The title should be blazing across the marquee of the theater.  The lobby should be set to receive the audience of Gone With the Wind, with a picture or painting from GWTW or people dressed in costume. The effort that the theater puts in to present the picture in the highest quality with the best experience an audience member can have, only accentuates the miraculous production that was left on film for us and the Alabama Theatre certainly rose to the occasion!!!

When I walked into the theater, I found a wonderful slideshow of facts about the production of the film and extensive information about all four of the principal actors of the film.  The slideshow resulted in wonderful conversations happening all around the theater about the production and the occasional exclamation from an audience member of "I didn't know that!"  It was a great way to engage and prepare the audience! 

I photographed the slideshow with facts on Olivia de Havilland.  I have attached below the photos as a slideshow! I hope you will enjoy!

Of course, no historic theater experience is complete without a few rounds of music on the Wurlitzer Organ.  The Alabama Theatre has a beautiful organ with a wonderfully engaging organist.  Just before the GWTW overture, the organist played a few pieces for us.  During the Sunday afternoon performance, a few costumed people were escorted into the theater.  He then welcomed us to the theater and talked about how much this film meant to the theater.  He invited everyone to stick around for the tradition of the sing-a-long at the Alabama Theatre during intermission!

Once the house lights were lowered and the famous overture started, it was like I was swept away.  The sound system was wonderful.  The curtain opened to Gone With the Wind sweeping across the screen and the audience erupting into applause! 

The opening scene is absolutely one of my favorite scenes of the film.  It was gorgeous on this screen, in this theater, through that projector!  The details of Scarlett's dress emerged better than I had ever seen it before!  I was captured from the first moment of both of these showings! 

The clarity of the picture was so close to perfection it was breathtaking.  The gift of watching the high-definition DVD through a high-quality projection system is that deeper layers of the film are revealed to us.  The set was even more ornate and elaborate as the finer details emerged.  Walter Plunkett's costumes have even greater detail than I ever imagined. The fire sequence was absolutely spectacular!  I judge almost every showing by the quality of the fire sequence!  The details shown this time were phenomenal.  I could see sparks and pieces of the set breaking and burning.  

As great as I thought the first night was, the second night was even better. This time during the fire sequence, the lighting technician did red lighting in the arc over the stage.  So, the whole theater was bathed in this red light.  It gave the feel of being in the middle of the fire!

Also, it was an afternoon showing and had a larger audience.  The audience seemed to be even more engaged than the previous night.  I was also more aware of the audience reactions around me.  I think my favorite part were the two teenage girls who were sitting in front of me.  I noticed they were fanning themselves quite frequently but it wasn't until after a couple of times of watching them fan themselves that I realized they were giggling and fanning themselves every time Gable was on the screen!  Yes, Mr. Gable, you can still make young girls flush, giggle, and go weak in the knees at your presence!

I think an entire dissertation could be written on this topic alone.  So, I don't want to try to analyze or over-analyze this because I think Olivia's performance speaks for itself.  But, I did go to Birmingham really wanting to consciously focus more on her performance so that I could write something, special.  Of course I couldn't wait to see her on screen at the moment where Scarlett meets Melanie.  This scene truly exemplifies what Olivia brought to this film and the balance that Melanie gave to Scarlett.  Scarlett was so high-strung that I believe Olivia, through Melanie, balanced the energy!  Scarlett needed Melanie just as Melanie needed Scarlett.  Both Olivia de Havilland and Vivien Leigh used and played off of the immense talent that each of them brought to this film. 

Another aspect of Melanie that I experienced this time was I really felt sympathy for Melanie and felt Melanie's anguish at not having any information about Ashley during the war. While Scarlett spends a lot of time during the war thinking about Ashley, this time I could feel and see Melanie's loss at Ashley's absence.  I believe one of the most poignant moments during this screening was in the hospital scene when Melanie told Scarlett, "they could all be Ashley." 

I also realized, during this screening, how well Melanie balanced Mammy in the long walk up the stairs after Bonnie's death.  Hattie McDaniel's performance as Mammy in that scene is absolutely heart wrenching.  Yet, Melanie is experiencing her own loss, her physical pain, and her own emotional pain.  As Olivia once said, Melanie is quietly telling her story there next to Mammy as they walk up those stairs. 

I was also struck with Melanie's death scene.  I have to remind myself that Olivia was only 22 years old in this film.  Yet, she embodies so many emotions, moments, and even life experiences that required talent and a maturity beyond her 22 years.  I think Melanie's death scene is the epitome of the pure talent that Olivia brought to this character.  Olivia was so true to Melanie that her final scene with Scarlett is profoundly emotional.  Having read about the efforts of Olivia to even get to play this role, and having seen her interviewed about this role, I believe she deeply loved and loves Melanie.  Yet, Melanie dies and the 22-year old Olivia leaves us yearning for Melanie to live yet knowing and having to accept that she is dead at the end of Gone With the Wind.

This film is MADE to be seen in the theater.  If you have never seen it with an audience, you have missed out on an entire aspect of this film!  Going to see Gone With the Wind is not just an afternoon at the movies but experiencing this film exactly as it was meant to be seen when David O. Selznick, Vivien Leigh, Clark Gable, Olivia de Havilland, Victor Fleming and all the rest of the cast and crew were putting it together.   You can't truly appreciate the technical brilliance, directing brilliance, or the acting brilliance of this production in your living room eating pizza!  Those burning King Kong sets were meant to be seen in the theater.  Max Steiner's sweeping and gripping music is meant to be heard filling a theater.  There is nothing, absolutely nothing, like watching Scarlett pick herself up out of the dirt and mud of the front lawn of Tara blazed across the screen of a theater!  I cannot emphasize enough that this film was meant to be seen in a theater!  The highest respect you can pay to yourself as a fan and to all who worked with passion and intensity to put together the greatest film of all time is to go see it in the theater!!! 

I take this issue so seriously that I spend several hours every few weeks searching out the latest showings and putting them in the FILM SCREENINGS section of this site.  Please take advantage of this information. Please let me know if GWTW, or any Olivia de Havilland film, is running in a theater near you.  I depend on the internet and the kindness of strangers to keep it up to date!

Gone With the Wind is something that has been with me since I was 8 years old!   I cannot fully describe how it is impacted and shaped my life. When I was in middle school, I thought I wanted to be a film producer like David O. Selznick!  I also thought, at one point that I would really like to go into film preservation until I watched a documentary on film preservation and realized I couldn't spend my life sitting in front of a computer cleaning a film pixel by pixel! 

Of course, I came to my own discovery of Olivia through Gone With the Wind.  Her character is one that over my 24 year relationship with this film, I have come to immensely respect and yearn to understand and consider more deeply. 

I love this work and I love these actors.  I am so grateful for the opportunity to have met Ms. Ann Rutherford and to have met Mr. Herb Bridges who wrote the book that I carried with me throughout the tumultuous years of middle school!  I am eternally grateful that Olivia has given us so many wonderful interviews and memories of her experiences.  

I cannot imagine growing up without Gone With the Wind.  I was 11 on the 50th anniversary and begged to be taken to Atlanta for the event!  I still have the newspapers detailing Ted Turner's 3-day re-creation of the '39 premiere.  I also remember seeing the film in the theater for the first time during the summer of 1989.  I learned in that moment what it was like to share it with an audience and I believe that is truly the only way to watch this film.  

In 2039, I'll be almost as twice as old as I am now and I can't wait for the 100th anniversary!  In fact, I hope that some of my friends that I met in Marietta in 2009 will be working together to help put on exactly the perfect party for the GWTW 100th anniversary!

The only way that I can sum up my feelings on GWTW is to paraphrase something that I once read that David O. Selznick said of GWTW.  Gone With the Wind was like a guest who came for dinner and stayed for a lifetime!

 
 

Olivia de Havilland made several appearances on radio programs in the 1940s and 1950s reprising some of her film roles as well as performing other work. 

This week, I discovered that some of her radio performances have been archived online.  These are wonderful gems that give us the opportunity to hear Olivia in her various roles.  Her voice, like all great actors and actresses, is so unique that you can identify her immediately.  She has a wonderful lyrical quality that so many are familiar with which brings a certain warmth to the radio.  What is even more amazing is her vocal range for her characters.  With just her voice, she can convey every emotion required of her character.  While she displays this remarkable talent in her films, her vocal range is highlighted through her radio work.

I would like to thank TallulahDahling and ErrolFlynned for uploading the wonderful radio broadcasts of our classic actors and encourage you to visit their youtube pages linked above for more radio broadcasts from actors of the classic cinema!

"Green Light" - Radio 1 of 5

"Green Light" - Radio 2 of 5

"Green Light" - Radio 3 of 5

"Green Light" - Radio 4 of 5

"Green Light" - Radio 5 of 5

"Captain Blood" - Radio 1 of 5

"Captain Blood" - Radio 2 of 5

 "Captain Blood" - Radio 3 of 5

"Captain Blood" - Radio 4 of 5

"Captain Blood" - Radio 5 of 5

"Voyage Through Darkness" - Radio 1 of 3

"Voyage Through Darkness" - Radio 2 of 3

"Voyage Through Darkness" - Radio 3 of 3

Suspicion - Radio Broadcast 1 of 5

Suspicion - Radio Broadcast 2 of 5

Suspicion - Radio Broadcast 3 of 5

Suspicion - Radio Broadcast 4 of 5

Suspicion - Radio Broadcast 5 of 5

The Cowboy & The Lady - Radio 1 of 3

The Cowboy &  The Lady - Radio 2 of 3

The Cowboy & The Lady - Radio 3 of 3

The Dark Mirror - Radio Broadcast 1 of 3

The Dark Mirror - Radio Broadcast 2 of 3

The Dark Mirror - Radio Broadcast 3 of 3

Excerpt of "Romeo and Juliett" - Radio 1 of 1

Chat between Olivia de Havilland and Tallulah Bankhead
1 of 1

Olivia de Havilland as Melanie Hamilton Wilkes
"Gone With the Wind"
1939

Olivia de Havilland won the role of Melanie Wilkes in Gone With the Wind in 1939.  She gave a phenomenal performance and truly made the role her own.  She and Hattie McDaniel were both nominated for Best Supporting Actress in 1939 for their performances.  Ms. McDaniel edged out Olivia de Havilland for the Oscar.  It was widely reported that Olivia cried at the ceremony for not receiving the award but later acknowledged how wonderful it was that Hattie McDaniel had won the award and that she had been there to witness the event. 

Oscar Night 1940!  The 12th annual Academy Awards were held at the Coconut Grove of the Ambassador Hotel on Thursday, February 29, 1940.  Olivia was present that night for her Oscar nominated performance of Melanie Wilkes.  Laurence Olivier was seen in many photos from the night with Olivia de Havilland because his date, Vivien Leigh, was essentially taken by Gone With the Wind producer, David O. Selznick. 

Photo above: Vivien Leigh, Laurence Olivier, and Olivia de Havilland at the 12th Academy Awards.

Olivia de Havilland was nominated for Best Actress in 1941 for her performance as Emmy Brown in Hold Back the Dawn.  The film also featured Charles Boyer and Paulette Goddard.  The New York Times film review stated," Olivia de Havilland plays the school teacher as a woman with romantic fancies whose honesty and pride are her own—and the film's—chief support. Incidentally, she is excellent."
 
Olivia lost the Oscar that year to her sister Joan Fontaine who won for Suspicion. 

Olivia de Havilland as Emmy Brown
"Hold Back the Dawn"
1941

Olivia de Havilland as Josephine Norris
"To Each His Own"
1946

Olivia de Havilland was nominated and won the Oscar for her role as Josephine Norris in To Each His Own.  In the film, Olivia's character falls in love with a young WWI soldier who is killed.  She is left alone to raise their child and decides to give the child up for adoption and pursue a career in cosmetics.  Later, she runs into the her now adult son while in London.  Mother and son are ultimately brought together. 

"Josephine Norris is a refreshingly modern and sensible woman, and one of the reasons that To Each His Own succeeds so well. Of even greater importance is the performance of the actress portraying her.  Olivia de Havilland's Oscar was well deserved, even in a year that saw stiff competition from Rosiland Russell and Celia Johnson." 
- Craig Butler, All Movie Guide

This was Olivia de Havilland's first film after an enforced two year absence while she was engaged in a lawsuit with Warner Brothers over her highly restrictive contract. 

The 19th Annual Academy Awards were held on March 13, 1946 at the Shrine Auditorium and were hosted by Jack Benny.  It was at this ceremony that Olivia set the record for the most people thanked in an Oscar acceptance speech.  Olivia is noted as having thanked 27 people in her acceptance speech!

Above Photos:  Olivia de Havilland with presenter Ray Milland at the 1947 Academy Awards

To Each His Own Awards:
Academy Award Winner: Best Actress - Olivia de Havilland

Academy Award Nominee: Best Writing Original Story - Charles Brackett

Olivia de Havilland was nominated for Best Actress for her 1948 performance in The Snake Pit.  This was one of her finest performances on screen and one which she has remarked has given her the most pride as an actress.  In the film, Olivia plays the role of Virginia Stuart Cunningham who finds herself in a mental institution in the 1940s with no understanding of why she is there.  The climax of the film occurs when Olivia's character finds herself in "The Snake Pit," the lowest block of the mental institution where the most severely disturbed patients are found jibbering incoherently and aimlessely roaming about!

"The film's representation of Virginia Cunningham and her troubles may seem elementary by today's standards, and the worries about her ability to remain a good wife may feel archaically sexist. But Anatole Litvak's grim portrait of the mental hospital and its residents remain strong and startling, and Olivia de Havilland's Oscar-nominated portrayal of Virginia was a bravely unglamorous choice that still holds up as her best performance."
 - Mark Deming, All Movie Guide

Olivia de Havilland as Virginia Cunningham
"The Snake Pit"
1948

The Snake Pit Awards:
Academy Award Nominee: Best Actress - Olivia de Havilland
Academy Award Nominee: Best Director - Anatole Litvak
Academy Award Nominee: Best Music, Scoring of a Dramatic or Comedy Picture - Alfred Newman
Academy Award Nominee: Best Picture
Academy Award Nominee: Best Writing Screenplay - Frank Partos and Millen Brand

Olivia de Havilland won her second Best Actress Oscar for "The Heiress" in 1949.  In the film, Olivia plays the role of Catherine Sloper, a plain woman who lives with her father after her mother died while giving birth to her.  Her father often reminds her of all the things her mother was and that she is not.  Catherine inherited a great deal of money after her mother passed away and she will inherit twice the amount at her father's passing.  So, when a poor but handsome and well-bred man, Morris Townsend, begins to court Catherine, her father becomes suspicious that he is after her money.

TV Guide said of Olivia's performance, "This was one of de Havilland's greatest roles...and her transformation from docile emotional victim to rational, resolved adult is a masterpiece of acting."

Olivia de Havilland as Catherine Sloper
"The Heiress"
1949

The 1949 Academy Awards were held on March 23, 1950 at the RKO Pantages Theater in Hollywood.  Olivia picked up her second Oscar of her career that night for her performance in "The Heiress."  She was up against stiff competition including Susan Hayward, Deborah Kerr, and Loretta Young.

Oscar winners (L-R) Mercedes McCambridge (Supporting Actress), Broderick Crawford (Best Actor), Olivia deHavilland (Best Actress) and Dean Jagger (Best Supporting Actor) during 22nd annual Academy Awards at RKO Pantages theater.
  
Date taken: March 23, 1950  
Photographer: Ed Clark, Life Magazine

After receiving her second Best Actress Oscar in 1950, Olivia continued to be part of Oscar ceremonies as a presenter and special guest. 

25th Annual Academy Awards
March 19, 1953
RKO Pantages Theater, Hollywood &
NBC International Theater, New York
Aired on on NBC
First televised Oscar ceremonies
Olivia de Havilland - presenter of Best Director Oscar to John Ford for "The Quiet Man" 

32nd Annual Academy Awards
April 4, 1960
RKO Pantages Theater, Hollywood
Aired on NBC
Olivia de Havilland - presenter of the Best Supporting Actor Oscar to Hugh Griffith for "Ben-Hur" 

35th Annual Academy Awards
April 8, 1963
Santa Monica Civic Auditorium, Santa Monica
Aired on ABC
Olivia de Havilland - presenter of the Best Picture to
Sam Spiegel for "Lawerence of Arabia"

38th Annual Academy Awards
April 18, 1966
Santa Monica Civic Auditorium, Santa Monica
First time the Academy Awards were presented in color
Aired on ABC
Olivia de Havilland had a pre-recorded section recalling her previous awards and achievements.

39th Annual Academy Awards
April 10, 1967
Santa Monica Civic Auditorium, Santa Monica
Aired on ABC
Olivia de Havilland - presenter of Best Short Subject, Cartoons and Live Action Oscar for "Wild Wings," a 1966 Short Documentary Film.

40th Annual Academy Awards
April 10, 1968
Aired on ABC
Santa Monica Civic Auditorium, Santa Monica
Aired on ABC
Olivia de Havilland gave a pre-recorded presentation reviewing the previous decade of cinematic achievement

50th Annual Academy Awards
April 3, 1978
Dorothy Chandlier Pavilion, Los Angeles
Aired on ABC
Olivia de Havilland presented an honorary Oscar to Margaret Booth

60th Annual Academy Awards
April 11, 1988
Aired on ABC
Olivia de Havilland - Presenter for Best Art Direction and Set Design for the film "The Last Emperor"

75th Annual Academy Awards
March 23, 2003
Kodak Theater, Hollywood
Aired on ABC
Olivia de Havilland presented a tribute sequence to past Oscar winners

Olivia de Havilland was a presenter at the 50th Annual Academy Awards in 1978.  

Olivia was given the honor of presenting an honorary Oscar to Margaret Booth, a film editor with a career that spanned across 7 decades.  Her first project was "The Bridge of San Luis Rey" which was released in 1929.  Ms. Booth continued to work through the early 1980s.  She passed away in 2002 at the age of 104.  She was considered a pioneer in film editing and was one of the first female film editors.  

Read more about Ms. Margaret Booth here

Olivia de Havilland returned to the Oscars in 1988
and presented the Oscar for Best Art Direction and Set Design.

In 2003, Olivia de Havilland made a grand return to the Oscar stage to present 75 years of Oscar history.  It was an awesome moment as she walked on stage to the theme of Tara from Gone With the Wind.  She received a long applause and much deserved adulation from the audience.  She reminded us of the 75-year history of the Oscars and then presented to us a stage full of past Oscar winners stretching all the way back to the Classic Film Era.  It is a moment of television and Oscar history that I will not soon forget!