He and Davis became friends and appeared together again in 1946's “Deception” (also with Rapper and Claude Rains), in an attempt to recapture the magic created by “Now, Voyager”, but to no avail. Henreid also became a director, and directed Davis in the classic 1964 thriller, “Dead Ringer”.
In his autobiography “Ladies Man” (1984), Paul Henreid remembers Bette Davis as 'a solid master of her craft': “I found her a delight to work with, and we got along famously.
During production, Davis entered a relationship with director William Wyler. She later described him as the "love of my life", and said that making the film with him was "the time in my life of my most perfect happiness".
Davis's net worth at the time of her death was $2 Million after adjusting for taxes and inflation. According to her last will and testament, Bette's estate was worth $1 Million. The bulk of the estate was left to her adopted son, Michael Merrill. The other beneficiary was her close friend and assistant Kathryn Sermack.
A number of clips from many of her most successful films were shown and I was particularly delighted, when, as soon as Claude Rains appeared in the close-up of one of the clips, the whole audience burst into a great wave of applause. Bette Davis often cited Rains as one of her favorite actors and colleagues.
Did Olivia de Havilland get along with Bette Davis?
In both those films, de Havilland had minor roles where she was just another ingenue and no threat to Bette Davis. So they got along just fine. That all changed in 1942, when director John Huston cast them as sisters in In This Our Life, an adaptation of the Pulitzer Prize-winning novel by Ellen Glasgow.
Katharine Hepburn and Bette Davis never worked together. Kate once said of Bette, “She's awfully good!”, so they might well have gotten along if they had worked together.
Paul Henreid's cello-playing was recorded by Eleanor Aller (Mrs. Felix Slatkin) while she was pregnant with Frederic Zlotkin. Her father, Gregory Aller, coached Henreid in plausible bow movements.
She got Bette Davis eyes. She's not just captivating in her looks, she's got the chutzpah to back it up. She's bold, confident, and definitely skilled in the art of seduction. She seems to know what she wants and goes after it, but no partner is safe when under her spell.
According to a common tale, Bette Davis was once asked what the best way an aspiring starlet could get into Hollywood was, and reportedly replied without hesitation, "Take Fountain!"
Bette Davis, longtime rival of Crawford, denounced the book, stating, "I was not Miss Crawford's biggest fan, but, wisecracks to the contrary, I did and still do respect her talent. What she did not deserve was that detestable book written by her daughter. I've forgotten her name. Horrible."
To fulfill a dream, to be allowed to sweat over lonely labor, to be given a chance to create, is the meat and potatoes of life. The money is the gravy.
Davis won Oscars on her first two nominations for “Dangerous” in 1935 and “Jezebel” in 1938. Strangely Davis won for arguably the two least acclaimed and remembered films of her 10 nominations. The other bids were for: “Dark Victory” (1939), “The Letter” (1940), “The Little Foxes” (1941), “Now, Voyager” (1942), “Mr.
