Peter Mccrea, son of iconic Hollywood actors Joel McCrea and Frances Dee, offers a unique and intimate glimpse into the lives and careers of his legendary parents. In this exclusive interview, Peter McCrea shares personal anecdotes and corrects common misconceptions, providing invaluable insights for fans and film historians alike. From clarifying Frances Dee’s birth year to revealing studio pressures on Joel McCrea, Peter McCrea paints a vivid picture of his parents’ enduring legacy in the golden age of Hollywood.
Unveiling Frances Dee’s True Birth Year
One of the first points Peter McCrea clarifies is the discrepancy surrounding his mother, Frances Dee’s, birth year. “There’s a lot of discrepancy about your mother’s birth year: Many sources list it as 1907…” the interviewer notes, highlighting a common inaccuracy. Peter McCrea firmly corrects this, stating, “I have her birth certificate and it’s 1909. No question.” He dismisses speculation that the misinformation might have been for publicity, humorously adding, “I don’t know, because it would make her older and she said, ‘I don’t need to be older than I already am.’ I think it might have been a typo that just kind of got out there.” This simple correction from Peter McCrea sets the record straight and exemplifies the value of firsthand accounts in biographical accuracy.
The “Jean Dee” Misconception and Studio Interference
The conversation with Peter McCrea then delves into another myth surrounding Frances Dee – the notion that her real name was “Jean Dee.” Peter McCrea debunks this as well: “Also there was that whole thing about her real name being ‘Jean Dee.’ She was not born Jean Dee. I think at one point they maybe wanted to change her name to Jean Dee.” This revelation leads to a broader discussion about studio pressures and their attempts to mold actors to fit a certain image. Peter McCrea reveals the extent of this interference, sharing that the studio even wanted to change Joel McCrea’s name and suggested cosmetic procedures: “The studio wanted to change Pop’s name too, and they wanted him to have a nose job, of all things. They also wanted him to have his widow’s peak clipped and have his teeth straightened.” Peter McCrea emphasizes his father’s strong will and self-acceptance, quoting Joel McCrea’s defiant response: “He said, ‘Well, what you see is what you get. I’m not going to do anything.'” This anecdote, shared by Peter McCrea, showcases Joel McCrea’s integrity and resistance to Hollywood’s superficial demands.
Joel McCrea’s Name and Biblical Roots
Continuing on the topic of name changes, Peter McCrea addresses the studio’s discomfort with his father’s given name. “What did they want to change your father’s name to?” the interviewer asks. Peter McCrea responds, “I don’t remember him saying what it was. They wanted to change ‘Joel’ more than anything. Somehow they thought it was too unusual a name.” Peter McCrea then provides a charming anecdote illustrating the biblical significance of the name “Joel” and his father’s early awareness of it: “It’s a Biblical name, as you know. In fact, once when he was a little kid, he was sitting in the front row of church and his mother was at the podium reading from the Bible. He wasn’t paying attention, and when she announced the book she was going to read from: ‘Joel,’ he answered, ‘Yes, Mama?'” This personal story from Peter McCrea not only highlights the absurdity of the studio’s suggestion but also adds a warm, familial touch to the narrative.
Family Appearances in Film: Becky Sharp and Sullivan’s Travels
The interview shifts to exploring the rumored appearances of Frances Dee and her sister, Margaret Dee, in films. The interviewer inquires about Margaret Dee’s potential role in Becky Sharp: “I’ve heard that your aunt, Margaret Dee, has a small role in Becky Sharp. Do you know where she appears?” Peter McCrea acknowledges the rumor but admits his hazy memory: “I don’t remember where she shows up. The last time I saw the film was probably twenty years ago. I have a picture of Mom and Margaret together in Becky Sharp. Margaret is being made-up and Mom is next to her.” While Peter McCrea can’t pinpoint the exact scene, his confirmation and the existence of a photograph add credence to the family’s connection to the film.
Peter McCrea then addresses a rumor about Frances Dee in Come and Get It: “It is also rumored that your mother appears somewhere in the film Come and Get It …” He firmly dismisses this, stating, “I’ve never heard of her being in Come and Get It. Neither Mom nor Pop ever mentioned it, so it may not have happened.” However, Peter McCrea reveals a delightful hidden tribute in another film, Sullivan’s Travels: “If you notice, though, there is a funny little touch in Sullivan’s Travels. In the first big scene where Pop’s arguing with the producers, if you look in the background, on the wall next to his desk there is a picture of Mom. Preston Sturges did that.” This insider detail from Peter McCrea offers a charming Easter egg for film enthusiasts to look out for.
Frances Dee and Gone With The Wind: Scarlett and Melanie Considerations
The conversation moves to a significant point in Frances Dee’s career – her consideration for roles in Gone with the Wind. “Your mother was considered for the role of Scarlett in Gone with the Wind. What did she think of that?” the interviewer asks. Peter McCrea confirms her consideration and her reaction: “I think she was flattered. There was a screen test done of her. I saw it one time.” He provides insightful commentary after having seen the screen tests of various actresses: “There was a TV special on the making of Gone with the Wind and they ran all of the various clips of the actresses who were up for it. A lot of top actresses were up for it. It’s interesting when you see their screen tests and then when you see Vivien Leigh, you know why she got the part. She really was the best for Scarlett. Mom was terrific and could have pulled it off, but Vivien Leigh was better, and I think Mom agreed.” Peter McCrea offers a balanced and appreciative perspective on both his mother’s talent and Vivien Leigh’s iconic portrayal.
Peter McCrea further elaborates on Frances Dee’s consideration for the role of Melanie: “I believe she was also considered for Melanie pretty seriously.” He explains the casting directors’ rationale: “George Cukor, who was the first director on it, was really an advocate for her. But I think both he and David Selznick thought she was too pretty, that she and Vivien Leigh were both beautiful and they needed just a little more contrast. Olivia de Havilland without makeup was just enough less striking than Vivien Leigh that it was a better match. And I think Olivia de Havilland was much better casting for Melanie than Mom would have been. She was perfect.” Peter McCrea’s insightful analysis of the casting decisions reveals a deeper understanding of the nuances of character portrayal and screen presence.
David Selznick’s Attempt to Play Matchmaker
Peter McCrea shares a humorous anecdote about David Selznick’s prior attempt to introduce his parents: “David Selznick, several years before, had tried to encourage Pop to go out with Mom before they knew each other. He said, ‘There’s a great girl who would be a perfect match for you.'” He recounts Joel McCrea’s playful rejection of the setup: “But Pop didn’t want to be set up. He said to Selznick, kind of jokingly, ‘David, you cast the movies. I’ll cast my life.'” Peter McCrea concludes the story with the charming reality of his parents’ meet-cute: “But a few years later, Mom and Pop worked together on a film and fell in love.” This personal story adds a lighthearted touch and underscores the organic nature of his parents’ relationship.
A Shared Love for Movies
The interview explores Joel McCrea and Frances Dee’s shared passion for cinema. “Did your parents go to the movies?” the interviewer asks. Peter McCrea’s answer is a resounding yes: “They loved going to the movies forever. They would go out to the movies all the time.” This simple statement highlights a fundamental aspect of their lives and their continued engagement with the art form they both contributed to.
Joel McCrea and Frances Dee’s Views on Modern Cinema
Finally, Peter McCrea shares his parents’ perspective on contemporary films. “I wonder what they thought of modern movies,” the interviewer ponders. Peter McCrea reveals their somewhat critical but thoughtful view: “They weren’t too thrilled with a lot of them. What Pop looked for in a film was, ‘Did the picture have something to say?’ Pop felt that every film had a message and he just wanted to believe in what it had to say. Not that he was ‘rose-colored glasses,’ or that it had to be a cheery, happy ending…” Peter McCrea uses Ride the High Country as an example to illustrate his father’s appreciation for complex characters and moral ambiguity: “**Ride the High Country, for instance.” He elaborates, “Right. One of the strongest points of that film was that the so-called bad guys were made broader and more human than just typical villains. The fact was that the bad guys were given some humanity, some sense of honor as they say in one of the lines. Pop recognized that.”
Peter McCrea further explains his father’s criteria for a good film: “So, I think that what he looked for was, ‘Did the picture give you a sense of wanting to be a good person?’ That was one of the key things. Did it give you an uplifting feeling? No matter what you see in the film or what happens in the film, do you walk away feeling enriched somehow? Films that wallowed in negativity or degrading things bothered him and Mom.” Despite their critical stance on some modern films, Peter McCrea notes their appreciation for certain contemporary classics: “There were a lot of modern movies that they did love: Dances with Wolves and Butch Cassidy and the Sundance Kid.” He also lists some of their favorite films from their era, showcasing their admiration for quality filmmaking across different genres and directors: “Movies that they really loved back when they were still working were The Best Years of Our Lives, Dodsworth and Ben Hur; Gary Cooper films like Meet John Doe. Or You Can’t Take it With You with Jimmy Stewart. There were so many great films that were made by directors they knew or had worked with: To Kill a Mockingbird, Roman Holiday, The Searchers, The African Queen, Treasure of the Sierra Madre, The Big Sleep, The Awful Truth, All About Eve.”
Conclusion: Peter McCrea’s Legacy of Remembrance
Through the insightful recollections of Peter McCrea, we gain a deeper understanding of Joel McCrea and Frances Dee, not just as Hollywood stars, but as individuals with strong values and a genuine love for cinema. Peter McCrea’s personal perspective enriches our appreciation for their contributions to film history and provides a valuable legacy for future generations of film lovers. His willingness to share these stories keeps the memory of his parents alive and relevant in the ever-evolving world of movies.
