Sunday, October 15, 2017

Tribute: 'A Tree Grows in Brooklyn' star Peggy Ann Garner

Peggy Ann Garner in her Oscar-winning role as Francie Dolan, 1945's 'A Tree Grows in Brooklyn.' 
Peggy Ann Garner passed away Oct. 16 in 1984, at age 52. Garner gave a vivid, naturalistic performance as Francie Dolan in 1945’s A Tree Grows in Brooklyn. Sadly, starring in this classic didn’t lead to greater things.
Garner as a soulful young 'Jane Eyre' in '44. With her is Sara Allgood.

Both Peggy Ann Garner and Elizabeth Taylor got noticed in 20th Century Fox’s ’43 version of Jane Eyre. Garner was under contract with Fox, and Taylor was loaned from MGM. Garner was a plaintively emotional young Jane, contrasted by a remarkably poised Taylor as Helen, the schoolmate who dies of pneumonia. Peggy Ann and Elizabeth were both born February of 1932. They became child stars in ’45 with A Tree Grows in Brooklyn and National Velvet, respectively, with critics and audiences applauding their intense performances. Garner and Taylor were natural performers, far superior to the era’s typical child actors. Garner received a special Oscar for her work, Elizabeth Taylor became Metro’s favorite child performer.
Peggy Ann Garner's heartfelt Jane Eyre and Elizabeth Taylor's sweet, sickly Helen.
Ironically, Taylor would nearly die of pneumonia twice in her life.

What’s a shame is that 20th Century Fox continued to treat Peggy Ann Garner as just another child performer, back to playing small roles. MGM created vehicles for their similarly intense child star, Margaret O’ Brien. And with National Velvet, MGM treated Elizabeth like a prized jewel, carefully guiding her through any gawky phases. By the late ‘40s, Garner was freelancing, stuck in B-movies like Bomba, the Jungle Boy.
How do you go from winning an Oscar to 'Bomba, The Jungle Boy' in just four years? Only in Hollywood!
My review of Peggy Ann Garner's Oscar-winning role as Francie in A Tree Grows in Brooklyn here: https://ricksrealreel.blogspot.com/2017/10/a-tree-grows-in-brooklyn-powerful-story.html

Garner with her special Oscar for 'Tree.'
Still, Garner persevered and found work as a television actress in the ‘50s and ‘60s. Peggy Ann Garner’s career ended on a high note, when her one-time TV director Robert Altman cast her in his 1978 comedy, A Wedding. Garner seemed plucky, working as a realtor during the dry spells of showbiz, weathering three failed marriages. Peggy Ann Garner died of cancer, at the Hollywood Motion & Television Country House and Hospital, survived by a daughter, who died over a decade later herself. Stardom seemed to come easily to Elizabeth Taylor, but fans know that her real life was not. And it seems that neither came easy for Peggy Ann Garner. If nothing else, A Tree Grows in Brooklyn stands as a tribute to Garner’s naturalistic talent.

FYI: I put all the movie overflow on my public FB  movie page. Check it out & join!  

https://www.facebook.com/groups/178488909366865/



Peggy Ann Garner ended her film career on a high note in '78, in Robert Altman's 'A Wedding.'

7 comments:

  1. I agree that Garner was special. She wasn't necessarily "pretty" or "cute" in the Little Darla-ish way that many other girl actresses were, but she was supremely talented and ATGIB is just heart-wrenching. She's wondrous in it! That said, I think she popped up in a later movie (was it "Black Widow" with Ginger Rogers) and I remember thinking, "Hmmmmm... not as good as an adult" wherein Liz still remained compelling to watch. (Not so much Margaret O'Brien!)

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    1. I also thought Peggy Ann was a great young Jane Eyre.
      I've not seen any of Garner's adult performances. I know what you mean about some former child stars as adult performers, I feel that way about Shirley Temple.
      ATGIB is one of those '40s films that doesn't feel dated at all...and the acting all around is spot-on. Fox sure didn't give Garner the O'Brien or Taylor treatment!
      Cheers, Rick

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    2. As a teen movie buff, I had never heard of Peggy Ann Garner. Then one night at a college cast party in Tacoma, WA, I met this woman with a scrapbook. Her name was Virginia and she was friends with the mother of one of my cast mates. Virginia talked about her daughter and showed us page after page of clippings she had saved. I want to say Virginia’s last name was something like Swenston. To the point, she was Peggy Ann Garner’s mother. I found Virginia to be very interesting, so much so that I later followed up and met her the next summer at her apartment in Portland, Oregon so that I could interview her. I came to the sad conclusion that While she was legitimate, she lived in the past and had very little connection to her daughter in the present. The following summer I moved to LA. This was in 1978. I remember going to a screening of A Wedding at The Academy of Motion Pictures theater. Peggy Ann Garner was there. For a moment I was close enough to speak with her and I said, “I met your mother.” Her response was a terse, “My mother. My mother!” That ended our conversation. I was rattled by her agitation. I never saw her again and lost touch with Virginia.

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    3. That's a bittersweet story, Greg. Makes you wonder what happened. From my research, I felt like Peggy's life and career didn't really go the way she had hope.
      Cheers, Rick

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    4. Rick, I apologize. I didn’t mean to write three versions. Every time I was almost done I thought I had lost it before publishing. I hate pecking on the phone. So sorry.

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  2. If ever a film role evoked tears from the audience, it was Peggy Ann Garner as Francie Dolan in "A Tree Grows on Brpoklyn". This was simply a beautifully-made film with stellar performances, especially by young Peggy Ann!

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  3. There is a good article in this week's NEW YORKER - a review of a new book called THE METHOD: HOW THE 20TH CENTURY LEARNED TO ACT." It includes this anecdote about Elia Kazan directing A TREE GROWS IN BROOKLYN: "When he needed Peggy Ann Garner, the child actress who played the film's protagonist, to cry, he pressed on the fear that her father, who was in the Air Force, wouldn't return home. The tears rolled, and so did the camera. "We only got it once, but we only needed it once," Kazan wrote in his 1988 memoir."

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