Letters of Dan O’Herlihy, UCD Graduate and Actor (1919–2005)

P202/8 Dan O’Herlihy, [1947]

In the summer of 2023 Olwen O’Herlihy, daughter of the actor Dan O’Herlihy and Elsie Bennett, deposited a collection of correspondence that her parents exchanged during periods of separation spanning the years 1945 to 1993. The primary focus of the collection is the early years of Dan’s and Elsie’s marriage and the beginning of Dan’s Hollywood journey between the years 1947 and 1952.

The letters provide a fascinating, multifaceted insight into the personal and professional life of a prominent and successful Irish actor. They describe the highs and lows of a burgeoning acting career and the toll this industry can have on personal relationships and family life. 

Dan O’Herlihy was born in Wexford in 1919. He was educated in CBS in Dun Laoghaire and studied Architecture in UCD, obtaining his degree in 1945. Later that year, in August, Dan and Elsie married in University Church, St Stephen’s Green.

Dan’s first major Irish acting break occurred in 1944, playing the lead role in the world premiere of Seán O’Casey’s play Red Roses for Me. He also appeared in productions by the Abbey and Gate theatres and worked as a relief announcer for RTÉ. In 1947 Dan was offered the part of Nolan in Carol Reed’s film Odd Man Out. At this time Reed was considered the foremost British director.

P202/104 Dan O’ Herlihy, 2^nd from left, as the character Nolan in the film Odd Man Out 

Filming took place in Belfast and London and Dan and Elsie corresponded almost daily during this separation. Dan arrived in post-war Belfast. The United Kingdom was practically broke, and food was rationed. But pursuing a viable and productive acting career in Dublin would have been next to impossible. In effect, Dan was one of many Irish emigrants who sought to build a life for themselves and their family away from Ireland in the post-war period. Ireland experienced a severe depression following the ending of the war. Inflation, unemployment and emigration all increased, and wartime rationing was extended.

Dan and Elsie’s letters frequently mention the scarcity of money and the difficulty of living apart and trying to manage at this early stage in their marriage. Elsie was pregnant with their first child Olwen, and she often expresses her loneliness for Dan during this separation. She stresses the difficulties she faced in trying to set up a home for them with very little to live on and preparing for the arrival of her baby.

Despite the hardships and the separation, Dan does his best to provide as much detail as possible in his letters to Elsie. With his architect’s eye, Dan captures the following descriptions of the production and set design used in Odd Man Out:

P359/2 Letter from Dan to Elsie describing the set of the film Odd Man Out, 24 April 1946

They’re fussing around now on the “stage” and getting it set up for our next shot. The scene is a small bedroom in Belfast and outside the window you can see the roof-tops of Belfast, with the clock-tower and spires and the mountains in the background. It’s all built in plaster in miniature. You can see clothes on clotheslines waving in the breeze. You’d think they were miles away, but really they’re only a few feet away and only 2” or 3“ inches in size.

P359/2 Letter from Dan to Elsie describing the set of the film Odd Man Out, 6 May 1946

The latest set in “Odd Man Out” is amazing. It’s two principal streets, and 2 small streets and a laneway crossing, with 30 to 40 shops, trams, streetlights, a bank, a library, etc., etc., and all built inside Denham (film studios), on what they call a “stage”. The stage, of course, is enormous.

The most challenging separation for the couple occurred during the period January 1947 to July 1947 when Dan had left Ireland to go to Hollywood. The agent Charles Feldman is credited with bringing Dan to Hollywood. Feldman favoured one picture deals, a very different approach to the long-term studio contracts that prevailed in Hollywood at the time. He was the President of Famous Artists who represented Dan when he first arrived.

Dan’s letters to Elsie during this period offer a fascinating insight into the challenges he faced negotiating favorable terms for his contract and the seemingly endless wait for his visa application to be approved so that he could begin working.

P359/3 Letter from Dan to Elsie concerning his contract, 23 January 1947

They [Feldman and Famous Artists, Dan’s agency in Hollywood] seem very impressed with my experience. They won’t let my sign a contract for a term. Only picture by picture, as they say I can make 10 times as much money that way.

Dan arrived at a time when the film industry was about to undergo huge change. Hollywood experienced growth from 1939 to 1946 but post-war Hollywood was heading for a decline. The industry was weakened severely in 1948 when a federal anti-trust suit against the big studios ended in the Paramount decrees, effectively dismantling the studios absolute control over the film industry. This, along with the advent of network television, heralded a new way for Americans to enjoy the movies—from the comfort of their own homes.

It was a time of great uncertainty for Dan. He was away from his family and his home attempting to begin his acting career in an unfamiliar and complex contractual system. In the following two letters he writes about loneliness and isolation.

P359/3 Letter from Dan to Elsie, describing the monotony of his days, 2 February 1947

My darling, darling Elsie, I haven’t heard from you since last Thursday. Maybe I’ll get a letter this afternoon. I’m just doing nothing here. I sleep about 12 hours a night, get up, go out to a drugstore for breakfast, come back; read until lunch, go out for lunch, come back; read until tea, go out for tea, come back, read until 9 or ten, go to bed. I’m much more fed-up out here than you can be back home. You have Olwen to keep you busy, and all our friends to meet.

P359/4 Letter from Dan to Elsie describing his loneliness and isolation, 16 March 1947

My own, own dearest, I hope I may have some news tomorrow now, my darling Elsie. I must have you over by May. I feel I couldn’t stand this separation. I am so alone without you, my Elsie. I was at Communion this morning. I’ve been lying in bed ever since, reading. It’s all I ever do. The monotony here is so terrible. I loved those photos you sent of Olwen in the house. They were quite clear. I miss you terribly xxxxxxx I saw Robert Montgomery [actor, producer and director] on a motorscooter. Excuse the blots, I haven’t any blotting paper. Please God I’ll have some news for you tomorrow. I love you xxxxxxx Darling, I think I’ll ring the Sistroms or the Dovers. I can’t stand my own company any longer. Tho’ I shouldn’t very well invite myself out. Write long letters every day. I have absolutely no news. And there’s only one important thing I have to tell you—I love you, from your lonely husband, Danny xxxxxxx Olwen xxxxxxx

He also endured a lengthy visa application process, without which he was unable to work. But Dan had caught the acting bug following his success in Odd Man Out (1947) and Hungry Hill (1947). He received very positive feedback and Hollywood was interested. His letters to Elsie reflect his ambition and perseverance. 

In a letter to Elsie written in April 1947 he describes interactions with his agents, producers, including Walter Wanger and Sam Goldwyn and other players in the film industry.

P359/3 Letter from Dan to Elsie, describing the monotony of his days, 2 February 1947

Dearest little sweetheart, I saw Feldman last night. He said he’d prefer me not to sign with Warner’s straightaway. He said he could get me a contract any time and then I’d be left sitting like Sean McGlory [or McClory, Irish born actor] not doing any work and probably going home after a year. He has several things up his sleeve. I’m to see Walter Wanger [film producer] this week. And he’s trying to get me into a picture of Zoltan Korda’s [screenwriter, director and producer] too. Anyway, he says—don’t appear too anxious to sign with Warner’s.

Equally frustrating was the wait Elsie endured for a visa allowing her and Olwen to join Dan in America. The uncertainty over this and caring for her newborn baby caused her much anxiety.

P359/18 Letter from Elsie to Dan expressing her loneliness for Dan and frustration waiting for Dan’s residency to come through, 23 June 1947

Danny, my darling, I’m so depressed that I feel I’ve nothing to write you. I got no letter today or last [Saturday]. I have not yet received last Monday’s 16^th’s letter so when & if I get it tomorrow 24^th it will have taken 8 days. I’m rather fed up here & also from doing nothing & going nowhere. I could have gone to many hops but really didn’t think that the dancing was worth many of the partners I’d have had. Oh Danny —these disappointments are rotten smelly, if they told you that you’d go last week to Mexico that you went…Darling—I have not an ounce of hope of seeing you again—oh maybe 10 years or so—but I CAN’T STAND—not knowing whether you are getting that residency.

In May 1947, five months after his arrival in Hollywood, Dan was offered the part of Macduff in Orson Welles’ stage and film production of Macbeth. This letter captures Dan’s excitement about the project, working with one of the industry’s foremost directors. He also references the contractual arrangements concerning his participation in the productions agreed between Welles and Feldman.

P359/6 Letter from Dan to Elsie concerning his contract
and the part of Macduff in Orson Welle’s play and film Macbeth, 20 May 1947

Petser, darling, I’m just leaving for Salt Lake City. I’d better explain my position now. I’m making ‘Macbeth’ under my existing contract to Feldman, who is sharing my contract with Orson Welles. Apparently Feldman has become so impressed with what Welles said about me that he’s decided to keep me himself and not put me out to outside producers. Welles and Feldman have gone into partnership to produce a lot of films, of which ‘Macbeth’ is the first. After my first two films, Feldman will tear up my existing contract and give me a terrific one. He says he’ll make a star of me in a year.

The role of Macduff came at just the right time for Dan and the energy and enthusiasm he expresses for the two productions (stage play and film) clearly demonstrate how eager he was to be working creatively.

In his letters to Elsie, he describes a very positive and constructive working relationship with Welles. Dan designed most of the sets, made suggestions about the costumes and contributed to the production. In the second letter dated 20 June 1947 he includes a sketch of his appearance as the character Macduff.

P359/6 Letter from Dan to Elsie concerning his part in the film Macbeth, 12 May 1947

Darling Elsie, I’m in a picture at last. A grand part. I’m playing MacDuff in “Macbeth”, with Orson Welles directing and playing Macbeth. I was sent for after mass yesterday to see Welles and spent the afternoon and evening with him. He’s really terribly nice and very keen for me to play MacDuff. I’m getting my script today.

P359/7 Letter from Dan to Elsie describing the filming of Macbeth
and what he looks like as the character Macduff, 20 June 1947

My own Beloved Elsie, We’ve just finished our first day’s shooting. I’ve no word from Mexico (regarding his resident’s visa) yet. I think I should look well in the film. I’ll send you a still. I’ve grown a beard but it’s a very different one to the one I used to have. It’s dark and thick. I look like this. Don’t worry darling, there can’t be any more residency difficulties. It’s just a matter of its being expected any day now.

In July 1947 the lengthy wait for Dan’s visa finally came to an end and shortly afterwards, in August, Elsie and Olwen joined him in California.

The role of Macduff was crucial to Dan and his career and resulted in him being offered the lead role in Luis Buñuel’s The Adventures of Robinson Crusoe. This was an incredible opportunity, and Dan knew he was working with one of the greats, an enormously talented and influential film-maker.

This role signaled the next lengthy separation for Dan and Elsie. Dan travelled to Mexico in July 1952 where English and Spanish versions of the film were shot, on location, for the next three months.

P202/113 Dan Herlihy as Robinson Crusoe, 1952

Watch the trailer for The Adventures of Robinson Crusoe here!

P202/114 Still of Dan O’Herlihy in the lead role in the film The Adventures of Robinson Crusoe, 1952

In the next two letters Dan expresses his delight in working with Buñuel and how pleased he is with the production and the script.

P359/9 Letters from Dan to Elsie expressing his praise for the film Robinson Crusoe
and the director Luis Buñuel, 14 July 1952

Hello Elsie,

Just arrived in from first day’s shooting. Bunuel is brilliant! I’m awfully hopeful. I look well too. We’re doing the illness scenes first. The scene with the father is only about half as long but much better. Today I played a scene with a dog and a tarantula. Tomorrow, a parrot, a honey bear, a snake and a pig. The new script is very, very good. I’m very impressed with Bunuel. I think it can be a terrific picture. The set of Crusoe’s cave is wonderful.

P359/9 Letter from Dan to Elsie describing the rushes from
the filming of Robinson Crusoe and how well the film looks, 23 July 1952

My own little girl, I’m very excited. We saw our first big batch of rushes tonight. Dancigers [producer], who is a very reserved man, congratulated me very warmly. I know I’ve never done anything as well as this. And it’s an acting marathon. I’m hardly daring to hope—but everything seems to be coming out so well—but maybe it’ll do as much, or more, than we could wish. I’m going to Henry’s (Ehrlich, associate producer) for dinner on Friday with Dancigers (the film’s producer).

Dan also wrote vividly about long, grueling days on set where he was often the only character on screen and performing his own stunts out at sea.

P359/11 Letter from Dan to Elsie describing a day of
filming Robinson Crusoe, 12 September 1952

Two days ago, I was on a raft, 2 miles out into the Pacific; with cameras on nearby boats. The swells were terrific. I went up into the sky and down again. It was about 5’ by 7’, piled high with barrels and boxes. I stayed on it for an hour. Yesterday I did my own swimming and stunts in the sea at Ola Verde where the waves are 12ft high. The doubles were no good, and I did the stuff quite well. These are the toughest scenes we’re doing at the end. Everything is O.K. at home darling? Has Olwen gone to school. Keep on writing to the Monte Cassino because I’ll be back there next week sometime, even if it’s the end of the week. I can’t wait to see you again, darling. The thought of going home is very wonderful; I’m very lonely for you. Your own Danny x

By the end of September 1952 Dan had finished filming and returned home to Elsie and his children. The remaining letters in the collection document shorter and more infrequent periods of time apart for Dan and Elsie. After the success of Robinson Crusoe, for which Dan was nominated for an Academy award, Dan’s acting career was established. He worked consistently for the next four decades, appearing in numerous films including Waterloo, MacArthur and Robocop as well as many television and theatre productions.

Details about UCDA P202 Papers of Dan O’Herlihy can be found here. UCDA P359 Letters of Dan O’Herlihy and Elsie O’Herlihy née Bennett  will be digitised and made available in the UCDA reading room during 2025.

This post was written by Orna Somerville, Archivist, UCD Archives

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