When Charles Boyer arrived on the Warner Bros. set of All This, and Heaven Too (1940), the contrast between his cultivated screen image and his real-world appearance created instant friction. By then Boyer was famous for a deep, romantic voice and continental magnetism, but he had lost hair, carried a pronounced paunch, and was noticeably shorter than many leading ladies. According to contemporary accounts and later memoirs, Bette Davis — who was accustomed to matching star-for-star glamour — did not recognise him and, in a combustible studio moment, attempted to have him removed from the production. The episode is a small but revealing instance of old Hollywood's fixation on image and the power dynamics on set: rather than produce a career-ending fall, the misunderstanding was smoothed over and the film proceeded, but the story persisted in trade columns and later biographies as an emblem of how fragile celebrity facades were behind the cameras.
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