The Curious Charisma of Roddy McDowall: A Life in Art and Film

Film critic Leonard Maltin: “Roddy McDowall’s career spanned more than six decades, and he managed to remain relevant and respected throughout. His performances were always compelling, and his contributions to cinema are invaluable.”

Roddy McDowall certainly had a distinctive presence: He always seemed to exude this uncanny youthful appearance. Even as an adult, McDowall was described as being “perpetually youthful.”

“McDowall was sharp-faced, clearly intelligent, chilly in his pride, and a kid who believed in masking his feelings (just like real kids). There are scenes in the film (How Green Was My Valley) in which older actors seem to learn restraint and stealth from the child. He was so emphatically honest in that film, and a kid who sometimes looked like a little old man (it was observed in life how, close to 70, Roddy still had “a child’s open face’).”– David Thomson for The Independent:

In 1941, The Detroit Free Press had this to say: “The child marvel of Hollywood right now is 12-year-old Roddy McDowall who arrived here from England a year ago. The public hasn’t had a really good look at him, but he has already been boosted to stardom. If you saw Manhunt, that was a small part; it was just a warm-up for the role in How Green Was My Valley, which Fox had in mind when they signed him. It is in this, his second film over here, that Roddy is becoming an American screen personality in his own right.”

“I enjoyed being in movies when I was a boy. As a child, you’re not acting- you believe. Ah, if an adult could only act as a child does with that insane, playing-at-toy-soldiers concentration!” – Roddy McDowall

Roddy McDowall was a highly prolific and versatile actor whose career spanned nearly six decades, encompassing a variety of genres in film, television, and radio. He began his acting journey as a child in 1938 and continued to be a prominent figure in Hollywood until his death in 1998. Throughout his extensive career, McDowall appeared in a wide range of classic films, beginning with 20th Century Fox’s 1941 thriller Manhunt directed by Fritz Lang and including his breakout role in How Green Was My Valley (1941).

Maureen O’Hara and Roddy McDowall in How Green Was My Valley 1941.

This is where he met and became lifelong friends with actress Maureen O’Hara. After Fox’s Best Picture winner, they cast him in the war film Confirm and Deny 1941. The following year, he played Tyrone Power as a young boy in Son of Fury: The Story of Benjamin Blake 1942.

Also, in 1942, they gave him top billing in On the Sunny Side, and he was given co-star credit alongside Monty Woolie in The Pied Piper, playing an orphan of the war. With McDowall’s success sealed, MGM borrowed the fine young actor to star in  Lassie Come Home (1943). The studio held onto him and gave him the leading role in The White Cliffs of Dover in 1944. 

Anne Baxter, Monty Woolley, and Roddy McDowall in The Pied Piper 1942.

Roddy McDowall was voted the number 4 ‘Star of Tomorrow’ in 1944, and Fox gave him another starring role in Thunderhead – Son of Flicka 1945.

Early on, he turned to the theater, starring in the title role of Young Woodley in the summer stock production in West Port, Connecticut, in July 1946. With his love of working on the stage, Orson Welles cast him in his production of Macbeth, where he played Malcolm. In 1948, he took on the same role in the film version.

By now, it was the late 1940s & 1950s, and he signed with Monogram Pictures, a low-budget studio that embraced recognizable stars to make two pictures a year. McDowall made seven films with them and worked as associate producer for director Phil Karlson’s Rocky 1948, a story about a boy and his dog. This was followed by the adaptation of Robert Louis Stevenson’s Kidnapped in 1948, Black Midnight directed by Budd Boetticher, Killer Shark, Big Timber in 1950, and The Steel Fist in 1952.

Lyn Thomas and Roddy McDowall in Black Midnight 1950.

Fans appreciate his appearance in the 70s disaster film The Poseidon Adventure (1972) and Overboard (1987). In the latter part of his life, he became a sought-after voice actor, lending his talents to animated projects such as A Bug’s Life (1998) and the popular television series Pinky and the Brain (1995-1998). Notably, McDowall also received acclaim on stage, winning a Tony Award for his supporting role in The Fighting Cock. McDowall worked with some of the most prominent actors in the industry, including Elizabeth Taylor, Gregory Peck, Orson Welles, Charlton Heston, Angela Lansbury, Kim Hunter, Vincent Price, Donald Crisp, Maureen O’Hara, Irene Dunne, Rock Hudson, Bette Davis, Jennifer Jones. Maurice Evans, Ruth Gordon, Natalie Wood, Lauren Bacall, Ava Gardner, and Rex Harrison. His career also included working with directors like Joseph L. Mankiewicz, John Ford, Jack Smight, Franklin J. Schaffner, and John Huston. His ability to transition from a child star to a respected adult performer set him apart in the industry.

Roddy McDowall possessed a fascinating duality; the contrast between his youthful looks and worldly-wise poise defined his unique charm and quiet intensity.

He was noted for his expressive eyes and articulate dispatch, which were instrumental in conveying a wide range of emotions. Roddy McDowall was intelligent and witty and often brought sharp intellect and a keen sense of humor to his roles, delivered with impeccable timing. McDowall was praised for his ability to mask feelings and convey restraint, even as a child actor. As an adult performer, he was characterized as “unpredictable,” which suggested a dynamic and varied approach to his roles. Critics noted his reliability as an actor, describing him as “always dependable.”

McDowall’s performances were subtle and nuanced: his approach to acting was all about restraint and introspection rather than over-the-top dramatics, at least in his earliest work. His acting was emotionally authentic, bringing a palpable sincerity to his characters and allowing audiences to connect with them on a profound level. Even in roles like Planet of the Apes, navigating the constraints of elaborate makeup, he transformed physical limitations into artistic opportunities. His performance transcended mere mimicry, embodying the character through a masterful blend of precise gestures and subtle nuances. Playing Cornelius in the Planet of the Apes series, he masterfully balanced intelligence, empathy, and subtle humor.

Roddy McDowall’s life was a colorful montage, a versatile journey of remarkable performances as he successfully transitioned from child actor to adult performer, spanning over six decades, during which he portrayed several iconic roles in both films and television, appearing in over 150 films throughout his illustrious career. Some of his most memorable roles include:

Huw Morgan in John Ford’s How Green Was My Valley (1941): This breakthrough role established McDowall as a talented young actor in Hollywood. Joe in Lassie Come Home (1943) and Ken McLaughlin in My Friend Flicka (1943). Octavian in Cleopatra (1963); this role earned McDowall a Golden Globe nomination.

Andrew Keir and Roddy McDowall as Octavian in Joseph L. Mankiewicz’s Cleopatra 1963.

Contributing to the myriad of whimsically nefarious characters, he played Bookworm, the literary villain in the popular 1960s television show Batman.

As Cornelius and Caesar in the original Planet of the Apes film series (1968-1973): McDowall became a fan favorite in this science fiction franchise, portraying different ape characters across multiple films, Galen in the Planet of the Apes television series: He continued his association with the franchise in this short-lived spin-off.

Beloved as Peter Vincent in Fright Night (1985) and its sequel (1988): McDowall’s performance as the vampire killer became one of his most recognizable roles later in his career. Moreover, McDowall has had various roles in anthology series. McDowall made memorable appearances in shows like The Twilight Zone, Night Gallery, and The Alfred Hitchcock Hour.

Roddy McDowall, much like Vincent Price, is a cinematic chameleon who traversed the silver screen with unparalleled versatility, leaving an indelible mark on Hollywood’s landscape. With a trajectory akin to light passing through a prism of time, through a lens of performances in classic cinema, it suddenly diverted its glow in unexpected ways, scattering the classical training into a spectrum dominated by the bold colors of cult and B-movie cinema.

I mention Price because I can’t help noticing how they shared parallel paths. They started out in serious, dramatic roles, were incredibly versatile, and were destined to become B-movie icons. The spectrum bent their light into the thrilling depths of horror and B-movie camp. Price’s career ascended with nuanced performances in noir classics like Laura (1944) and the Gothic romance Dragonwyck (1946), showcasing his ability to portray complex, morally ambiguous characters.

From the hallowed stages of serious productions to the delightfully campy realm of B-movies, McDowall’s journey mirrored that of the legendary Vincent Price. His ability to breathe life into grandiloquent dialogue was nothing short of mesmerizing. Whether delivering a swift, snotty assessment or verbally eviscerating his on-screen counterparts, McDowall’s performances were a masterclass in controlled chaos.

His notorious penchant for overacting, far from a flaw, became his signature, a theatrical flourish that often left his co-stars scrambling to keep up. In the horror genre, McDowall found his true calling, transforming schlocky scripts into tour-de-force performances that elevated entire productions.

Much like Price, who embraced the descent into horror, becoming the master of menace in films like House of Wax (1953) and The Fly (1958), Price’s ride reached its most exhilarating loops with his portrayal of the delightfully macabre Dr. Phibes in The Abominable Dr. Phibes (1971), where Price’s theatrical flair found its perfect outlet.

Similarly and for my discussion here, McDowall’s journey began at the pinnacle of prestige cinema with his heart-wrenching performance as Huw Morgan in John Ford’s How Green Was My Valley (1941), a role that showcased his ability to capture the innocence and resilience of youth As his career progressed, McDowall, like Price, embraced the wild turns of genre cinema, culminating in memorable performances in horror classics such as one of the defining Gothic classics of cerebral horror and erotic debauchery – John Hough’s The Legend of Hell House (1973), where his portrayal of the traumatized survivor Benjamin Franklin Fischer demonstrated his mastery of subtle, psychological terror. Both actors’ careers mirror the exhilarating arc of a rollercoaster, demonstrating their remarkable range from critically acclaimed dramas to cult horror favorites. Their ability to navigate this cinematic spectrum with equal poise, from the lofty heights of prestige pictures to high camp art and the hair-raising thrills of B-movie shockers, cements their status as true masters of their craft.

Roddy McDowall, born Roderick Andrew Anthony Jude McDowall in Herne Hill, London on September 17, 1928, in Herne Hill, London, was a natural-born performer with a flair for the dramatic. His mother, Winifriede Lucinda, an Irish aspiring actress, and his father, Thomas Andrew McDowall, a Scottish merchant seaman, likely influenced his early gravitation toward the arts. By the age of five, young Roddy was already honing his elocution skills, and by ten.

McDowall began his acting career as a child in the twilight of the 1930s British film industry, where he cut his teeth in appearing in over 15 productions by the late 1930s, including Convict 99 (1937), and he made his film debut in Murder in the Family (1938), portraying Peter Osborne, the younger brother, alongside Jessica Tandy and Glynis Johns.

McDowall’s journey from child actor to respected Hollywood veteran is a testament to his versatility, perseverance, and undeniable talent. Growing up in the shadows of pre-war London in 1940, McDowall and his family moved to the United States to escape World War II. Young Roddy’s journey from wide-eyed British lad to Hollywood legend is a tale that could rival any script he ever performed.

Shortly after arriving in Hollywood, he landed the breakthrough role as Huw Morgan in John Ford’s How Green Was My Valley (1941), which won the Academy Award for Best Picture.

Picture, if you will, a 13-year-old boy stepping onto the set of How Green Was My Valley in 1941. His eyes, always expressive, must have been as wide as saucers. Yet, it was those very eyes that would capture the hearts of audiences, conveying the innocence and determination of Huw Morgan with a depth that belied his tender years.

This wasn’t just a breakout role that would launch him into stardom. But stardom for Roddy wasn’t about the glitz and glamour. No, for this actor, it was about the craft. As he grew from the boy who befriended Lassie to the man who would don ape prosthetics, Roddy’s passion for performance never wavered.

A performance that would forever change his trajectory, as Huw Morgan in John Ford’s How Green Was My Valley he captivated audiences with his nuanced portrayal of the young Welsh boy coming of age in a mining town. This role not only earned the film an Oscar but also established McDowall as a force to be reckoned with in Hollywood.

John Ford’s breathtaking masterpiece of cinema is a poignant drama that tells the story of the Morgan family, a Welsh mining family, through the eyes of their youngest son, Huw. Set in the late Victorian era, the film explores themes of family, faith, and the decline of a close-knit community amid economic hardship and industrialization that impacts all the people who suffer and strive to make a life for themselves.

Huw serves as both the narrator and emotional core of the story, capturing the idyllic beauty of his childhood and the harsh realities that follow. The film received critical acclaim, winning five Academy Awards, including Best Picture, Best Director for John Ford, and Best Supporting Actor for Donald Crisp. It also earned recognition for its stunning black-and-white cinematography by Arthur Miller and its art direction. The movie famously beat Orson Welles’s innovative masterpiece Citizen Kane for Best Picture at the 14th Academy Awards. Huw’s character is central to the narrative’s emotional depth. His journey from innocence to maturity mirrors the valley’s transformation from a vibrant community to one marred by poverty and loss. McDowall’s performance as Huw is heartfelt and memorable, embodying both nostalgia and resilience in the face of adversity. And there is no question that McDowall brought everything he had to the table. The film strikes a delicate balance between romanticizing the past and offering a sobering critique of societal change, making it one of Ford’s most enduring works.

John Ford on the set with young Roddy McDowall.

On the set of How Green Was My Valley (1941), McDowall had a positive experience with the notoriously difficult director John Ford. He recalled, “Ford was terrific to me, which was lucky because I don’t think I would have been able to stand up to any sort of cruelty.” McDowall noted that the film only took nine weeks to make, with Ford often getting scenes in just one or two takes.

Roddy McDowall became a beloved child actor known for his expressive brown eyes and eloquent delivery. McDowall quickly became a standout child actor.

He avoided being typecast as a child actor by taking on a wide variety of parts. This allowed him to be seen in different lights by audiences, making it easier for them to accept him in adult roles later on. Roddy’s career seamlessly transitioned into adulthood—a rare feat for child stars.

[in 1976, on his fellow former child stars] Compare us to your high school graduating class. You’ll discover there is always a percentage of successes, and those who fall by the wayside to become alcoholics, dopers, or just plain losers. Sure, there are the Bobby Driscolls, the tragedies, but don’t forget the others: Elizabeth Taylor, Hayley Mills, Natalie Wood and Gene Reynolds–who’s a successful producer–and so many others.

Unlike many child stars who struggle to maintain relevance as they age, McDowall navigated the treacherous waters of adolescence with remarkable grace.

His secret? Versatility, and a willingness to reinvent himself. As a teenager, he starred in beloved classics like Lassie Come Home (1943) and My Friend Flicka (1943).

Roddy McDowall, Rita Johnson, and Preston Foster in My Friend Flicka 1943.

[on his more well-known roles as a child actor] I really liked Lassie, but that horse, Flicka, was a nasty animal with a terrible disposition. All the Flickas–all six of them–were awful.

Actor Roddy McDowall with Lassie in the 1943 film Lassie Come Home. (Photo by Archive Photos/Getty Images).

These performances cemented his place in the hearts of audiences, where he formed a lifelong friendship with co-star Elizabeth Taylor.

Roddy McDowall, young Natalie Wood, and Elizabeth Taylor in 1948.

Elizabeth Taylor and Roddy McDowall in NYC 1955.

In an interview, McDowall described Taylor as an “eight-year-old perfection” when they first met. Taylor would often request that producers hire McDowall to be in films with her.

Roddy McDowall met his best friend, Elizabeth Taylor, on the set of Lassie Come Home in 1943, and their friendship lasted until his death in 1998. He said of her in an interview in 1996, “She was an eight-year-old perfection. Absolutely ravishingly beautiful. So beautiful in fact that I began to laugh. . .because that sort of takes your breath away.” 

McDowall’s connections often led to work opportunities. For instance, his friendship with Elizabeth Taylor resulted in their collaboration on Joseph L. Mankiewicz’s historical epic Cleopatra (1963), referring to the experience of working on Cleopatra as being quite different. He laughingly described it as “a very long experience,” hinting at the film’s infamous production troubles and delays.

[on Elizabeth Taylor and Richard Burton’s romance ] I knew back in Rome when we were making Cleopatra in 1963 that it would never work. Elizabeth doesn’t just love someone; she possesses them. And Richard isn’t a man to be possessed. I’m surprised it lasted as long as it did.

In 1961, Elizabeth had a signet ring specially made for Roddy. It bore the McDowall family crest upon it. Roddy McDowall wore it every single day from the moment Elizabeth gave it to him; He even wore it when he worked and is seen always wearing it in his television and film roles after Cleopatra, from 1963 until the end of his life. Prior to his death, he bequeathed his beloved ring to his sister, Virginia McDowall. It is unknown what happened to the ring when she passed away in 2006. Taylor confided everything to McDowall, referring to him as the one friend who was always understanding.

I can’t say I was unhappy as a child actor in films because I wasn’t. I had a particularly wonderful time. The only trouble was that by the time I got to be 17 or 18, Hollywood was still thinking of me in terms of what I had delivered at the age of 11. They said I couldn’t play anything but an English boy. I knew I could. So I went to New York and started to study because I knew I had to learn a lot about myself as an actor; you can’t act the same as you did as a child. Fortunately, I happened to go east at a time when live television was centered in New York. For six years, I played every kind of role, from Mexican-Americans to Midwestern Americans. I did different roles on the stage: a Chicago boy in Compulsion and a Southerner in No Time for Sergeants. – Roddy McDowall

At age 18, Roddy McDowall looked through his collection of fan magazines, some dating back to 1911.

He approached each role with the enthusiasm of a newcomer and the skill of a seasoned pro. However, McDowall was not content with sitting back. In a bold move that would define his career, at age 20, when his film career began to fade, McDowall made the decision to leave Hollywood for Broadway, where he played a long series of successful stage roles, both on Broadway and in venues such as Connecticut’s Stratford Festival, where he performed Shakespeare. He became a naturalized United States citizen in 1949.

This move allowed him to hone his craft and learn to act as an adult on stage, which differed significantly from his experiences as a child actor on film sets. Imagine the courage it took for a 20-year-old Hollywood darling to pack his bags and head to tread the boards on Broadway.

In the original 1959 stage play of Noël Coward’s Look After Lulu, Roddy McDowall, Paul Smith, and Tammy Grimes.

Many would have clung to the safety of familiar studio lots, but not Roddy McDowall. He threw himself into the world of theater with gusto, proving that the constraints of celluloid didn’t bind his talent.

{On his versatility and relevance as an actor}: “My whole life I’ve been trying to prove I’m not just yesterday.”

McDowall commented: Intellectually, I’d love to play Stanley Kowalski in A Streetcar Named Desire. Can’t you just imagine me down in the streets yelling, “Stella! Stella!”. God, the critics would have a lot of fun with that one.

Unlike some child stars who attempt to make a sudden break into adult roles, McDowall allowed for a gradual transition. He was willing to ride the ebb and flow of his theatrical career, understanding that stardom wasn’t permanent.

This decision allowed him to hone his craft on stage, away from the typecasting that often plagues former child stars, significantly differing from his experiences as a child actor on film sets. His gamble paid off. He dazzled on Broadway and in venues such as Connecticut’s Stratford Festival, where he performed Shakespeare.

He starred in a revival of George Bernard Shaw’s Misalliance in 1953, which had a successful run of 130 performances at the Ethel Barrymore Theatre. This production was significant for McDowall’s career, as he later stated that it “broke the mould” in how he was perceived as an actor.

Following his success in Misalliance, Roddy McDowall continued to build an impressive Broadway career throughout the 1950s. He starred in Escapade (1953) alongside Carroll Baker and Brian Aherne, showcasing his versatility as an actor. McDowall then took on a role in Ira Levin’s No Time for Sergeants (1955-57), which became a massive hit and ran for nearly two years.

McDowall’s stage presence continued to grow with performances in Diary of a Scoundrel (1956) and Good as Gold (1957). His portrayal in Compulsion (1957-58), a play inspired by the infamous Leopold and Loeb case, garnered significant critical acclaim, although he wasn’t selected for the subsequent film adaptation.

McDowall recognized the need to develop his skills as an adult actor. He studied with acting teacher Mira Rostova in New York, acknowledging that he had to learn his craft anew as an adult performer.

The latter part of the decade saw McDowall in a string of notable productions. He appeared in Handful of Fire (1958), followed by Noël Coward’s Look After Lulu! (1959).

His Broadway journey in the 1950s culminated with Peter Brook’s The Fighting Cock (1960), a performance that earned McDowall a Tony Award for Best Featured Actor in a Play. McDowall was spectacular in Jean Anouilh’s The Fighting Cock, proving that his talent extended far beyond the silver screen.

The play opened on December 8, 1959, at the ANTA Playhouse (now known as the August Wilson Theatre) and ran until February 20, 1960. McDowall played the role of Tarquin Edward Mendigales in this production. For his performance, McDowall won the Tony Award for Best Featured Actor in a Play in 1960.

His Tony Award for The Fighting Cock wasn’t just a trophy; it was a middle finger to anyone who dared to pigeonhole him as just another child star.

Roddy McDowall in the stage production of Camelot in 1963.

Roddy McDowall continued his successful Broadway career by starring as Mordred in the iconic musical Camelot, which ran from 1960 to 1963. This production, featuring Julie Andrews and Richard Burton, was a major hit.

In the same year, McDowall also appeared in a television adaptation of Shakespeare’s The Tempest, where he portrayed Ariel alongside Richard Burton and Maurice Evans, and he returned briefly to Broadway for The Astrakhan Coat (1967).

 

Richard Burton, Rex Harrison, and Roddy McDowall in Cleopatra 1963. He earned acclaim as Octavian.

Beyond acting, he was a talented photographer and published several books showcasing his work. McDowall’s versatility and charm made him a favorite across stage, screen, and television.

He also embraced television. McDowall took on as much television work as possible, appearing in numerous series and TV movies. This exposure helped him maintain visibility and gain experience in different types of roles.

In the CBS television series, Ron Harper, James Naughton, and Roddy McDowall.

1950s: A Variety of Dramatic TELEVISION Appearances:

He played Pip in Great Expectations for Robert Montgomery Presents in 1951. He appeared in  TV shows during the era of live teleplays that emerged in the 1950s; for instance, in 1959’s The DuPont Show of the Month production of Billy Budd, he portrayed Squeak – Oldsmobile Music Theatre – The United States Steel Hour as Michel 1959 – Playhouse 90 as Charles Marlow 1958 – Suspicion as Derek Stratton as David 1958 –Matinee Theatre 1957–1958 – Kraft Theatre as Andy McKenna. The Alcoa Hour as Max 1957 – Goodyear Playhouse 1954–1957, where he appeared in the adaptation of Joseph Conrad’s Heart of Darkness. The production starred Boris Karloff and Eartha Kitt. Lux Video Theatre as David – General Electric Theater as Leprechaun in 1956 – The Good Fairy TV Movie as a waiter 1956 – The Ed Sullivan Show.
Ponds Theater 1954–1955 – The Elgin Hour as Jami 1954 – Encounter 1954 – Armstrong Circle Theatre as Tim McDuff 1954 – Campbell Summer Soundstage 1954 – Medallion Theatre 1954 –Broadway Television Theatre as Rodney Martin 1952 – Celanese Theatre as Richard Miller 1951 – Family Theatre as Pvt. Huntington.
Roddy McDowall won an Emmy Award for his performance in a 1961 episode of NBC Sunday Showcase.

1960s. THE APES AND BEYOND:

 

THE TWILIGHT ZONE: People Are Alike All Over:

In one of the more iconic episodes of Rod Serling’s groundbreaking anthology series, Roddy McDowall starred as Sam Conrad in the 1960 Twilight Zone episode People Are Alike All Over. Conrad is a cynical, fearful astronaut embarking on a mission to Mars4. Initially skeptical about encountering alien life, Conrad finds the Martians to be welcoming and human-like, especially having fallen under the spell of the mesmerizingly beautiful Susan Oliver, who, in the end, feels compassion and regret. However, his new alien life takes a tragic turn as Conrad discovers he’s been tricked into becoming a zoo exhibit, trapped in a cage by the seemingly benevolent aliens. McDowall’s portrayal effectively captures Conrad’s transformation from a wary space traveler to a horrified captive, culminating in the episode’s ironic and chilling conclusion.

BATMAN, THE BOOKWORM:

Roddy McDowall made a special appearance as a guest villain ‘the Bookworm’ in the 1966 Batman television series, a literate criminal who committed literature-themed crimes, leaving clues for the Dynamic Duo to solve. McDowall’s performance brought a darker energy to the character, with his episodes being surprisingly intense and memorable despite it being his only appearance in the series.

THE ALFRED HITCHCOCK HOUR, THE GENTLEMAN CALLER:

In The Alfred Hitchcock Hour episode The Gentleman Caller (1964), Roddy McDowall plays Gerald Musgrove, a cunning and manipulative thief who hides stolen money in the home of an elderly woman, Emmy Rice (Ruth McDevitt). Gerald ingratiates himself with Emmy, convincing her to name him in her will as he plots to murder her for financial gain. McDowall’s performance is a masterclass in duality, as he shifts between charm and menace with ease, creating a character both captivating and chilling. His portrayal adds depth to the suspenseful narrative, making the episode one of the series’ standout entries.

NAKED CITY, THE FAULT IN OUR STARS:

In the Naked City episode The Fault in Our Stars, 1961, he delivered a compelling and intensely provocative performance as Donnie Benton. McDowall portrays a struggling actor who resorts to murder to pay his rent, showcasing his ability to convey complex emotions and moral ambiguity. The episode’s storyline revolves around an unemployed actor who takes to strangling and robbing cab drivers to pay his rent.

McDowall’s nuanced portrayal captures Benton’s desperation and inner turmoil as he navigates his failing career and criminal actions. His performance stands out for its depth and intensity, effectively conveying the character’s psychological struggle and the consequences of his choices. McDowall added layers of complexity to the episode’s exploration of desperation and moral decay. A signature of this extraordinary television series is its capacity to draw some of the best performances from the industry’s leading and supportive actors, directors, cinematographers, and writers.

 [in 1968, on his career] . . . totally isolated, really suffocating. As a child, I was always lied to about myself and about the world.

McDowall’s television work was equally as impressive as his feature films. He won an Emmy Award for his performance in a 1961 episode of NBC Sunday Showcase. He also delighted audiences with his guest appearances, including memorable turns as the Mad Hatter in Batman: The Animated Series.

Some of his notable television appearances include: The Subterraneans as Yuri Gligoric 1960 – The Name of the Game TV Series as Early McCorley, and Philip Saxon 1968–1970 – Night Gallery TV Series pilot as Jeremy Evans (segment The Cemetery) 1969 – It Takes a Thief  TV Series as Roger 1969 – Journey to the Unknown 1969 anthology TV Series as Rollo Verdew in the episode The Killing Bottle – The Legend of Robin Hood  TV Movie as Prince John 1968 – The Felony Squad TV Series cast in the lead role as Ollie Otis 1968 – Cricket on the Hearth TV Movie Cricket Crocket (voice) 1967 – Saint Joan TV Movie as Charles, The Dauphin 1967 – The Invaders TV Series as Lloyd Lindstrom The Experiment S1E1 1967- Bob Hope Presents the Chrysler Theatre TV Series Harry Carlin, Arthur Biddle, Deerfield Prescott 1964–1966 – The Defector as Agent Adams 1966 – Run for Your Life TV Series as Gyula Bognar 1966 – 12 O’Clock High TV Series as Sgt. Billy Willets 1966 – Ben Casey TV Series as Dwight Franklin 1965 – Kraft Suspense Theatre TV Series as Robert ‘Professor’ Benson 1964 – Combat! TV Series as Murfree 1964 – The Alfred Hitchcock Hour TV Series as George in See the Monkey Dance, and Gerald Musgrove in The Gentleman Caller 1964 – The Eleventh Hour TV Series Stanton Maynard and Alec Harnes 1964 – Arrest and Trial TV Series as Paul LeDoux 1963 – The Power and the Glory TV Movie as The Mestizo 1961 which starred Laurence Olivier, George C. Scott, and Julie Harris – Play of the Week TV Series as Adrian Terry 1961 – and – Sunday Showcase TV Series as Philip Hamilton 1960 and Medical Center.

Janice Rule,  Roddy McDowall, and Scott Marlow in The Subterraneans 1960.

Efrem Zimbalist Jr. and Roddy McDowall in The Alfred Hitchcock Hour episode See the Monkey Dance S3E5 1964..

SHOCK TREATMENT 1964

Lauren Bacall: Shock Treatment (1964) Dr. Edwina Beighley the female Caligari or it’s just like working with animals in a zoo!

Shock Treatment, directed by Denis Sanders, follows actor Dale Nelson (Stuart Whitman), who is hired and willing to fake insanity to infiltrate a mental hospital in order to get close to a homicidal maniac, Martin Ashley (Roddy McDowall) who claims to have burned to cinders, the millions, he has hidden of his victim’s fortune, now buried somewhere on her estate.

In Shock Treatment (1964), Roddy McDowall delivers an outrageous and flamboyant performance as the deranged gardener who decapitates his wealthy employer with garden shears and is subsequently committed to a mental institution. McDowall’s portrayal of Martin is chillingly eccentric, blending dark humor with unsettling psychopathy.

Dale’s mission: uncover the whereabouts of $1 million that Martin allegedly stole and burned. The institution is run by the manipulative Dr. Edwina Beighley (Lauren Bacall), whose unethical experiments and greed to uncover the whereabouts of the hidden money add another layer of tension to the tightly wound plot.

During Martin Ashley’s (Roddy McDowall) trial for killing and beheading his employer, Dr. Edwina Beighley is the defense’s go-to specialist on mental illness and key witness. She is their sympathetic psychiatrist who manipulates the court into allowing her to observe Martin at her State Psychiatric hospital.

Dale’s boss Manning figures that once Dale gets committed to the state asylum, he can befriend the psychopathic handyman/gardener Martin Ashley (McDowall with his usual flare for the overly-dramatic, deliciously deliriously overindulgence), who is just mad about roses and had decapitated his employer Amelia Townsend (Beatrice Grenough) with a pair of garden shears when she interferes with his beloved garden. The film borders on the realm of Grande Guignol.

As Dale navigates the asylum’s dangers, he forms a bond with Cynthia (Carol Lynley), a troubled inmate, while uncovering shocking truths about Martin’s and Dr. Beighley’s schemes.

The film opens with Roddy McDowall as Martin, who, wielding a pair of imposing garden shears, is at first clipping branches. Jerry Goldsmith’s dramatic score is ominous as he moves through the garden and comes up behind an old woman, the dowager Amelia Townsend, sitting in her solarium. He plunges the giant shears downward and, off-screen, snaps her head off like an old cabbage. Then, he shows up at the police station wearing a perfectly starched chauffeur’s uniform and reports her death. When they find out she’s been dead for 3 hours, they ask why he waited, and with Roddy’s cold, restrained demeanor that sits cooly atop his insanity, he informs them, “It took me some time to get her dressed and fix her hair. She’s outside in the car.”

You know what they’ll find in that car. The entire opening is ghoulish, macabre, restrained, and grotesque, and it works perfectly because of Roddy’s adeptness at delivering a droll, authoritative speech. He adds, “She was a very mean woman. She wanted to destroy my garden.”

Later, while tending to his garden at the mental hospital run by its dictatorial psychiatrist (Lauren Bacall), Martin argues with Dale (Stuart Whitman) about his ability to raise beautiful roses and that he didn’t see flowers until he was 16. “You don’t get flowers at the orphanage, Mister!… I’m the guy who crossbred the Pinocchio with the Fuselier”¦ and it won the first show at the Pasadena in 1962.”

From his obsession with roses to his unnervingly calm demeanor while confessing to gruesome acts (such as applying makeup to his victim post-mortem), McDowall’s performance stands out as a twisted mix of charm and menace, adding a macabre edge to the film.

Critically, Shock Treatment received mixed reviews. While some praised McDowall’s unhinged yet captivating performance and Bacall’s sinister turn as the corrupt psychiatrist, others criticized the film’s uneven pacing and lackluster direction. Despite these shortcomings, it has gained recognition for its campy tone and moments of suspense, with comparisons to Samuel Fuller’s Shock Corridor.

Anecdotes from production suggest that both McDowall and Bacall found the filming experience challenging, though specific details remain vague. The film’s darkly comedic elements—such as Martin’s bizarre behavior and Edwina Beighley’s over-the-top villainy—make it an unusual blend of psychological thriller and campy satire. While not a major success upon release, Shock Treatment remains a fascinating showcase for McDowall’s ability to fully embrace eccentric and sinister roles.

IT! 1967

Roddy McDowall’s performance in the 1967 British horror film It! is generally regarded as a highlight of the movie: McDowall plays Arthur Pimm, an assistant curator at a museum who discovers and animates an ancient golem statue. His portrayal is described as “deliciously and campily evil” and “fun,” with one reviewer noting that McDowall could “overact without seeming to overact.” McDowall’s performance makes Pimm appear “lunatic from the start,” even before the character’s motivations are fully revealed. As the film progresses and Pimm loses control of the golem, McDowall’s acting becomes “feverishly loopy,” which helps elevate the movie into high camp. Despite the film’s limitations, McDowall’s performance is praised for bringing entertainment value to an otherwise “tepidly executed film.”

Jill Haworth, who co-starred with McDowall, reportedly enjoyed working with him despite disliking the film overall. McDowall’s ability to bring depth and entertainment to the role of Arthur Pimm seems to be a standout element in this early British horror film.

Ruth Gordon, Roddy McDowall, and Tuesday Weld in Lord Love a Duck 1966.

In George Axelrod’s inexplicable satire Lord Love a Duck 1966, Roddy McDowall delivers a memorably strange and unsettling performance as Alan Mollymauk Muskgrave, a teenager played by the 36-year-old actor with a mysterious agenda and power to grant a high school girl’s (Tuesday Weld, a personal favorite of mine) desires.

In a landscape of relentless ambition and carnal excess, where morality crumbles beneath the weight of unchecked desires, Mollymauk emerges as an unlikely savior. This peculiar ascetic, untouched by the world’s depravity, dedicates himself not to lofty ideals but to the salvation of a single, exquisite soul—a melancholic beauty adrift in a sea of corruption, silently crying out for redemption.

Roddy and Tuesday Weld in Lord Love a Duck 1966.

A satirical black comedy, Lord Love a Duck is a bizarre and energetic film that skewers 1960s American teenage culture, from Beach Party movies to progressive education, with a unique blend of zany humor and melancholy.

“Before Heathers, Lord Love a Duck proposed that the key to getting ahead in a brutal, Darwinian realm like high school lies in murder.” – Nathan Rabin’s Happy Place.

Other of McDowall’s 1960s films include:

Midnight Lace 1960 as Malcolm – The Longest Day 1962 as Pvt. Morris – Cleopatra 1963 as Octavian – Caesar Augustus – The Third Day 1965 as Oliver Parsons – The Greatest Story Ever Told 1965 as Matthew – The Loved One 1965 as D.J. Jr.  – That Darn Cat! 1965 as Gregory Benson – Inside Daisy Clover 1965 as Walter Baines – The Cool Ones 1967 as Tony Krum The Adventures of Bullwhip Griffin 1967 as Bullwhip Griffin — Midas Run 1969 as Wister  – Hello Down There 1969 as Nate Ashbury  – and 5 Card Stud 1968 as Nick Evers.

John Gielgud, Roddy McDowall, Jonathan Winters, John Easton, and Asa Mayno in The Loved One 1965.

Roddy and Hayley Mills in That Darn Cat! 1965.

The Cool Ones 1967, directed by Gene Nelson.

Roddy McDowall and Doris Day in Midnight Lace 1960.

Roddy McDowall co-stars as Malcolm Stanley in the 1960 psychological thriller Midnight Lace, directed by David Miller. Malcolm is the irresponsible son of the Preston family’s housemaid. He embodies a somewhat entitled and ne’er-do-well persona. Throughout the film, he attempts to manipulate Kit Preston, played by Doris Day, for financial support, showcasing his flair for charm and menace. His character is one of several suspects in the film, which revolves around Kit’s being gaslit. At the same time, she struggles to convince those around her of her stalker’s existence while battling her own growing paranoia.

On the set of Midnight Lace with Rex Harrison and Doris Day.

The Third Day (1965) is a suspense thriller directed by Jack Smight and based on the novel by Joseph Hayes. The film stars George Peppard as Steve Mallory, a man suffering from amnesia after a car accident that seemingly killed his mistress, Holly Mitchell (played by Sally Kellerman). The cast also includes Elizabeth Ashley, Mona Washbourne, Herbert Marshall, Robert Webber, and Vincent Gardenia. The film unfolds over three days, during which Mallory struggles to uncover the truth about the accident and his own character.

As Mallory pieces together his fragmented memories, he faces hostility from his wife Alexandria (Elizabeth Ashley) and suspicion from those around him, including the conniving Oliver Parsons, played by Roddy McDowall, a scheming relative with sardonic intonations who seeks to exploit the situation for his own benefit, particularly regarding control of the family business. Once again, McDowall shows a knack for playing manipulative fellows, setting the tone for his antagonistic role.

Get your stinking paws off me, you damn dirty ape! PLANET OF THE APES 1968:

And then came the apes. Oh, the apes! Who could have predicted that a man known for his boyish charm would find his most iconic role beneath layers of simian makeup? As Cornelius and later Caesar in the Planet of the Apes franchise, Roddy McDowall didn’t just act – he transformed. Through those prosthetics, he conveyed more humanity than many actors manage to do without any makeup at all.

For the Planet of the Apes films, McDowall faced significant physical challenges. He described the makeup process as extremely difficult, taking three hours to apply and constantly coming off during filming. Despite this, he called it “a great challenge” and “a happy memory.”

McDowall’s career reached new heights in the late 1960s with his iconic role. As the chimpanzee archaeologist Cornelius, and later as Caesar, McDowall brought depth and humanity to these simian characters. His performances were so compelling that he appeared in four of the five original Apes films, becoming a fan favorite and cementing his place in science fiction history.

Roddy McDowall’s portrayal of Cornelius in Planet of the Apes was a blend of intellectual curiosity and cautious restraint. As a chimpanzee archaeologist and historian, Cornelius served as a bridge between the established ape society and the revolutionary ideas brought by the human astronauts, embodying the conflict between scientific inquiry and societal norms. Cornelius and Zira (Kim Hunter), driven by their unwavering commitment to scientific truth, defied the established order of their ape society. Their pursuit of knowledge and defense of Taylor’s humanity led them to challenge the dogmatic views of Dr. Zaius and the ruling class, ultimately transforming them from respected scientists to fugitives from justice. This rebellion against society and their willingness to risk everything for their beliefs exemplify their roles as intellectual revolutionaries in the face of oppressive authority.

John Chambers was the lead makeup artist for the 1968 film Planet of the Apes. He designed the ape makeup and led a team of roughly 100 makeup artists and stylists.

Roddy McDowall faced several significant challenges while filming Planet of the Apes. There was an extensive makeup process. The ape makeup application was extremely time-consuming, initially taking 5-6 hours per day, though it was eventually reduced to about 3.5-4 hours. McDowall often slept while the makeup was being applied due to the lengthy process.

There was also the physical discomfort: The makeup was physically demanding to wear. It limited facial mobility and expressiveness, which was crucial for actors to convey emotions.

Not to mention the difficulties they faced when they needed to eat. The prosthetic makeup, particularly the false protruding jaws, made eating challenging. Actors were encouraged to consume only soft foods and drinks through straws to avoid damaging the makeup. With all these challenges that took place during long, exhausting filming days that included the lengthy makeup application process added to regular filming hours, workdays were exceptionally long and tiring for the actors. Trying to pull off a demanding role with all these factors in the mix seems to me as nightmarish as the chaotic plot.

Kim Hunter and Roddy McDowall in 1967 on the set of Planet of the Apes.

There were also harsh filming conditions: Some scenes were shot in remote, difficult-to-access locations with extreme heat. People were “passing out from heat and exhaustion all over the place” during the filming of certain sequences.

Something audiences didn’t even realize at the time was the need for maintaining secrecy: The set was closed to maintain the protection of exposing the ape appearances, which meant actors in costume were not allowed to leave designated areas, potentially leading to a sense of isolation during filming. There were even challenges to the lighting design: The dark, furry makeup made it difficult to highlight facial features other than the eyes, requiring careful consideration of lighting and camera angles. During the filming of Planet of the Apes, McDowall took behind-the-scenes home movies. These recently surfaced films provide a fascinating glimpse into the makeup process and on-set atmosphere of this iconic film.

Despite facing numerous challenges, including innovative makeup design, remote location shooting, and complex set construction, the 1968 Planet of the Apes transcended its inherent troubles and overcame these obstacles to become one of the most iconic and influential films in cinema history, captivating audiences with its groundbreaking visuals, thought-provoking themes, and unforgettable twist ending. This breakthrough film was followed up in the 1970s with Escape from the Planet of the Apes in 1971, Conquest of the Planet of the Apes in 1972, and Battle for the Planet of the Apes in 1973.

Bradford Dillman, Kim Hunter, and Roddy in Escape from the Planet of the Apes 1971.

Ricardo Montalban and Roddy McDowall in Conquest of the Planet of the Apes 1972.

A Gallery of Things Better Left Buried – Rod Serling’s Anthology Series NIGHT GALLERY: Pilot Segment – The Cemetery:

Roddy McDowall’s performance in the Night Gallery pilot episode The Cemetery (1969) has been highly praised by critics and viewers alike: His portrayal of the greedy, murderous, and illegitimate nephew Jeremy Evans in the segment is described as “deliciously and campily evil.”

McDowall infects the screen with dread and panic during the climactic sequence of his segment. His acting is superb alongside his equally dynamic co-star, Ossie Davis. Roddy McDowall is so adept at playing a wonderful villain who deserves to face delicious retribution for his crimes. On a show that is already geared to the macabre, Roddy McDowall found the perfect milieu to chew up the scenery, ideally suited to play an obnoxious caustic southern modern-day or hippish fop in blousy paisley peasant shirts, velvet jackets, and shaggy hairstyle.

Overall, McDowall’s performance in Night Gallery is remembered as a standout element of the pilot episode, showcasing his ability to portray a despicable character with both flair and nuance.

ANGEL ANGEL DOWN WE GO 1969:

Roddy McDowall, Jennifer Jones, Jordan Christopher Lou Rawls, and Holly Near in Angel, Angel Down We Go 1969.

Roddy McDowall played the character of Santoro in the 1969 Angel, Angel, Down We Go, directed by Robert Thom (also known as Cult of the Damned) starring Jennifer Jones, Holly Near, and Jordan Christopher as a cross between Jim Morrison, and Charles Manson called Bogart Peter Stuyvesant a kinky, narcissistic, sadistic mesmerizing and homicidal pop singer.

McDowall’s portrayal is described as a “tripped out freak” by one reviewer, suggesting an eccentric or unconventional performance in this curiosity that still lies on the fringes of the subgenre of cinematic oddities of the 1960s. The movie itself can be seen as a youth-rebellion exploitation film that didn’t succeed commercially in 1969 but has gained some cult appreciation over time.

Monday Morning Mondo: Angel Angel Down We Go (1969) “My childhood was perfect. Paradise… lost. When you’re a fairy princess everyone dies on schedule, beautifully.”

1970’s

TAM LIN 1969/1971: Roddy McDowall’s Overlooked Vision:

TAM LIN 1970 & BABA YAGA 1973 – Ava Gardner & Carroll Baker: THE FAERIE QUEEN"¦ & VALENTINA'S DREAM: Two Hollywood icons in search of mythology. Part 1

Legendary Hollywood Goddess Ava Gardner is the evil “Queen of the Fairies” in Roddy McDowall’s wickedly provocative adult fairytale. While marking Roddy McDowall’s sole venture into the director’s chair amidst Ava Gardner’s extraordinary career, the narrative dances with complexity as first-time director Roddy McDowall masterfully intertwines layers of ambiguity, occult fetishism, and mystique, painting a vivid canvas of intrigue and mod fascination. McDowall’s film embraces the core elements of the ancient story but imbues Tam Lin with distinctly groovy flourishes and unique stylistic choices, infused with the biting social commentary that was characteristic of the late 1960s.

At times, it is more akin to a whimsical fairy tale allegory than a chilling terror flick. The production was finalized in the twilight of 1969 but was not released until 1971. McDowall’s film sat on the shelf for three years. In 1971, Roddy McDowall returned to his film to do some post-production work. Still, due to its poor distribution, its journey to the silver screen was thwarted as its production company, Commonwealth United, succumbed to bankruptcy, leaving it shelved and unseen.

Tam Lin wound up being actor Roddy McDowall’s directorial debut and his swan song after disbanding his production company and forgoing the idea of ever directing another film. This is unfortunate because Tam Lin features striking cinematography, trendy sets, fashions, and evocative music that works well to evoke a turned-on mood and strong performances. He also shows us that he has the skill to work well with his actors. Roddy McDowall skillfully blends the story’s fairy tale essence with a seamless infusion of unearthly and hallucinatory elements that drew its breath from the psychedelic zeitgeist of the swinging sixties. However, McDowall removes any suggestion of the supernatural and obscures any hint of it by making rational explanations readily available.

Roddy McDowall’s only film, Tam Lin (1970), is a modern retelling of the Scottish folk tale. With its lead stars, Ava Gardner and Ian McShane, the movie blends elements of fantasy, romance, and psychological drama. It tells the story of a young man ensnared by an older, manipulative woman and his struggle to escape her control. The film was also titled The Devil’s Widow in some releases. McDowall faced significant challenges during production. The film was plagued by financial troubles and interference from producers, which delayed its release. Despite these obstacles, McDowall’s direction was noted for its artistic ambition and visual style, showcasing his understanding of mood and atmosphere. However, Tam Lin, The Ballad of Tam Lin, and The Devil’s Widow received mixed reviews upon release, with critics praising its performances—particularly Gardner’s—but finding the pacing uneven. Over time, the film has gained a modest cult following for its unique approach and McDowall’s singular vision. Anecdotes from the production suggest McDowall’s passion for storytelling but also highlight the difficulties he encountered as a first-time director managing creative conflicts and budgetary constraints. While it remained his only directorial effort, Tam Lin is remembered as a testament to McDowall’s versatility and creative ambition beyond acting.

PRETTY MAIDS ALL IN A ROW 1971

Susan Tolsky and Roddy McDowall in Roger Vadim’s Pretty Maids All in a Row 1971.

Provacateur & Libertine Roger Vadim’s Dark Satire: Pretty Maids All In A Row (1971): Rock Hudson’s Killer Casanova & The Garden of Earthly Delights – “Wonder why they always seem to die with a smile on their face?”

McDowall plays the role of the frazzled, oblivious, and twittery high school principal named Proffer, who is more preoccupied with the school’s bad press and the football team than with the current string of murders on campus and the safety of the female students’ bodies. The role perfectly suited him as the out-of-touch school administrator in this controversial psycho-sexual thriller.

THE LEGEND OF HELL HOUSE 1973:

The 1970s was a great time for the horror genre. The Legend of Hell House premiered in the United States on June 15, 1973. The film is a British Gothic supernatural horror film starring McDowall, Pamela Franklin, Gail Hunnicutt, and Clive Revill.

The Legend of Hell House, directed by John Hough, centers around a group of researchers who spend a week in a mansion that was formerly owned by a sadist and murderer. The screenplay was written by Richard Matheson, who adapted his 1971 novel Hell House.

The team consists of a physicist, his wife, a young female psychic, and the only survivor of a previous investigation (McDowall) sent to the infamous Hell House. Eccentric millionaire Rudolph Deutsch hires a group of scientists and psychics to investigate the haunted mansion, wanting to know if there is life after death. A previous group of 27 investigators was sent to the house and did not survive.

McDowall plays Benjamin Franklin Fischer, a psychic who is the sole survivor of a previous investigation of the house that nearly killed him. He is a physical medium who seems mostly interested in collecting his money. Fischer has a “psychic shield” that keeps the evil of the house from affecting him. “I was the only one to make it out of here alive and sane in 1953, and I will be the only one to make it out alive and sane this time.”

As Benjamin Franklin Fischer, his performance is exquisitely melancholy as he navigates a wounded soul that acts reservedly strung out, capturing a man grappling with the deep-seated trauma he suffered from a very dangerously deadly and deranged house. Initially, his character is aloof and can close off his mind to the house’s malevolent influence until he can confront the entity, the vile man who is haunting the house. Benjamin Franklin Fischer – “His was a frightening visage, like the face of a demon that had taken on some human aspect.”

Ann Barrett: What did he do to make this house so evil, Mr. Fischer?

Benjamin Franklin Fischer: Drug addiction, alcoholism, sadism, bestiality, mutilation, murder, vampirism, necrophilia, cannibalism, not to mention a gamut of sexual goodies. Shall I go on?

Ann Barrett: How did it end?

Benjamin Franklin Fischer: If it had ended, we would not be here.

Columbo episode Short Fuse:

In “Short Fuse,” Roger Stanford (McDowall), a brilliant and eccentric chemist, is pressured by his uncle (James Gregory), David Buckner, to give up his claim to the family chemical company. Uncle David plans to sell the business, but Roger, along with his Aunt Doris (Ida Lupino), opposes this move. David blackmails his nephew Roger by threatening to reveal his past misdeeds unless he convinces Aunt Doris to support the sale. However, Roger outwits his Uncle by rigging a cigar box with a time-delayed explosive device. The plan is to have the box opened while David is driving, resulting in a fatal explosion that would appear to be an accident.

Peter Falk, as the rumpled detective in a raincoat, with his disarming, unassuming demeanor and seemingly absent-minded manner, “Just one more thing,” plays his typical cat-and-mouse game with Roddy McDowall. As usual, he uses this act to lull his arrogant suspect into a false sense of security, while his keen intelligence and sharp observational skills allow him to gather crucial evidence to nail the conniving Roger Stanford for sabotaging the box of cigars with the explosives.

Roddy McDowall’s performance as Roger Stanford in the Columbo episode “Short Fuse” is exuberant and energetic: a literal ball of fire who wears the same blousy shirt from Night Gallery, mischievous, deviously playful, yet deadly serious when it comes to murderous intent and greed. Like some of his best scene-stealing work, his Roger Standford is a bit over the top, laced with subtlety, but it is necessary to deliver the role into the hands of the steadfast detective who is always underestimated, especially by Roger. His portrayal was seen as fairly unique amongst Columbo’s opponents, and at times, it’s apparent that he is clearly unstable. Through his sophistication and cocky wit, it is evident that he is a sleazy, manipulative womanizer who has his eye on his Aunt’s money.

1974 uncredited minor role in Dirty Mary, Crazy Larry directed by John Hough, he plays the role of George Stanton, the supermarket manager targeted by the main characters, Larry and Deke, during their heist.

Bradford Dillman, Kim Hunter, and Roddy in Escape from the Planet of the Apes 1971.

Stella Stevens, Ernest Borgnine, Red Buttons, Carol Lynley, and Roddy McDowall in The Poseidon Adventure 1972.

During the 1970s, Roddy McDowall appeared in a slew of feature films and made-for-TV movies, including the TV movie A Taste of Evil 1971 starring Barbara Stanwyck and Barbara Parkins, Terror in the Sky 1971, and the feature films Bednobs and Broomsticks 1971, Conquest of the Planet of the Apes 1972, and The Life and Times of Judge Roy Bean 1972.

Roddy McDowall and Barbara Parkins in A Taste of Evil 1971 TV movie.

Roddy McDowall and Arlene Golonka in The Elevator, a 1974 TV movie.

In Irwin Allen’s disaster film The Poseidon Adventure 1972, Roddy McDowall plays Acres, a charming and resourceful bartender who finds himself trapped on what is now the ceiling of the luxury liner the SS Poseidon after it is hit with a catastrophic 100-foot wave and capsizes. His character adds a touch of likability and wit to the dire situation. Acres’ predicament prompts the survivors to devise a plan to climb up to him, using a garishly festooned Christmas tree that winds up being many of the doomed passengers undoing, marking the beginning of the few survivors’ perilous journey to escape the sinking ship. One of many of Allen’s disaster films, it has become a New Year’s Eve tradition in our house to cheer Shelley Winter’s underwater feat and to cringe when that titanic wave hits the SS Poseidon and the chaos begins.

McDowalls other filmography also includes Arnold 1973, Battle for the Planet of the Apes 1973; the TV movie The Elevator 1974, Funny Lady 1975, Mean Johnny Barrows 1976; Frank Riley’s sci-fi horror Embryo 1976 starring Rock Hudson and Barbara Carrera; making a brief appearance as a chess master who pops up to showcase Victoria’s (Barbara Carrera) advanced intellect. A scientist named Dr. Paul Holliston (Rock Hudson) accelerates the growth of a human fetus into a mature adult named Victoria in just days, but his creation develops sinister tendencies as she desperately seeks to prevent her rapid aging. He also appeared in the TV movie Flood! 1976, Laserblast; 1978, Circle of Iron; 1978, and The Black Hole; 1979 as The Voice of VINCENT.

Roddy McDowall in Arnold 1973.

Roddy McDowall and Dennis Weaver in McCloud season 3, The Park Avenue Rustlers.

Roddy and Ricardo Montalban in Fantasy Island.

Television series include McCloud, Police Woman, Wonder Woman, The Love Boat, Hart to Hart, Trapper John M.D., Buck Rogers in the 25th Century, the short-lived 1977 sci-fi TV series The Fantastic Journey, and Fantasy Island.

1980S – 90s

FRIGHT NIGHT 1985:

Peter Vincent : I have just been fired because nobody wants to see vampire killers anymore, or vampires either. Apparently, all they want to see are demented madmen running around in ski-masks, hacking up young virgins.

Peter Vincent : [brandishing a crucifix] Back, spawn of Satan!

In Fright Night 1985, a horror-movie-loving teen discovers his charming next-door neighbor (Chris Sarandon) is a real vampire. He enlists the help of a washed-up, former vampire killer from a late-night horror show to stop the bloodsucker before it’s too late. The film deftly combines thrills and humor in this ghostly tale.

Roddy McDowall’s portrayal of Peter Vincent in Fright Night is widely celebrated as one of his most memorable and beloved roles. McDowall’s performance was lauded, with many praising his comedic timing and ability to portray both the character’s initial cowardice and later heroism. Peter Vincent is a washed-up TV horror host and former star of low-budget vampire movies, such as the likes of Orgy of the Vampires. Initially a cowardly and skeptical character, Peter reluctantly agrees to help teenager Charley Brewster fight a real vampire, Jerry Dandrige (Chris Sarandon), a charming, stylish, and cruel predator who projects a subtle menace that diverges from traditionally classic vampires.

Over the course of the film, he undergoes a transformation from a frightened has-been to a courageous hero, rediscovering his faith and purpose while battling the undead.

Critics praised his ability to balance the character’s theatrical pomposity with genuine vulnerability. For his portrayal of Vincent’s evolution—from a cowardly, has-been-TV horror host to a courageous vampire slayer. He followed up with the sequel in 1988’s Fright Night: Part 2.

In the 1980s and 1990s, Roddy McDowall’s television work included several notable projects: TV films and Miniseries, including The Martian Chronicles (1980) and The Memory of Eva Ryker (1980).

Goldie Hawn and Roddy McDowall in Overboard 1987.

Roddy McDowall starred in the cult film Class of 1984 (1982), The Wind in the Willows TV movie as Ratty (voice) in 1983; he appeared in TV shows like Hotel in 1984 and the TV mini-series Alice in Wonderland as The March Hare in 1985. He played Dr. Murray in the feature thriller Dead of Winter 1987 directed by Arthur Penn and co-starring Mary Steenburgen. He co-starred with Goldie Hawn in Overboard in 1987, and appeared twice in Murder, She Wrote 1985-1989, as well as two episodes of Matlock 1987-1989. In 1989, he played Mr. Dante in the slasher horror film Cutting Class and in the TV movie Deadly Game. Other appearances include The New Lassie 1990-1992, Quantum Leap in 1992, Mirror Mirror 2: Raven Dance as Dr. Lasky in 1994, and Angel 4: Undercover 1994 as Geoffrey Kagen.

The above two images are from Dead of Winter 1987 with Mary Steenburgen.

A Singular Voice: The Vocal Versatility and Enduring Appeal of Roddy McDowall:

In 1989, he said, “I feel as Henry Fonda did that every job I get may be my last. I’m one of those creatures born to be working. I feel better when I’m working. I don’t like it when I’m not working and I’ve never worked as much as I want to.”

Roddy McDowall possessed a distinct and memorable voice, marked by articulate delivery and imbued with character-specific nuances. His voice was clear, expressive, and often gentle, even when portraying villains in animated roles.

Voice acting roles: Later in his career, McDowall lent his voice to animated series such as Superman: The Animated Series and Pinky and the Brain, where he voiced the character Snowball. He also narrated the video Batman in 1989. In 1991, he was the voice of Niddler in the TV series The Pirates of Dark Water. Also, in 1991, he narrated the video Timmy’s Gift: A Precious Moments Christmas. The Tick TV series as The Breadmaster (voice) Darkwing Duck 1992 TV series voice of Sir Quackmire Mallard. Batman: The Animated Series 1992–1994 as Jervis Tetch and The Mad Hatter. Red Planet TV Mini-Series 1994 voice of the Headmaster Marcus.

The Dark Side of Roddy McDowall: His Foray Into Horror and B MOVIES:

“ I absolutely adore movies. Even bad ones. I don’t like pretentious ones, but a good bad movie, you must admit, is great.”

McDowall seemed to embrace horror throughout his career. As noted by Fangoria, his work in films like Fright Night gave the genre “credibility” and showcased his enduring appeal. Even in smaller roles or less celebrated films, McDowall’s performances stood out for their intelligence and attention to detail.

Roddy McDowall’s contribution to the horror genre is monumental, not only for his iconic performances but also for the depth, intelligence, and charisma he brought to his roles. His work resonates with fans and critics alike, cementing his legacy as one of the genre’s most beloved figures.

McDowall’s versatility as an actor allowed him to bring depth and credibility to his horror roles. In Fright Night, for example, he played a character who had worked in the horror genre for twenty years, adding a meta layer to his performance again, much like Vincent Price had done in Theater of Blood.

McDowall also lent his voice to readings of H.P. Lovecraft’s horror stories, further demonstrating his connection to the horror genre beyond just film roles. He narrated two classic H.P. Lovecraft stories: “The Outsider” and “The Hound.” These recordings were released on an LP titled Roddy McDowall Reads The Horror Stories of H.P. Lovecraft in 1966 by Prestige Records’ Lively Arts series. Lovecraft’s prose, through McDowall’s wonderful voice, lent a “light boyish charm” tinged with growing unease—perfectly suited to Lovecraft’s tales of cosmic horror.

Roddy McDowall’s contribution to the horror genre is monumental, not only for his iconic performances and the depth, intelligence, and charisma he brought to his roles but also for the fact that his work resonates with fans and critics alike, cementing his legacy as one of the genre’s most beloved figures.

Awards and Recognitions:

“All you can do is make a piece of product, sell it on its own terms, stand behind it, and hope that people will go see it. If you try to be like something else or appeal to any given group, then you can very easily end up being gratuitous and imitative. There’s not much to be gained by that, and I think too much time is spent going around trying to be like someone else.”

Elizabeth Taylor, Paul Newman, and Roddy McDowall.

Roddy McDowall and Jane Fonda.

Roddy and Natalie Wood.

Roddy and Suzanne Pleshette.

Roddy McDowall’s genuine relationships with Hollywood legends earned him respect within the industry. He served on boards of key industry organizations, which likely opened doors for him professionally.

He won several prestigious awards and nominations throughout his long and illustrious career in film, television, and theater. His major awards include:

He won a Primetime Emmy Award in 1961 for Outstanding Performance in a Supporting Role by an Actor or Actress in a Single Program for his work on NBC Sunday Showcase. Tony Award: He won a Tony Award for Best Featured Actor in a Play in 1960 for his performance in Jean Anouilh’s The Fighting Cock (also known as Time’s Fool). Golden Globe Award: McDowall won the Golden Globe for New Star of the Year – Actor in 1944 for his role in Lassie Come Home. National Board of Review Award: He received the NBR Award for Best Acting in 1941 for his performance in How Green Was My Valley. Photoplay Awards: McDowall won a Gold Medal from Photoplay Awards in 1974 for his contributions to the industry as both an actor and a photographer. Saturn Award: Nominated for Best Supporting Actor for Fright Night (1986). Fantafestival Award: He won the Best Actor award at the Fantafestival in 1994 for his role in Fright Night Part II.

Additionally, McDowall received recognition for his contributions to the entertainment industry: He was honored with a star on the Hollywood Walk of Fame in 1960 for his work in television and his contributions to the motion picture industry.

Of note: A clerical error on the part of 20th Century Fox cost McDowall a likely Academy Award nomination for best supporting actor for his role as Caesar Augustus Octavian in Cleopatra 1963. The studio erroneously listed him as a leading player rather than a supporting one. When 20th Century-Fox asked the Academy to correct the error, it refused, saying the ballots already were at the printer. 20th Century-Fox then published an open letter in the trade papers, apologizing to McDowall: “We feel that it is important that the industry realize that your electric performance as Octavian in Cleopatra, which was unanimously singled out by the critics as one of the best-supporting performances by an actor this year, is not eligible for an Academy Award nomination in that category… due to a regrettable error on the part of 20th Century-Fox.

Behind-the-Scenes Work: His trustworthiness made him a confidant to many in the often gossipy world of show business. However, his friendships that spanned generations included fame, in addition to his lifelong bonds with Elizabeth Taylor and reclusive stars like Jean Arthur and Louise Brooks. He befriended silent film star Louise Brooks before her resurgence as an icon, coaxed the notoriously private Jean Arthur into allowing him to photograph her, and maintained a connection with Alice Terry, a star from the silent era.

McDowall’s friendship with Ava Gardner led to her starring in his directorial debut and swansong, Tam Lin (1970).

[on Mia Farrow] Trying to describe Mia is like trying to describe dust in a shaft of sunlight. There are all those particles. Her conversation is clotted.

The networking hub of his life took place at McDowall’s Sunday open houses that he hosted at his Malibu beach house, which became a gathering place for Hollywood’s elite where the stars could relax and be themselves, potentially leading to new projects and collaborations. It afforded him Industry Insights: His close relationships with established stars provided him with valuable insights into navigating the industry, contributing to his successful transition from child star to respected adult actor.

Recently uncovered home movies from the summer of 1965 show intimate glimpses of celebrities like Natalie Wood, Rock Hudson, and Lauren Bacall at these gatherings. McDowall’s friendships with older stars allowed him to become a respected chronicler of Hollywood history, adding depth to his career beyond acting.

A Renaissance Man:

Roddy McDowall with sculptor Victor Salmones circa 1980s.

Roddy McDowall’s talent extended beyond acting into the realm of photography, where he gained significant acclaim. His photographic work was featured in several prestigious publications, including Look, Vogue, Collier’s, and Life magazines. Among his notable accomplishments was a cover story on Mae West for Life, showcasing his ability to capture the essence of Hollywood’s biggest stars.

McDowall’s photographic skills also led him to create album artwork. A prime example is the cover of Barbra Streisand’s 1964 release, The Third Album. The photograph was taken during Streisand’s appearance on The Judy Garland Show in October 1963, demonstrating McDowall’s knack for seizing iconic moments.

Between 1968 and the early 1990s, McDowall compiled five photography books. These unique collections featured not only his portraits of celebrity friends but also included interviews where these stars conversed with each other. The series began with “Double Exposure” in 1968 and continued with subsequent volumes. These books offered intimate glimpses into the lives of entertainment icons such as Elizabeth Taylor, Judy Garland, Judy Holliday, Maureen O’Hara, Katharine Hepburn, and Lauren Bacall, among others. This innovative approach to celebrity portraiture and journalism highlighted McDowall’s deep connections within the entertainment industry and his ability to capture candid moments of his famous peers.

Roddy McDowall wasn’t content to be just an actor. Beyond his acting prowess, he was a true Renaissance man. He developed an extensive collection of Hollywood movies and memorabilia and published five acclaimed books of his own photography.

His passion for preserving the history of Hollywood cinema led to the Academy of Motion Picture Arts and Sciences naming its photo archive after him posthumously in 1998.

His endeavor to preserve Hollywood history showcased his passion for the industry, which extended far beyond his own career. In many ways, Roddy McDowall was Hollywood’s own personal historian, capturing moments and memories that might otherwise have been lost to time.

In 1974, the FBI raided McDowall’s home, seizing 160 16mm prints and over 1,000 videocassettes valued at $5 million during a copyright infringement and movie piracy investigation. Industry representatives valued the collection at $5,005,426, including classic films and television series. Despite the raid, McDowall was not charged and agreed to cooperate fully with the authorities.

Film enthusiasts like Roddy McDowall resorted to purchasing 16mm prints directly from studios on the black market. McDowall claimed that he had once owned as many as 337 movies, but at the time of the investigation, he was not sure how many were still in his possession. He had bought Errol Flynn’s movie collection and had acquired other films through purchases or swaps.

In an era before home video, when studios routinely destroyed old negatives and prints of classic films, they felt had no worth. McDowall also said that being in possession of prints of his own films allowed him to study his acting and improve his craft.

McDowall believed he was not violating copyright laws since he did not profit from screenings or sales of the films, charging only what he originally paid. However, his lawyer informed him that some agreements—such as those with 20th Century Fox—meant the studio retained ownership of the prints and prohibited their sale or trade.

Roddy McDowall’s passion for cinema and preserving its heritage drove his collecting. Notably, he purchased Tam Lin (1970) from American International Pictures in hopes of restoring lost footage. Ultimately, McDowall’s actions reflected a deep love for cinema and a desire to protect its legacy during a time when studios neglected their own archives.

Roddy McDowall passed away in 1998, leaving behind a legacy that few can match. With over 150 film credits to his name, multiple awards across different mediums, and a career that spanned the better part of a century, McDowall stands as one of the most versatile and enduring figures in entertainment history. His life serves as a masterclass in longevity and adaptability in show business. From the coal mines of Wales to the far-flung future of talking apes, Roddy McDowall’s performances continue to captivate and inspire, ensuring that his star will never fade from the Hollywood firmament.

Roddy McDowall and Natalie Woods.

Roddy McDowall’s life was rich with personal connections and intimate friendships that painted a vivid picture of the man behind the roles. His ability to forge deep, lasting relationships was legendary in Hollywood circles. One of the most touching anecdotes comes from his final days. When faced with terminal cancer, McDowall chose to spend his last moments at home, surrounded by the comfort of his personal space.

He even took the time to designate specific items as gifts for friends, showing his thoughtfulness even in his final hours. A brass lamp, purchased years ago at a London flea market with Joan Axelrod, was set aside for his friend Nick. McDowall explained the lamp’s history and even noted that its current globe was an exact copy of the original, broken one – a testament to his attention to detail and care for his possessions and friendships.

Roddy McDowall’s home in Studio City was described as having the feeling of an English country cottage, cozy and comfortable. He tended an English garden in the back, a slice of his British roots in the heart of Hollywood. This modest home became a haven for countless Hollywood luminaries, with McDowall hosting dinner parties that brought together diverse groups of friends. His loyalty and discretion were hallmarks of his character. As one friend noted, “There was nothing you couldn’t tell him, and you never had to say, ‘Promise me you won’t tell anyone,’ because he never would tell, no matter what.”

His kindness extended to facilitating reconciliations, as evidenced by the touching story of arranging a meeting between director Fritz Lang and actress Barbara Stanwyck. Lang had long felt guilty about his harsh treatment of Stanwyck during a film shoot years earlier, and McDowall’s thoughtful gesture allowed for a warm reunion that brought comfort to Lang in his final years. McDowall’s friendships were not limited to his Hollywood peers. He was known for his deep connection with Elizabeth Taylor. Their friendship endured throughout their lives, a rare constant in the ever-changing landscape of Hollywood relationships. These anecdotes reveal Roddy McDowall as a man who valued personal connections above all else, whose loyalty and discretion made him a trusted friend to many, and whose thoughtfulness and care for others extended to his very last days.

He passed away on October 3, 1998, at age 70, in Studio City, California, at his Los Angeles home due to cancer, but he will always be remembered as one of the most enduring talents of his generation.

His legacy lives on through his extensive body of work spanning over six decades in film, television, and theater.

The day after his death, Angela Lansbury paid tribute to him on BBC Radio Five 5: Up All Night. She described him as “one of the most wonderful friends anybody could possibly have . . . we’ve lost a beloved friend” and that he will be “so missed.”

Whether delivering grandiloquent speeches or stealing scenes with his nuanced performances, he left an indelible mark on Hollywood. Despite his fame, Roddy McDowall remained deeply private, never marrying or having children.

His journey through Hollywood wasn’t just a career; it was a love affair with the art of performance. He embraced each role with the joy of a child opening a present yet approached his craft with the dedication of a master artisan. In an industry known for its fickleness, Roddy McDowall’s enduring presence was a testament to his talent, his adaptability, and his irresistible charm. As the final curtain fell on his remarkable life in 1998, he left behind more than just a filmography. He left us with memories, with characters that will live on for generations, and with a shining example of what it truly means to be a lifelong artist. Roddy McDowall wasn’t just in show business; he was show business, and the world of entertainment is all the richer for having been graced by his presence.

Please check out all the amazing contributions to The Third “Favorite Stars in B Movies’ Blogathon! Hosted by Brian Schuck at Films From Beyond the Time Barrier.