Enduring Grace: Barbara Rush

Tribute to the great Barbara Rush — saraismyname

I’ve loved Barbara Rush for as long as I can remember. In every role where she graced the screen she left a lasting impression on me. I’ve followed her career from major motion pictures to wonderful dramatic television programs. To me, she is one of the great screen stars of all time — there is no one quite like her and her subtle emotional layers of acting that get peeled away with each scene. Barbara Rush possesses an inimitable grace and fine beauty. She has a transcendent gracefulness and a speaking voice that pours like honey. And when her words are meant to cut it’s not with knives or claws but with a feather quill carefully placed, an intelligent stroking, a gentle lash across the heart to cause the hurt. She has the finesse of diamond cut. She moves with great poise of a dancer, a beautiful gazelle stirring in the gentle quiet spaces of silent woods. A smile that beams like the sunniest of days.

When I think of Barbara Rush I think of a versatile acting style and an ability to draw out deep emotions. She delivers all of her lines with a deft swiftness that is subtle in all directions, ironically, witty, seriously thoughtful and always deeply from the heart.

When I see Barbara Rush I see beauty personified by elegance and an emanating dignity. Barbara Rush will always remain in my eyes, one of the most gentlewoman of the screen. No matter what role she is inhabiting, she brings a certain kind of class that is not learned, it’s inherent. The actress also is the most kind and generous with her compliments and her fond rememberances of her fellow actors and colleagues. She worked with some the finest actors in Hollywood, stage, and television, co-starring with the most notable actors such as James Mason, Montgomery Clift, Marlon Brando, Paul Newman, Richard Burton and Kirk Douglas. Her roles were diverse– from savvy independent society girls, and disillusioned house wives, to an Irish spitfire and an iconic science fiction heroine.

She was born in Denver, Colorado in 1927 and graduated from University of California in 1948. Then she joined the University Players, taking acting classes at the Pasadena Playhouse School for Performing Arts in Pasadena, California.

By Susan King Los Angeles Times: “She talks about everybody she’s worked with — even the notoriously difficult Joan Crawford — with an endearing sweetness that makes you feel like you’ve known her forever.
And in a way, we have…

She fondly recalls her time on the set with Niven and others. “I was just this foolish young girl,” she said of her character. “David Niven, he made me laugh so hard. They couldn’t [shoot] me because I was laughing so hard. I kept apologizing. He was a raconteur, always telling stories about what he did. Nunnally Johnson made me laugh all the time. I was really hopeless.”

Rush worked with Frank Sinatra in the 1963 comedy Come Blow your Horn and in the 1964 Rat Pack musical “Robin and the Seven Hoods.” She admitted she was nervous about working with Sinatra because she learned he didn’t rehearse. “I am from the stage,” she said. “I really can’t do [a scene] unless I rehearse. I didn’t know what to do.”

Rush talked to an actress (Carolyn Jones) who had just worked with him. “She said, ‘This is what you do, Barbara. You go up to him and say, ‘Mr. Sinatra?’ He’ll say, ‘Call me Frank. Now what I can do for you?’

So, she asked Sinatra if they could rehearse their first scene just one time. “He said, ‘Baby doll, of course. I’ll do that with you. Clear the stage. Get everybody to leave. Barbara and I are going to go over the scene.’ We went over the scene just once. From then on, he said, ‘Are you OK? Do you want to go over it again?’ He was just wonderful to me. And he gave me my wardrobe by Edith Head [from the film]. I wore the most wonderful clothes.”

Paramount signed Barbara her to a contract in 1950. She debuted with The Goldbergs (1950) as Debby Sherman, acting with Gertrude Berg as Molly Goldberg. The Goldbergs became a popular television show that deals with the human interest story of famous Jewish Bronx radio & TV family the Goldbergs, their typical struggles and hilarious moments. The show co-stars David Opatoshu and Eduard Franz.

Barbara Rush met actor Jeffrey Hunter and they fell in love. The ideal pair became one of Hollywood’s most beloved couples at 20th Century Fox. Barbara Rush and Jeffrey Hunter were married in December of 1950 until their divorce in 1955.  Tragically Hunter died of a stroke due to a head injury in 1969.

Barbara Rush also turned to work on the stage. She garnered the Sarah Siddons Award for her starring role in Forty Carats. Making her Broadway debut in the one woman showcase, “A Woman of Independent Means” which also subsequently earned her the Los Angeles Drama Critics Award during its tour. Other showcases included “Private Lives”, “Same Time, Next Year”, “The Night of the Iguana” and “Steel Magnolias”.

Barbara starred in director George Templeton’s Quebec (1951) with John Drew Barrymore and The First Legion (1951) directed by Douglas Sirk co-starring along side Charles Boyer.

Barbara Rush in When Worlds Collide (1951)

During her time at Paramount, Barbara Rush appeared in the science fiction catastrophic end of the world thriller directed by Rudolph Maté —When World’s Collide 1951 co-starring Richard Derr, Peter Hansen and John Hoyt. Then came her role as Nora Logan in Flaming Feather (1952).

Sterling Hayden, Barbara Rush and Forrest Tucker Flaming Feather (1952)

Barbara Rush in Jack Arnold’s It Came From Outer Space (1953)

In (1953) she appeared in Prince of Pirates co-starring John Derek. That same year she would take on the role of heroine Ellen Fields in Jack Arnold’s sublime  It Came from Outer Space that would become an emblematic performance of a smart and self sufficient leading lady in a science fiction masterpiece, that would leave a legacy for years to come. Ellen-“I just wish we had found just one of them really. Just one little monster to toss into the principles bedroom!”

In it, she co-stars with Richard Carlson who discovers an alien ship has crash landed in the side of a mountain. From the beginning Ellen supports him and doesn’t cower from the threat of extraterrestrials taking over her small desert town. She’s a strong feminist figure whose alien double wields a nifty ray-gun.

Then she starred as Oona in Taza, Son of Cochise (1954), In 1954 Barbara Rush appeared in director Douglas Sirk’s Magnificent Obsession co-starring Jane Wyman, Rock Hudson and Agnes Moorehead. Barbara plays Jane Wyman’s step daughter Joyce. Rock Hudson is a playboy who is seriously injured in a boat crash indirectly causing the death of Jane Wyman’s husband. When he tries to ingratiate himself into her life she becomes blinded. He spends the rest of his life trying to find a deeper understanding of life and the two fall in love.

That same year she appeared in director Rudolph Maté’s The Black Shield of Falworth with Tony Curtis and Janet Leigh. In 1955 Barbara Rush played Aga Doherty in Douglas Sirk’s Captain Lightfoot starring along side Rock Hudson, and acting with Jack Palance in the epic period piece Kiss of Fire (1955).

Barbara Rush in The Black Shield of Falworth (1955)

Barbara Rush and Jack Palance in Kiss of Fire (1955)

Captain Lightfoot 1955 takes place in 1815 Ireland struggling with the ordinary people of Ireland trying to separate themselves from the British Dragoons and seek their independence. Barbara is fiery and beautiful as Aga Doherty the daughter of an Irish Rebel Captain Thunderbolt played by Jeff Morrow. She falls for Rock Hudson a strong willed highwayman who strives to be like his hero Captain Thunderbolt. There is great chemistry between Hudson and Rush, as Aga adds a fiery spirit to the role, again exuding intelligence and that distinct sensibility to deliver lines in her sparkling cheeky manner.

Jeff Morrow, Rock Hudson and Barbara Rush in Captain Lightfoot 1955

Barbara Rush and James Mason in Bigger Than Life (1956)

In Bigger Than Life, mild-mannered schoolteacher Ed Avery (James Mason) suffers from severe headaches and blackouts. He is diagnosed with a rare inflammatory disease of the arteries. With death looming over him, he agrees to an experimental drug, cortisone. And at first he makes a remarkable recovery, but Ed begins to abuse the drug which causes wild mood swings and delusions of grandeur. Eventually he has a complete psychotic break and endangers the life of his family. Barbara Rush gives an emotionally heart wrenching performance as Ed’s beleaguered wife Lou who must support him through the madness.

Between 1954-1956 she appeared in 4 separate episodes of Lux Video Theater’s theatrical playets for television. Then in 1956 starred in World in My Corner with Audie Murphy and Jeff Morrow in this lesser known boxing noir. In 1956 Barbara also starred in the emotionally riveting drama Bigger Than Life with co-star James Mason as a teacher who progressively grows psychotic after trying a new drug.

Barbara portrays the sexy Pamela Vincent in the slick film noir Flight to Hong Kong with Rory Calhoun directed by Joseph M. Newman. Barbara appeared in director Nunnally Johnson’s hilarious romantic romp Oh, Men! Oh, Women! (1957) co-starring David Niven, Ginger Rogers and a quirky debut by Tony Randall. Afterwards  Barbara appeared in director Martin Ritt’s No Down Payment (1957) co-starring Joanne Woodward, Sheree North Tony Randall and Jeffrey Hunter.

Bigger Than Life (1956)

Oh, Men! Oh, Women! (1957)

In Flight to Hong Kong 1956 she plays an independent, sophisticated writer from San Fransisco who pursues a fling with the swarthy smuggler Rory Calhoun because he is wild and different than any other man she usually meets. Pamela is smooth as she maneuvers through the plot leading him on. But, she exploits their passionate fling to write another best selling book and goes back to living a high society life, leaving Tony to flounder after hiding out for a year on steamers. Barbara is good at being cool, collected and coy in this film noir. She plays a very unconventional femme fatale.

1957 Barbara appears as the flighty Myra Hagerman in Oh, Men!, Oh! Women. The scene with her emptying her purse is hilarious and showcases Barbara’s comedic timing. Myra is no stranger to dating men which throws the stiffly composed therapist into a tizzy because of her past. She’s set to marry psychiatrist David Niven who shows off his talent for finesse and comedic fortitude and it’s a delight to watch the banter between Barbara and Niven.

You can tell the actors were having fun with their roles, and you can almost see Barbara Rush holding back the laughter in her scenes with David Niven. They had to do many takes, as she tried to keep a straight face with him.

in director Martin Ritt’s No Down Payment 1957 Barbara does a fine job of playing housewife Betty Kreitzer married to Herman (Pat Hingle) with an ensemble cast in a film concerned with 1950s collective aspirations toward the American Dream and upcoming middle class white suburban families with frailties and secrets that’s get aired out over nightly BBQs. Barbara’s character is the steady rock in the community. She goes to church, isn’t a drinker, and is devoted to her husband Pat Hingle but she does not push him to strive for anything more than being mediocre and mainstream. Barbara Rush as Betty plays this type of middle class American housewife with an expert amount of reserved.

Barbara then appeared with Montgomery Clift, Marlon Brando, and Dean Martin in The Young Lions (1958) about the intersecting lives of 3 soldiers, two Americans and Brando as a sympathetic Nazi soldier during WWII. Then cameHarry Black and the Tiger (1958) with theatrical television roles on Lux Playhouse “The Connoisseur” and Suspicion’s “A Voice in the Night.”

Marlon Brando and Barbara Rush in The Young Lions (1958)

In The Young Philadelphians (1959) Paul Newman plays Anthony Judson Lawrence an up and coming lawyer who is trying to navigate social pressures and balance his ethics while trying to make a place for himself in Philadelphia. Barbara Rush is wonderful as Joan Dickinson, the bright independent society girl who planned to marry Anthony. She wants him to stick to his morals, yet through misdirection by her father and the  misunderstanding that ensues she becomes disappointed in the direction his career goes. The two part ways but fate brings them back together once again. Directed by Vincent Sherman.

Joan Dicknson “At least you have someplace to go.
Anthony Judson Lawrence “Haven’t you?”
Joan Dickinson “Are you kidding? I have no talents. Nothing. I was very well educated to be an idiot. And I was a good student.” 

“I think Paul has made some really great films, he won Academy Awards and all kinds of things and he’s done some wonderful work. But you know just as far as an audience watching a film likes to hear a good tale told, I think this is one of his most enduring films. And I think of all the films that I’ve done the best one that’s played the most on AMC and Turner Classic Movies , they play it over and over again and I still get at least 20 letters about The Young Philadelphians. They love the story. And when I go on cruises and we play films and so forth they always want to see the young Philadelphians and it wasn’t even in color, that was a black and white film but the love story is enduring and they seem to like it a great deal. Towards the end of the film Paul wanted certain changes with the script and I think Vincent Sherman was amenable to that and Stewart Stern was brought in and so he came in and did certain scenes and I think it just kind of spiced the picture up a little bit. You know who else was in the film that I loved her… so often when I worked in film I worked with people that I admired a great deal so it was such a happiness to work with them to be able to work with them to be around them, was Alexis Smith. She was a wonderful woman. And I loved her scenes with him. And Otto Krueger, I worked with him on Magnificent Obsession, but I thought he was such a good actor. You know they have these wonderful character actors in it.” –Barbara Rush

Barbara commands the screen in The Young Philadelphians. She plays a substantive role once again, delivering intelligent dialogue with swift splinters of her humor and intellect running throughout. When Anthony asks her “how bout a hamburger” she briskly replies “I’m a chili girl” to show that though she is entrenched in high society she is her own girl and has a down to earth nature at heart.  Joan is a likable character who is unfortunately mislead by her father (the wonderful character actor John Williams). She is gracious and thoughtful and not a spoiled ingénue. Instead, she exudes integrity. Joan had her heart set to marry for love. Throughout the film it is clear the powerful range of acting by Barbara Rush allows her emotions to build toward the films conclusion. As in each of her varied roles, her pacing temporally rises, finally to express her inner turmoil with beautifully achingly poignant moments.

No one cries quite like Barbara Rush. Though the film is a commentary on class and the focus is predominantly about the male relationships. Barbara’s contribution works perfectly to condemn the masculine stubbornness she maintains a dignity throughout the picture never losing her sense of belonging to the narrative.

In 1959 Barbara appeared in Sunday Showcase “What Makes Sammy Run? as Kit Sargent.

Barbara then appeared in The Bramble Bush 1960 directed by Daniel Petrie co-starring  Richard Burton. The film deals with mercy killings and small town morals. Richard Burton plays a young doctor Guy Montford who comes back home to his small New England town in order to see his dying friend (Tom Drake) through his last days. Larry is suffering and begs Dr. Guy Montford to help him end his suffering which he does by overdosing him on morphine. Guy is haunted by the mercy killing and finds solace in the arms of Larry’s wife, Margaret, portrayed with a beautiful sensitivity by Barbara Rush. The chemistry is palpable and especially potent in the love scene when Burton and Rush kiss on the boat.

Margaret tells him “That’s the worst part of it. You know we had a passionate relationship our marriage was founded on it. It wasn’t so bad when we could still make love. Now he’s a stranger. A cold white sheet.”

From 1957-1960 Barbara appeared in Playhouse 90 “Alas, Babylon (1960) and “The Troublemakers” (1957). In 1960 Checkmate (TV Series)
 she plays Margaret Russell/Nikki
- The Dark Divide, a disturbed young women with split personality. She makes a wonderful transition from repressed mouse to sexy femme fatale, giving a stellar performance of a woman conflicted by repression and self-possession. Barbara Rush then appeared in television’s Sunday Showcase, “What Makes Sammy Run?”

Barbara then plays Eve Coe in Strangers When We Meet 1960. Kirk Douglas portrays Larry Coe a suburban architect who loves his wife Eve. This is a role that Barbara once again summons versatility to switch gears and play the epitome of middle class etiquette and decorum. Larry becomes weighed down by his “perfect” marriage and his mundane work, until he meets the sexually frustrated Maggie (Kim Novak) whose husband is not only keeping her in a lovely marriage but wields a big dose of morality on his desirable wife. The two start a passionate affair which leads to a question of complacency, morality and the dilemma of self fulfillment.

As Kirk Douglas’s wife Barbara plays the “pushy housewife” who is practical and uptight and wants Larry to conform. But Larry falls for Kim Novak. Neighbor Walter Matthau finds out about the affair and feels emboldened to try to have his way with Eve on cold rainy afternoon. Coming close to an assault, Eve’s reaction is intense and brutal and Barbara Rush pulls it off without being overwrought yet believable as a woman who has been violated and frightened all while being processing the incident.

It’s a very intense scene played very well by Barbara. Afterwards she realizes why Felix might have felt empowered to make a pass, Eve telling Larry about the attempted assault- “I’ve been sitting here thinking what gave Felix the peculiar notion that I’d be an easy mark.” Barbara does an excellent job of playing the middle class housewife who fits a certain mold, but eventually catches onto the affair and her raw emotions begin to surface. It shows her range, serious and vulnerable.

She appeared in the 1960 episode of Theatre ’62, “Notorious”, and also in 1962 General Electric Theater’s “A Very Special Girl.” She appeared in four episodes of Saints and Sinners– “New Lead Berlin” 1963, “The Home-Coming Bit” 1963, “Luscious Lois 1962” “Dear George, the Siamese Cat is Missing” 1962. And she appeared in a Ben Casey “From Too Much Love of Living,” directed by Mark Rydell.

The Eleventh Hour episode “Make Me a Place” to me is one of Barbara Rush’s stand out performances. Wendell Corey plays a psychiatrist in the series who helps his patients find their way through the maze of problems. Barbara Rush gives an extraordinary performance as Linda Kinkaid, a fragile woman who has had a breakdown. And is under the impression she might be trying to kill herself again. Barbara plays the role carefully restrained without appearing hysterical relating some of the most powerfully emotional scenes I’ve experienced anywhere. Her performance will rip your heart out, and leave you in tears. She should have won an Emmy for that acting feat. The episode co-stars David Janssen.

1963 Come Blow Your Horn, Tony Bill plays Buddy Baker who leaves his parent’s (Molly Picon and Lee J. Cobb) stifling home and goes to live with his swinging stylish brother Alan (Frank Sinatra) who has a slew of women. Barbara plays the one steady classy lady in Alan’s life, the sophisticated mature Connie who wants a commitment from the playboy and teaches him what love really is. The chemistry between Sinatra and Rush is once again very dynamic.

In 1964 she appeared in The Outer Limits “The Form of Things Unknown” as Leonora Edmund co-starring Vera Miles. A powerfully atmospheric fairy tale written by Joseph Stefano. Barbara Rush and Vera Miles play Leonora Edmond and Kasha Paine who are at the mercy of a ruthless blackmailer Andre (Scott Marlowe). When the two women flee after poisoning him they stumble onto a mysterious house during a rain storm. There they meet the butler Sir Cedric Hardwicke as Colus who tends to the house belonging to the brooding young inventor Tone Hobart (David McCallum) obsessed with his time machine made up of clocks.

Both Barbara Rush and Vera Miles turn in outstanding performances amidst this dark fairy tale landscape. Both women’s very antithetical roles play off each other brilliantly. Stefano’s writing is layered with psychological maelstroms and the cast interpret the story magnificently without reducing it to a simple hour long television fantasy yarn.

“Robin and the 7 Hoods” Sammy Davis Jr., Richard Bakalyan, Frank Sinatra, Hank Henry, Dean Martin, Barbara Rush, Victor Buono 1964 Warner Brothers ** I.V.

Barbara continued to make several significant television drama appearances in 1965, including Kraft Suspense Theatre “In Darkness, Waiting,” Vacation Playhouse, Convoy, The Barbara Rush Show, Checkmate “The Dark Divide”, Dr. Kildare “With Hellfire and Thunder” and “Daily Flights to Olympus” co-starring James Daly, and in 1966 Laredo, Bob Hope Presents the Chrysler Theater. 

Then came Robin and the 7 Hoods where she plays Marian, a classy vamp who’s outfits are divine. She’s cheeky, sophisticated, funny, and also cunning and deliciously mercenary as a mob boss who runs circles around all the hoodlums in the city.

In The Fugitive she plays Barry Morris’ wife Marie Lindsey Gerard in the episode Landscape with Running Figures (1965). It’s a dramatic performance as the wife of the man so driven to catch wrongly accused Doctor Richard Kimble that his obsession drives his wife away and into a dangerous situation. Barbara Rush conveys a woman who is repulsed by her husband’s mad course to bring the fugitive in. While leaving Gerard behind, she is injured in a bus accident and of course Dr Kimble is there. It is up the good doctor to get her the help she needs. Barbara plays the situation with pathos and intensity she is temporarily blinded and doesn’t realize that it is the man her husband has been pursuing who is helping her to safety. It’s one of the best episodes of the series. not least of which is due to Barbara Rush’s compelling, intuitive performance. “I should explain my marriage to you Mr. Carver (Richard Kimble’s alias) What you see before you is the losing end of a triangle. I lost my husband to a Will O The Wisp who drifted in and out twisting our lives. The little man who wasn’t there. He wasn’t there again today. He’s never there.”

Barbara Rush And Frederic March in a scene from the film ‘Hombre’, 1967. (Photo by 20th Century-Fox/Getty Images)

in 1968 Barbara starred in Hombre with Paul Newman directed by Martin Ritt. In the Batman (1968-69) television series Barbara played villainess Nora Clavicle and the Ladies’ Crime Club and Nora appeared again in “Louie’s Lethal Lilac Time.”

She starred as Marsha Russell in the popular dramatic television evening series Peyton Place, appearing in over 75 episodes of the show until it’s end.

Barbara also appeared in four distinctive Medical Center episodes. A Life is Waiting (1969) is a very feminist episode that challenges the idea that a women’s body is her husbands property. Barbara Rush gives a powerful performance as Nora Caldwell, a woman who recognizes the tenuous hold she’s had over her identity and her place in her husband’s world. Barbara delivers thoughtful cutting oft dark comedic lines while giving an emotionally potent portrayal of a women fighting to be heard. In Awakening (1972) Barbara plays Judy whose husband has woken from a coma after three years. Judy has moved on from her marriage and blames him for the death of their 9 year old daughter. She gives a tour-de-force as a woman torn between her own needs, and ties to the past.

BARBARA RUSH ACTRESS 01 May 1980 CTC4589 Allstar/Cinetext/

I would never resort to objectifying the great actress by reducing my commentary to just how beautiful she looks but I am bound to mention this or I’ll bust… Aside from her tremendous acting, I love her signature hair styles and her incredible fashion sense that has followed her throughout her career, on and off screen and to this day. And she carries it well.

Other television appearances during the 1960s-70s include Love, American Style 1970, The Mod Squad 1971 the television movie Suddenly Single 1971, Night Gallery 1971 “Cool Air” Cutter 1972 tv movie, Marcus Welby M.D. episodes “Silken Threads and Silver Hooks 1960”, & “Don’t Talk About Darkness 1972” McCloud 1972, The Eyes of Charles Sands 1972 tv movie, Cade’s County 1972, The Man 1972, Owen Marshall, Counselor at Law 1972. Barbara Rush plays Louise Rodanthe in the tv movie Moon of the Wolf 1972, Maude 1972 “Maude’s Reunion” Barbara plays old school pal Bunny Nash. Ironside 1971-72 episodes Ring of Prayer” &”Cold Hard Cash”, Crime Club 1973 tv movie, The Streets of San Francisco 1973 “Shattered Image”, Of Men and Women 1973 tv movie, The New Dick Van Dyke Show 1973-74, Medical Center 1969-1974 episodes “A Life is Waiting”, “Awakening”, “Impact”, & “Choice of Evils”, In Police Story 1974 “Chief” Barbara plays John Forsyth’s smart and stunning wife. She manages swift and clever lines quoting Shakespeare and being a dutiful and intelligent partner.

Fools, Females and Fun 1974 tv movie, The Last Day 1975 tv movie, Cannon 1975 “Lady on the Run”, Mannix 1968 episodes “A Copy of Murder”, & Design for Dying” 1975, Ellery Queen 1975-76 episodes “The Adventure of the Sinister Scenario”, & “The Adventures of Auld Lang Syne” 1975, The Bionic Woman 1976 as Jaime’s mother, ABC Weekend Specials 1977 “Portrait of Grandpa Doc” The Eddie Capra Mysteries “Dying Declaration” Death Car on the Freeway 1979 tv movie, The Love Boat 1979 2 episodes.

Barbara Rush also turned to work on the stage. She garnered the Sarah Siddons Award for her starring role in Forty Carats. Making her Broadway debut in the one woman showcase, “A Woman of Independent Means” which also subsequently earned her the Los Angeles Drama Critics Award during its tour. Other showcases included “Private Lives”, “Same Time, Next Year”, “The Night of the Iguana” and “Steel Magnolias”.

Barbara Rush still possesses that transcendent talent, beauty, poise and grace. She will always be someone special, an actress who is memorable.

Though Barbara Rush skill shows incredible range and depth in her performances, the one great role of a lifetime never seemed to come her way, though what ever she has appeared in is brightened immensely by her presence. To think of what might have been had there been even MORE substantive scripts offered to her, what she could have accomplished like many fine actresses, in addition to her already impressive career, it makes you wonder of the missed opportunities Hollywood made by not taking advantage of Barbara Rush’s marvelous talent.

Television became a wonderful avenue for Barbara Rush’s acting, and her performances are no less effective and adept than those in her major motion picture roles. To every performance, she brings an authentic reality to her characters with her bright engaging smile, the wisp of seriousness to her tone, streak of comedic talent within her ironic lilting mannerisms. Barbara Rush is an iconic actress who shows a special quality, spunk and spirit that begs to be cherished. I love you Barbara Rush, and will continue to enjoy the legacy of your work. You make me smile.

Barbara talking about starring in The Old Pros Radio Shows like Inner Sanctum at age 88!

Barbara Rush as adorable and kind as ever answers questions at the Aero Theater 9-29-2010

Barbara Rush still possesses that transcendent talent, beauty, poise and grace. She will always be someone special, an actress who is memorable.

Continue reading “Enduring Grace: Barbara Rush”

What A Character! Blogathon 2019 Thelma Ritter “Always a bridesmaid and never the bride”

It’s here again, my favorite blogathon that honors those unsung actors we love to see inhabit films and most often enhance them immeasurably !

I want to thank Paula’s Cinema Club, Once Upon A Screen… and Outspoken & Freckled for hosting this important event that brings to light those essential personalities that populate memorable films and television programs with their own rare brilliance. This year I am honoring the great Thelma Ritter!

With her warm and weather worn face, Thelma Ritter is the quintessential expression of a working class dame, the working class mother, the everywoman. And no one can deliver a snappy quip quite like Thelma Ritter. Between her mournful tones of better days or raising a stink about this or that, you can almost see the cleaning rag over her simple brown hairdo hanging out the window in Brooklyn just chatting it up with the neighbors. Thelma Ritter, with hands on hip, spouts barbs and verbal gems from an endless fountain of every day wisdom.

And I want to make this clear from the start, Thelma is no plain, dowdy or shabby spinster, she’s a beautiful woman. So there’ll be no agism or misogynistic observations in this tribute.

“Usually looking like a cross between Mother Courage and a cafeteria lunch lady, [Mankiewicz], who would repeatedly explore the theme of the effects of ambition on his characters, was blessed with Ritter‘s presence in allegedly subservient roles as truth-tellers disguised as maids in… All About Eve (1950).” —Moira Finnie Streamline, The Filmstruck Blog

Thelma Ritter’s legacy is that of the wise-cracking and world weary characters who informs us in any role that she is just a regular gal like you or me. We feel empathy for her, and we laugh along with the sharp witted come backs she so famously utters. When ever she shows up on screen she enlivens what ever plot she was sent out in to explore with that cynical and bold approach to life offering that dialogue that had razor sharp teeth.

Ritter was one hell of a character actor/comedienne who worked on radio then quickly established herself in top billed supporting roles in post-war Hollywood. She was nominated 6 times without winning a single Oscar between 1950-1962. She tied with Deborah Kerr for the most nominated without winning the award. It is a crime that she never won a statue or a star on the Hollywood Walk of Fame.

As writer Paddy Chayefsky wrote in his New York Times tribute for her death: “She was never properly publicly recognized as an actress. […] She was a character actress, which means only that they don’t write any starring parts for middle-aged women.”

Frank Capra called her “the best of all character actresses.”

Even in her performances of the most plain of women, she exuded sophistication, often classier than the upper class people that satellite around her. She often played characters who had the answers and the gumption to say it like it is, the truth that circulates through each story, driving sanity, stability, clarity, and compassion into the narrative.

None of her roles could ever be considered ordinary. Her characters always exuded her own brand of humanity. The people she played were immediately relatable to all of us.

Thelma Ritter was born in Brooklyn New York in 1902 on St Valentine’s Day on Hart Street in South Brooklyn. Born of a Dutch immigrant father and a Scottish mother. Thelma would have to rely on her wits as the family was not of an advantaged background. Maybe that’s why she has a keen witty charm, lovable persona and a certain pluckiness and curt wisdom that doesn’t allow for quick comebacks by the other actors. Though cast as a supporting actress, her name always appears on the bill or right up in the title close to the stars often being the more memorable in the picture. She brought cracking wise to a whole other level of artistry.

She attended the Academy of Dramatic Arts, the class of 1922, but did not graduate with her class as she had to quit to earn money. She made her Broadway debut in a comedy called The Shelf, costarring with other notable character actors Jessie Ralph, Lee Patrick and Donald Meek. She appeared in 32 performances before the show closed in 1926. Then she was in Times Square (1931) which didn’t have a very long run on Broadway. She took some time off to raise her children then went back to work initially in radio. Her daughter Monica Moran is an actress, they appeared together in the 1966 road company of Bye Bye Birdie co-starring Tab Hunter.

Thelma Ritter was actually 41 at the time of her wonderful film debut as the uncredited harried Christmas shopping mother in Miracle on 34th Street (1947). Ritter left such an impression on director George Seaton and 20th Century Fox head Darryl F. Zanuck that they lengthened her small part in the film and decided to cast her in other pictures. This sparked a career where she wouldn’t make a multitude of films, but a film a year from 1947 until her retirement in 1969. The films she did appear in were extremely popular and received well by the critics.

Ritter’s uncredited role of Captain’s secretary in Call Northside 777 (1948) was left on the cutting room floor. The credits were left in, but she is nowhere to be seen in the film. Though again uncredited she appeared as the sharp tongued maid Sadie Dugan in director Joseph L. Mankiewicz’s 1949 melodrama A Letter to Three Wives starring Jeanne Crain, Linda Darnell and Ann Southern.

In A Letter to Three Wives, Thelma Ritter plays the maid Sadie Dugan who works for an upper middle class couple George (Kirk Douglas) and Rita Phipps (Ann Sothern). Kirk Douglas plays an English teacher and his wife Rita is a writer for a radio soap opera, played by Ann Sothern. Sadie ingratiates herself into the family feeling right at home telling Rita “The cap’s out. Makes me look like a lamb shop with pants on” when Rita asks her to wear a frilly hat while serving dinner to important guests. Ritter has wonderful lines that she expresses with ease. The writing was handpicked for her brand of comedy that cuts through the melodrama of the film. While describing her disdain for Rita’s radio program she comments, ”Do you know what I like about your program? Even when I’m running the vacuum, I can understand it.”

Ritter’s first major role as a lady’s companion was Birdie Coonan in All About Eve (1950). Director Joseph L. Mankeiwicz was so taken with Ritters style, that she was first choice to play Birdie, the edgy ex-vaudevillian maid to theater Diva Margot Channing (Bette Davis in her Oscar-nominated role). He claimed he wrote the screenplay with Thelma Ritter in mind. Aside from Addison Dewitt (George Sanders), Birdie is the only one who isn’t fooled by Eve (Ann Baxter). Ritter’s character has a keen understanding of the realities of life and is honest and gruff with the waif-like manipulative and ambitious Eve. Her role was so impressive that she received her first of six nominations for the Academy Award for Best Supporting Actress.

When Eve first recounts her sad background to Margot, Birdies reacts with the infamous line “What a story! Everything but the bloodhounds snapping at her rear end.” The original line used was ‘ass’ instead of ‘rear end.’ But Joseph Breen’s office was clamping down on “morals” and found the original word too vulgar.

All through the film All About Eve, Birdie tries to inform Margot of Eve’s duplicitous nature, while everyone else is also taken in by the ‘kid’. Margot asks, “Birdie, you don’t like Eve, do you? Birdie answers, “You looking for an answer or an argument?” Margo, “An answer.” Birdie, “No.” Margo, ”Why not?” Birdie, “Now you want an argument.”

Thelma Ritter’s most significant trademark is her sassy streetwise meddling, to offer her wisdom and advice even when not being asked for it. After All About Eve, she would be cast in strong supporting roles for the rest of her career.

The next year she would once again be nominated for the wonderful picture directed by underrated directed Mitchell Leisen’s The Mating Season (1951) co-starring Gene Tierney, followed by With a Song in My Heart (1952), Pickup on South Street (1953) as Moe Williams (A film she should have won the Oscar for her outstanding performance) then came Pillow Talk in 1959 and Birdman of Alcatraz (1962).

John Lund and Thelma Ritter in a scene from the film ‘The Mating Season’, 1951. (Photo by Paramount Pictures/Getty Images)

While most older female character actresses go loveless in their films, Thelma Ritter is one who manages to not always fly solo in the story lines. She often gets to have a love interest. The Mating Season (1951) directed by M. Leisen, is a satirical look on class culture, and a hilarious story of mistaken identity. Thelma as Ellen McNulty runs a small hamburger joint in Jersey and when the bank forecloses she goes to Ohio to be with her son Val (John Lund), who has just married socialite Maggie (Gene Tierney). Maggie is not a snob, but Ritter’s son is embarrassed by his humble background. Miriam Hopkins plays Tierney’s mother and former ambassador’s wife and pretentious elitist, Fran Carleton.

Robert Osborne called The Mating Season a delightful romantic comedy that most people don’t know about. The film brought Thelma at age 48 “the closest to inheriting the mantle of the great Marie Dressler than anyone in Hollywood since Dressler’s death in 1934.”

Ellen secretly works to make enough money to buy an $18 hat to wear when she meets her daughter-in-law. The way Thelma Ritter uses the hat as a prop in the storyline adds an endearing touch in the film. Thelma drops in unexpectedly to meet her new daughter-in-law and is mistaken for a domestic that the new bride has hired to cook and serve at her dinner party. Her son’s boss, Mr Kalinger (Larry Keating) falls for Ellen after she rubs liniment on his chest while he is sick. She finds out he’s much like her dead husband— the kind of guy stray dogs take to.

Ellen –“If you’re a chicken, you can fool people about your feathers. But when you start laying eggs all over the place, they know you’re a chicken.”

Ellen: “You don’t know what it was like working with her yesterday. I felt like I was 21 again.”
Val: “Oh Malarky”
Ellen: “Look wiseguy, I didn’t feel like I was 21 when I was 21.”

“Despite the fact that she usually played variations of a Shakespearean “wise fool”, she often played a person whose keen awareness of her place in our supposedly classless society made her secure enough in it to voice her opinions without fear.” -Moira Finnie

Ritter finally receives above the title star billing in George Cukor’s delightful romantic comedy starring Jeanne Crain and Scott Brady, The Model and the Marriage Broker (1951) Another highly underrated picture. Director Cukor’s adds a sensitive touch to this endearing film creating a world with plenty of witty dialogue and quirky characters. The cast is filled with lonely hearted misfits including Nancy Kulp, Zero Mostel, and Dennie Moore. Ritter plays good hearted, wryly witted yet sympathetic matchmaker Mae Swasey who just doesn’t want anyone to be alone after her own husband had left her for another woman years before. Mae goes on a mission of mischief to fix up Matt Hornbeck (Brady) with model Kitty Bennett (Jeanne Crain) though Hornbeck initially puts up a good fight saying he has no intention of getting married… that is until he meets Kitty.

Mae to Mr. Wixted (Zero Mostel) about planning a date with Nancy Kulp, “A real live wire, low voltage but steady.”

THE MODEL AND THE MARRIAGE BROKER [US 1951] SCOTT BRADY, JEANNE CRAIN, THELMA RITTER Date: 1951

“Anybody with four pints of blood that can stand on their two feet long enough to say I do is in a position to get married.”-Mae

Dan Chancellor (Jay C. Flippen) “Beautiful up here, isn’t it? Those trees. I’ve always liked that poem that said, “Only God can make a tree.”

Mae Swasey, “Yeah, but on the other hand, you gotta figure, who else would take the time?”

As Young as You Feel (1952) Monty Wooley, Allyn Joslyn and Thelma Ritter

Following the romantic comedies Ritter appears in one of the most extraordinary and evocative noir masterpieces by director Samuel Fuller, Pickup on South Street (1953).

In Pickup on South Street 1953 directed by Samuel Fuller, Ritter plays Moe Williams the best pick pocket stoolie in the business. A police informant who sells neck ties on the street corners and wants a fancy funeral and a nice plot out on Long Island. Robert Osborne couldn’t have stated it better, “Moe Williams lives in the underworld and ekes out a living by selling secrets and information for a price. It’s a far cry from the kind of roles Thelma usually plays. More sinister than lovable.”

Moe is streetwise and world weary. She’s broken down by her years getting by on the rough streets of New York City selling ties and secrets to the police. She’s also cares about what happens to Skip McCoy (Richard Widmark) one of the local petty thieves who picks pockets and chills his beer in the river.

Jean Peters is fantastic in the role of Candy, and Thelma Ritter in Pickup on South Street.

As Moe Williams In Pickup on South Street (1953), Ritter inhabits a darker world than we’re used to seeing her in. Worn down by life on the street as a tie hustler and informant to the law, her weakness for telling the truth puts her in harms way. It’s one of the most gloomy and heart-rending roles in any of her films as it takes a hardened dismal look at crime, postwar greed, and the fear of Communist infiltration. Throughout the picture Moe is fatalistic about her future. She is a character we feel empathy for, and I think it’s one of Ritter’s finest performances.

In a heartbreaking tour de force Ritter gives a performance that should have garnered her the Academy Award for Best Supporting Actress. Director Sam Fuller created a role just typed for Ritter’s blood, as she poured every ounce of her soul into the character that’ll make you hold your breath, then weep.

She appeared in the 1953 version of Titanic with Barbara Stanwyck. She plays affluent Maude Young who once again, is mistaken for a domestic, with some of the best lines in the picture added for the comic relief.

Maude Young: [after Richard (Clifton Webb) has rejected his son Norman and refused to play in the shuffleboard match with him] “It certainly clouded up. Well, word’ll do it faster than a hickory stick any time.”

Maude Young: “Where I come from this is either a revival meeting or a crap game.”

Maude Young: “I’ve seen that look before. He’s a runaway. Earl Meeker: From what, some woman?Maude: No, he’s running too fast for that.”

Ritter made several significant appearances on the small screen between 1953 and 1962. In 1955 she played Mrs. Fisher in The Show-off, Agnes Hurley in Paddy Chayefsky’s The Catered Affair (Bette Davis played Agnes Hurley in the film version a year later). Playwright Paddy Chayefsky was so taken with Thelma Ritter that he wrote about the 1955 television play, “The Catered Affair was an unfocused piece in which the first act was farce and the second was character comedy, and the third was abruptly drama. There aren’t a dozen actresses who could make one piece out of all that; Miss Ritter of course, did.”

The Farmer Takes a Wife 1954 as Lucy Cashdollar plays Betty Grable’s friend on the Eerie Canal Lucy Cashdollar- “Don’t forget, I’m a five time widow, and when they died they all left me everything they owned. Rest their souls.” Fortune Friendly “What do you want with me I’m broke?” Lucy Cashdollar-“Well, I figure after five rich husbands, the next one would be on the house.”

Also in 1955, Thelma Ritter played Abby in 20th Century-Fox Hour’s television adaptation of Sidney Howard’s play, Christopher Bean. Thelma is often compared to the great Marie Dressler, who played the same role in the 1933 film Christopher Bean. Thelma Ritter takes on the ironic and poignant role of a woman who’s worth is seen through the eyes of an alcoholic artist who paints a portrait of her.

Ritter finished her 6 year contract with Twentieth Century Fox in 1955, playing Alicia Pritchard in director Jean Negulesco’s Daddy Long Legs. Ritter did return in The Second Time Around in 1961.

When explaining why her contract had not been renewed, Ritter joked that “I don’t look so good in a toga.” Referring to Fox’s preference at the time for epics filmed in CinemaScope centered around all things ancient.

Rear Window 1954 Thelma plays the feisty wisecracking nurse, Stella. The scenes with Thelma and Jimmy Stewart were marvelous. Her character’s voice delivered both reason and common sense, and in their scenes we learn about Jimmy Stewart’s character. Thelma brought her comic flair to the role of Stella. As Pat Hitchcock explained “The humor that Thelma Ritter brought to Rear Window was absolutely wonderful. And my father, he loved that because he knew that you couldn’t keep going and keep going. You had to give the audience a break. You had to have them laugh at something. His whole life was the importance of having a sense of humor with whatever you do.”

Deborah Kerr rides in a jeep with Thelma Ritter in a scene from the film ‘The Proud And Profane’, 1956. (Photo by Paramount/Getty Images)

After twenty-six years away, Thelma returned to Broadway in 1957 to play Marthy in the hit musical New Girl in Town, based on Eugene O’Neill’s play Anna Christie. For her part she won a Tony Award (in a tie with Gwen Verdon who won for Anna). This was the first time in history that two actresses won from the same show.

Cameron Pru’Homme, Thelma Ritter and Gwen Verdon –On the set of New Girl In Town

American actors Thelma Ritter (1905 – 1969) and Cameron Prud’homme (1892 – 1967) in a performance of the Bob Merrill play, ‘New Girl in Town’ at the 46th Street Theatre, New York, New York, mid 1957. (Photo by Gjon Mili/The LIFE Picture Collection via Getty Images)

At the Tony Awards with Robert Preston Thelma RItter Helen Hayes Ralph Bellamy

She went on to appear in the hit romantic comedy Pillow Talk (1959). She played the supportive lead with Doris Day and Rock Hudson, exchanging her usual barbs this time with Doris Day about her love life. “If there’s anything worse than a woman living alone its a woman saying she likes it.”

She continued to act in successful roles in the 1960s in films like John Huston’s The Misfits in 1961 (playing Isabelle Steers, co-starring Marilyn Monroe, Clark Gable, Montgomery Clift, and Eli Wallach). Then, in How the West Was Won in 1962, and then she was once again paired with Doris Day and James Garner in Move Over, Darling in 1963.

Ritter also appeared on television shows like General Electric Theater in 1960 and the popular westerner Wagon Train in 1962. She appeared in Alfred Hitchcock Presents in a very chilling, nail-biting episode called The Baby Sitter.

In director John Frankenheimer’s Birdman of Alcatraz (1963) Thelma Ritter delivers quite a drastic departure from any of her other roles. She portrays the numb and obsessive mother, loyal to her son Robert Stroud (Burt Lancaster) in one of his most lucid performances. The movie creates a claustrophobic relationship between mother and son, as she is stricken with a miopic vision of championing for him while he is locked away in prison. Axel Nissen calls it “one of the most emotionally ugly characters in her filmography she is cold and uses stillness brilliantly.”

Ritter received her last Oscar nomination or her performance as Burt Lancaster’s controlling mother. She lost to Patty Duke for The Miracle Worker.

In 1963 she was in A New Kind of Love (1963) starring Paul Newman and Joanne Woodward. Ritter plays Leena, who wears a perfume called “My Sin” and is a buyer at Bergner’s Department Store. Leena is attracted to her boss, George Tobias.

She also appeared in the disastrous Broadway production of UTBU 1966 with Margaret Hamilton and Tony Randall.

Coming full circle, Ritter made her last big screen appearance in a small role in George Seaton’s What’s So Bad About Feeling Good? 1968 In Feb 1968 she co-starred with Tab Hunter and her own actress daughter Monica in a stock production of Neil Simon’s Barefoot in the Park at the Papermill Playhouse in New Jersey, before retiring. She did not live long enough to enjoy her retirement.

Thelma died of a heart attack in New York City just nine days before her 67th birthday. Thelma Ritter was very beloved amongst her colleagues and co-stars, and also critics adored her.

“On screen Ritter projected a wonderfully sanguine and calm acceptance of human frailty and need. It is this quality, combined with her rueful humor and notorious wisecracks, that give depth to her finest performances…{…} Though she played a few middle-or upper class women towards the end of her career, Ritter was obviously best suited to playing women on the lower echelons of the social ladder…{…} She represents the legion of women who keep the wheels of the world turning”– Alex Nissen

CLIPS

Miracle on 34th Street (1949) Peter’s mother

A Letter to Three Wives (1949) Sadie Dugan the maid uncredited

City Across the River (1950) Mrs. Katie Cusack

Perfect Strangers (1950) Lena Fassier

All About Eve 1951

I’ll Get By 1951 Miss Murphy

The Mating Season 1951

The Model and the Marriage Broker 1951 as Mae Swayse

As Young as You feel 1952 as Della Hodges

Titanic 1953

Pickup on South Street 1954

The Farmer Takes a Wife 1954 as Lucy Cashdollar

Rear Window 1955 as Stella

Daddy Long Legs 1955

Alfred Hitchcock Presents 1956 The Baby Sitter Lottie Slocum

The Proud and Profane 1956 as Kate Connors

A Hole in the Head 1959 as Sophie Manetta

Pillow Talk 1959 as Alma

The Misfits 1961

Birdman of Alcatraz 1962 as Elizabeth Stroud

Move Over, Darling 1963

The Incident 1967 as Bertha Beckerman

FILMOGRAPHY & AWARDS

Thelma Ritter won a Tony Award on Broadway in 1957 for the hit musical New Girl in Town, for which she won a Tony in a tie with Gwen Verdon in 1958. She won an Emmy (in 1956), Nominated for Best Actress in a Supporting Role for the Goodyear Television Playhouse production of The Catered Affair. A Golden Globe Awards Nominated for Best Supporting Actress for: All About Eve (1950) The Mating Season (1951)) With A Song in My Heart (1952), Pickup on South Street (1953), Pillow Talk (1959) and Birdman of Alcatraz (1962) and nominated for a Golden Globe for All About Eve, The Mating Season and Boeing Boeing (1965)

  • Miracle on 34th Street (1949) Peter’s mother
  • A Letter to Three Wives (1949) Sadie Dugan the maid uncredited
  • Call Northside 777 (1949) captains secretary uncredited her scene was left on the cutting room floor
  • City Across the River (1950) Mrs. Katie Cusack
  • Perfect Strangers (1950) Lena Fassier
  • Too Dangerous to Love 1951
  • All About Eve 1951 as Birdie Coonan —companion to theater Diva Margot Channing the only character aside from George Sanders’ Addison Dewitt who isn’t fooled by conniving Eve.
  • I’ll Get By 1951 as Miss Murphy
  • The Mating Season 1951 as Ellen McNulty
  • The Model and the Marriage Broker 1951 as Mae Swayze
  • As Young as You feel 1952 as Della Hodges
  • Radio Broadcasts 1953 Theater Guild on the Air “A Square Peg”
  • With a Song in my Heart 1953 as Clancy
  • radio shows such as Radio Broadcasts Theater Guild on the Air “A Square Peg” (1953).
  • Titanic 1953 as Maude Young playing a version of the Unsinkable Molly Brown done up to the nines again mistaken for a housekeeper or maid.
  • Pickup on South Street 1954 directed by Samuel Fuller as Moe Williams the best pick pocket stoolie in the business
  • The Farmer Takes a Wife 1954 as Lucy Cashdollar plays Betty Grable’s friend on the Eerie Canal
  • Rear Window 1955 as nurse Stella
  • Lux Video Theatre 1954 Christmas in July theatre guest
  • The Best of Broadway The Show Off 1955 Mrs. Fisher
  • Daddy Long Legs 1955 as Alicia Pritchard
  • Goodyear Playhouse 1955 The Catered Affair as Mother created the role that Bette Davis adapted to the screen.
  • Repertory Theatre 1955 The Ghost Writer as Muriel
  • Lucy Gallant 1955 as Molly Basserman
  • The 20th Century Fox Hour 1955 “Christopher Bean” as Abby
  • Alfred Hitchcock Presents 1956 The Baby Sitter Lottie Slocum
  • The Proud and Profane 1956 as Kate Connors
  • New Girl in Town (1957) on Broadway
  • The United States Steel Hour 1957 The Human Pattern as Ma Garfield
  • Telephone Time 1957 plot to save a boy as Mary Devlin
  • A Hole in the Head 1959 as Sophie Manetta
  • Pillow Talk 1959 as Alma plays her housekeeper who likes to drink she’s hilarious
  • General Electric Theater 1960 Sarah’s Laughter as Doris Green
  • Startime 1960 The Man as Mrs. Gillis
  • The Misfits 1961 as Isabelle Steers
  • The Second Time Around 1961 as Aggie Gate
  • Birdman of Alcatraz 1962 as Elizabeth Stroud plays Burt Lancaster’s mother
  • Wagon Train 1962 The Madame Sagittarius Story as Madame Delphine Sagittarius
  • How the West Was Won 1962 Agatha Clegg a middle aged woman looking for a husband on the wagon train heading west across America
  • For Love or Money 1963 as Chloe Brasher
  • A New Kind of Love 1963 as Lena O’Connor
  • Move Over, Darling 1963 as Grace Arden plays James Garner’s mother, a wealthy upper class woman which is an atypical character for her
  • Boeing, Boeing 1965 as Bertha
  • The Incident 1967 as Bertha Beckerman
  • What’s so Bad about Feeling Good? 1968 Mrs. Schwartz

This is your EverLovin’ Joey saying you may have thought you were often only a bridesmaid but to so many of us, you’ll forever be the Queen of character actors and unrelenting quips! We love you Thelma Ritter…

“Out Loud” Part 1– A Biography of the Legendary Lee Grant…

Update! The Film Forum in NYC has put together a retrospective of 13 films and documentaries featuring some of Lee’s best work as an actor and director.

 

“The dichotomy of my genius status at home and my slightly below par status in the outside world gave me a sense of instability and unreality throughout all of my life about exactly who I was and what I was capable of. Could that be why I grabbed so ferociously at acting? Grounding myself in a structure that worked for me, the observant child?”
— And excerpt from I Said Yes to Everything -Lee Grant talking about Sandy Meisner and The Neighborhood Playhouse.

How do you start out a biography about someone who is a virtual legend?

Lee Grant 1977 © 1978 Ulvis Alberts

When I attended the Chiller Theatre Expo I had the exciting opportunity to meet one of my favorite actors, Academy Award winner Lee Grant. This meeting turned out to be one of the great highlights of my life. While I’ve followed her work my entire life, after connecting with her, I began my exploration into Lee Grant’s life by immersing myself first in her incredibly honest and potent autobiography. “I Said Yes to Everything”  is an expository journey written long-hand by Lee herself in classic black and white note books. It’s a well-written intimate portrait of a courageous and brilliant actor.

“Lee Grant’s I Said Yes to Everything is heart-stopping. More than just a show-business memoir or chronicle of the Hollywood blacklist era, it is a terrifying account of a gifted artist’s tumultuous journey—both personal and professional. You will feel every jolt of terror that Grant endured, wondering if you would have been as brave. Her triumph becomes our own. Readers of this gripping book will surely reach the final page shouting a victorious “Yes! To everything that is Lee Grant.” -Marlo Thomas

With every role Lee Grant undertakes —from stage to early dramatic teleplays, to television series and onto the big screen— she transports an inner truth and an understanding of the world’s pleasures, and too, it’s miseries. Never afraid to take risks, she turned a career that was at one time silenced, into a great triumph by reclaiming her place in Hollywood. She then forged her own road into directing, where her voice and compassionate vision helped marginalized people have their say as well.

This is the spirit of Lee Grant, a woman who kicked down the door, prevailed the madness of the blacklist and without settling. She become a formidable actress, director, a legend, and friend.

Reading about her incredible life story, I Said Yes to Everything, brought me closer to the actress whom I already admired and loved for so many years. It’s a reflexive reminiscence, at times brutal and at other times it evokes laughter. Lee Grant has a primal and candid sense of humor that is so invigorating to experience. And hearing it from Lee herself is life-altering and beyond meaningful.

Portrait of American actress Lee Grant, New York, New York, July 1970. (Photo by Jack Robinson/Hulton Archive/Getty Images)

I also reexamined a lot of her great work so I could surround myself with the essence of her talent. It not only fortified what I had already felt about her capacity to engage each role, I met several characters that I hadn’t seen before. And was completely knocked over by Lee Grant’s awe-inspiring performances. To have the opportunity to talk to someone you’ve known as an acting legend can make you quite star struck as you try to find your own voice without sounding like a fool. But Lee Grant is a real and raw person. She’s one of those people you meet by chance in life, striking up a wonderful connection as if you’ve known them for years. This is just another layer of greatness to an already great actor.

Lee Grant is one of the most expository of actors. She uses her distinctive voice, that moves along the walls of your mind like an elegant cat, with an expressiveness that brings to bear even the most subtle of gestures. She has an attentiveness to detail, and her extraordinary sensuality is deep-rooted with a swift and clever sense of humor.

Lee Grant1965 © 1978 Gene Trindl

As an actor, she brings and intimacy to her roles, complex, passionate sensual dynamic versatile, and authentic. A talent caught up in the net of the HUAC insanity that ruined lives, and literally took her act of belonging away in Hollywood and from an industry where time is essential in order to obtain recognition and primacy.

I suspected that Lee always put a little of her real self in each role. It turns out I was right as you’ll learn from our conversation about her performances. There is no one quite like Lee. Absolutely no other actor like her.

Lee with one of her original oil paintings.

Like David fighting Goliath, she kept her resilience during those dark years of the blacklist. She’s an actor who is truthful enough to bare her vulnerabilities, machinations, fears, fancies, the quirks and chinks in the armor— it’s all out there, and wonderfully bold and ballsy an individualist and unfailingly frank. She is fragile and fierce, honest, courageous and unwilling to be shut off or out.

The insanity of the McCarthy Era and fanatics like Vincent Hartnett tried to steal 12 years from Lee Grant. But she refused to be silenced. To this day she speaks truth to the powers that be. She has earned the right to be seen and heard. She’s a woman who has become a firebrand with her socially conscious lens as a filmmaker, documentarian, director, activist, writer and a mother to yet another gifted soul, Dinah Manoff. Talent and fierceness—it runs in the blood.

Lee Grant to me, is someone I’ll always regard with a sense of awe and respect. I’m incredibly honored that she allowed me a glimpse into her life and shared that sense of humor and her determination to be heard. And what a story she has to tell!

Actress Lee Grant poses for a portrait in circa 1971. (Photo by Michael Ochs Archives/Getty Images)

Continue reading ““Out Loud” Part 1– A Biography of the Legendary Lee Grant…”

There’s got to be a morning after… Goodbye Carol Lynley Sept. 3, 2019

American actress Carol Lynley, who stars in the film The Cardinal, pictured wearing a winter coat and leather gloves in a London park on 17th December 1963. (Photo by Blackman/Daily Express/Hulton Archive/Getty Images)

We’ve lost Carol Lynley, actress of 60s & 70s film and television. Carol was born Carol Anne Jones on Feb. 13, 1942 in New York City. Lynley worked as a model and in television from her teen years and performed on numerous early live dramatic television shows.

She suffered a heart attack on September 3rd at the age of 77. Perhaps she is best known for her role in the disaster epic The Poseidon Adventure (1972) playing Nonnie, the bright-eyed nymph on the doomed ocean liner turned upside down after a giant tidal wave hits the ship on New Year’s Eve. The Poseidon Adventure launched her into the public consciousness after Lynley lip synced over Maureen McGovern’s singing onscreen, as the ill-fated ship’s lead singer of the band, her brother flaunting his bad 70s hair and mutton chops at the piano. The song  “The Morning After,” went on to win the 1973 Oscar for Best Song.

I’ve always been taken with Carol Lynley for many other roles along her diverse career. A child model who made it to the cover of Life magazine at age 15. After appearing in the 1958 Broadway play, she delivered a moving performance in the controversial screen version of Blue Denim in 1959, co-starring cutie Brandon De Wilde. She was nominated for a Golden Globe Award for Most Promising Newcomer! She then co-starred with Clifton Webb and Jane Wyman in Holiday For Lovers (1959).

Afterward she appeared in a variety of popular films, Return to Peyton Place (1961), and Under the Yum Yum Tree (1963) with Jack Lemmon. Carol Lynley appeared in the Otto Preminger film The Cardinal (1963). She was also in The Stripper (1963), and Shock Treatment (1964) where she plays a very disturbed young girl with hyper-sexual tendencies. In the same year she played Maggie Williams in The Pleasure Seekers. Lynley also took the role of Jean Harlow in the biopic Harlow (1965).

Carol Lynley in The Stripper (1963)

Carol Lynley and Gene Tierney in The Pleasure Seekers (1964)

Carol Lynley as Harlow

And her role as Ann Lake is superb. She plays a mother who claims her little girl vanishes after a day at her school. Otto Preminger’s Bunny Lake is Missing (1965), is one of my favorite psychological thrillers. She also appeared in the very dark and twisted The Shuttered Room (1965) co-starring Oliver Reed and Gig Young based on a story by horror writer August Derleth.

She was in Once You Kiss a Stranger… (1969) and I adored her as Gail Foster the girlfriend of Darren McGavin’s stalwart reporter of the uncanny and supernatural Carl Kolchak, in the fabulous television cult chiller directed by John Llewellyn Moxey, The Night Stalker (1972), the pilot that launched the groundbreaking series of the show that inspired The X Files!

Carol Lynley appeared in various television shows, Alfred Hitchcock Presents, The Alfred Hitchcock Hour, It Takes a Thief, Night Gallery, The Invaders, Kojak, The Man from U.N.C.L.E, Journey to the Unknown, The Sixth Sense, The Magician, The Evil Touch, Quincy M.E. and Police Woman, just to mention my favorites.

Vince Edwards and Carol Lynley in Alfred Hitchcock Presents (1955) episode The Young One

Christopher Walken and Carol Lynley in Kojak 1973

Carol Lynley possessed a certain kind of rare beauty and inner light, a subtle essence of fairy in her smile and soft glimmer in her eyes.

Mandatory Credit: Photo by Barry Peake/Shutterstock (605004b)
Carol Lynley-Mar 1967

This is your EverLovin Joey saying goodbye Carol Lynley, gone but not forgotten. There will always be a morning after and my eternal love for you, beautiful girl.

Happy Birthday to Bradford Dillman April 14

Bradford Dillman in a scene from the film ‘Circle Of Deception’, 1960. (Photo by 20th Century-Fox/Getty Images)

Untroubled good looks, faraway poise & self-control, with a sartyrial smile and brushed-aside sophistication  – that’s Bradford Dillman

Bradford Dillman is one of those ubiquitous & versatile actors who you find popping up just about everywhere, and whenever I either see him in the credits or think about some of his performances, I am immediately happified by his presence in my mind and on screen.  It’s this familiarity that signposts for me whatever upcoming diversion I’m in store for, will be something memorable indeed.

He’s been cast as a saint, a psychopath, elite ivy league intellectuals with an edge, unconventional scientists, military figures, droll and prickly individualists, clueless bureaucrats, or drunken malcontents and he’s got a sort of cool that is wholly appealing.

Bradford Dillman was omni-present starting out on the stage, and major motion pictures at the end of the 50s and by the 1960s he began his foray into popular episodic television series and appeared in a slew of unique made for television movies throughout the 1970s and 80s, with the addition of major motion picture releases through to the 90s. His work, intersecting many different genres from melodramas,historical dramas, thrillers, science fiction and horror.

There are a few actors of the 1960s & 70s decades that cause that same sense of blissed out flutters in my heart — that is of course if you’re as nostalgic about those days of classic cinema and television as I am. I get that feeling when I see actors like Stuart Whitman, Dean Stockwell, Roy Thinnes, Scott Marlow, Warren Oates, James Coburn, Lee Grant David Janssen, Michael Parks, Barbara Parkins, Joanna Pettet ,Joan Hackett , Sheree North,  Diana Sands, Piper Laurie, Susan Oliver and Diane Baker.  I have a fanciful worship for the actors who were busy working in those decades, who weren’t Hollywood starlets or male heart throbs yet they possessed a realness, likability, a certain individual knack and raw sex-appeal.

Bradford Dillman was born in San Francisco in 1930 to a prominent local family. During the war he was sent to The Hotchkiss School in Lakeville, Connecticut. At Hotchkiss, senior year he played Hamlet. At Yale he studied English Literature and performed in amateur theatrical productions and worked at the Playhouse in Connecticut. Dillman served in the US Marines in Korea (1951-1953) and made a pact that he’d give himself five years to succeed as an actor before he called it quits. Lucky for us, he didn’t wind up in finance the way he father wanted him to.

Actor Bradford Dillman (Photo by  John Springer Collection/CORBIS/Corbis via Getty Images)

Dillman enrolled and studied at the Actors Studio, he spent several seasons apprenticing with the Sharon Connecticut Playhouse before making his professional acting debut in an adaptation of Nathaniel Hawthorne’s “The Scarecrow” in 1953 with fellow Studio students Eli Wallach and James Dean. Dillman referred to Dean as ‘a wacky kid’ but ‘very gifted’.

He only appeared in two shows in October 1962 of The Fun Couple in 1957 with Dyan Cannon and Jane Fonda before the play closed in New York only after two days.

We lost Bradford Dillman last year in January 2018. I was so saddened to hear the news. And I missed the chance to tribute his work then, but now that his birthday is here, I feel like celebrating his life rather than mourning his death, so it’s just as well.

Bradford Dillman wrote an autobiography called Are You Anybody? An Actor’s Life, published in 1997 with a (foreword by Suzy Parker) in which he downplays the prolific contribution he made to film and television and acting in general. Though Dillman didn’t always hold a high opinion of some of the work he was involved in, appearing in such a vast assortment of projects, he always came across as upbeat and invested in the role.

“Bradford Dillman sounded like a distinguished, phony, theatrical name, so I kept it.”

[about his career] “I’m not bitter, though. I’ve had a wonderful life. I married the most beautiful woman in the world. Together we raised six children, each remarkable in his or her own way and every one a responsible citizen. I was fortunate to work in a profession where I looked forward to going to work every day. I was rewarded with modest success. The work sent me to places all over the world I’d never been able to afford visiting otherwise. I keep busy and I’m happy. And there are a few good films out there that I might be remembered for.”

Continue reading “Happy Birthday to Bradford Dillman April 14”

A Conversation with Television Icon 📺 Jerry Mathers

Jerry Mathers is an American Icon whose presence undoubtedly continues to contribute to our collective consciousness. Born on June 2, 1948 in Sioux City, Iowa, he started as a child model from the age of two, and that led to his television and show business career in live television in the early 1950s. Jerry first worked on the popular Spike Jones live show. Jones was an American musician and bandleader Spike Jones and his City Slickers whose signature concept The Musical Depreciation Revue was satirical arrangements of popular songs, loud and not-quite-jazz-music of the 50s featuring musical riffs punctuated with unconventional noises like gunshots, whistles, and outrageous farcical vocals. His drummer would use trash can lids as cymbals and the trumpet players would use toilet plungers as mutes. The slapstick gimmick was certain whimsical instrumentals would cue Spike to drop his pants revealing his very loud boxer shorts.

When Jerry Mathers was about 3 years old he would walk out on stage with a big sign and start pulling on Spike’s coat tails. The sign read ‘commercial’ to let him know that he had to take a break. Spike would chide him and shoo him away and then eventually go to the commercial. Working on the Spike Jones Show brought Jerry more work, because people saw that he could go out on stage with the irascible Jones and not get rattled.

Jerry’s Mathers’ first foray into television was his debut in 1950 for a Pet Milk commercial with Ed Wynn on the Colgate Comedy Hour. The set up: A huge bar room scene with cowboys fighting one and other and actor Ed Wynn tending bar. Jerry comes in through the swinging doors — amidst all the stuntmen brawling and breaking bottles over each other’s heads — in diapers, a ten gallon hat, six guns, and his big cowboy boots. One of the cowboys picks little Jerry up and sets him down on the bar where he pounds his little fist and utters his very first lines, “I’m the toughest hombre in these parts and you better have my brand” as Ed Wynn puts a can of Pet Condensed Milk on the bar! ( I wish there was an existing copy of this commercial )

Jerry as David Myer in This is My Love (1954) starring Linda Darnell

Jerry Mathers began to get cast in many early 1950s television programs, variety hours and early live dramatic shows. And in 1954, he made his film debut in This is My Love starring Linda Darnell and Dan Duryea.

Soon after appearing in a major motion picture his impish, precocious ways caught the eye of master director/storyteller Alfred Hitchcock who cast Jerry as Arnie Rogers for his mystery/comedy The Trouble with Harry (1955) starring John Forsythe, Shirley MacLaine in her first role, and some of the best character actors– Mildred Natwick, Mildred Dunnock and Edmund Gwenn. Next up at age 5 Jerry appeared with Bob Hope in two major motion pictures as Bryan Lincoln Foy, the black licorice lovin’ little rascal in The Seven Little Foys (1955) co-starring James Cagney and George Tobias. And he played the wonderful Norman Taylor in That Certain Feeling (1956) co-starring Eva Marie Saint, George Sanders and Pearl Bailey.

The Trouble with Harry official trailer:

Bob Hope was wonderful with Jerry Mathers in the hilarious scene with the cute little guy eating his black licorice both actors’ body comedy was spot on — Hope choreographed the scene brilliantly with Jerry. It was pure genius. Jerry’s tugging at Bob’s coat, kicking and screaming the whole way.

Bob Hope actually played a part in saving Jerry Mather’s life on the set of the vaudevillian biopic The Seven Little Foys. Back then they used candles to light the stage. Jerry was sitting up in the catwalk and the stuntman was supposed to put gasoline on the curtain so it would ignite and all the extras were supposed to panic and run out of the theater, with the stuntman dressed as Bob Hope climbing up and saving little Bryan Foy (Jerry Mathers) from the flames. Well, Jerry was sitting up on the catwalk when they accidentally put too much gasoline on the curtains, that caught fire. The extras who were supposed to be fleeing the theater saw all these  flames and actually did panic, and the stuntman dressed as Bob Hope got pushed out the door and no one realized that Jerry was still up on the catwalk but Bob Hope.

Bob courageously threw a blanket over himself and ran through the flames, grabbed a ladder, and got Jerry out safely. In another interview Jerry said that he remembers the flames but it was also dripping like raining fire fragments because the cloth as it burned was dropping off. It must have been terrifying! So thanks to Bob Hope for saving Jerry’s life. They couldn’t even use the footage from the first fire. They had to re-shoot the entire scene all over again, because there was too much smoke and flames and they couldn’t see Bob Hope climb up and rescue Jerry so the very next day they had to do it all over again with A LOT less gasoline on the curtains. They didn’t even use a stuntman, they shot it with Bob Hope who went up and got Jerry but the scene was a lot more toned down.

I found a small clip from the film which includes the re-shot recreation of the fire at the Iroquois Theater — with a little less gasoline this time!– and Bob Hope climbing the ladder and not a stunt man as planned. Hope is not only a comic genius, but courageous!

Jerry talks about Bob Hope –

“He was really a fun person to work with. I did That Certain Feeling with him too and actually I did The Seven Little Foys first and I had a very small part in that and he liked me so much that in the next one in his next movie I had a very very big part and it was with Norman Panama and Melvin Frank who were some great writers if you go back and look at some of the things they’ve done and they both directed, I think they were writer/producers but because there were two directors we would do some scenes twenty and thirty times and the one would come over and say you do it this way and then they’d come back and say okay now do it this way and you just kept doing it so as a child it was I imagine now as an adult actor I would even think its tedious. It’s a great movie. And he always made it fun. You know we’d sit there and do this same scene and he just made it so much fun as I say most people know him by seeing him on stage and he was just fun loving and just a great person to work with.

…Bob Hope was always seen as this very lovable person but George Sanders in a lot of his movies played, not villains but he had kind of an edge to him so when I first met him it was actually kind of scary and the other person.”

Among the other cast members he was very taken with Pearl Bailey who sung to him in the film, he liked her very much and thought the world of her.

 “She made the movie so much fun and her and Bob Hope used to clown around it was just so much fun to watch.”

Jerry Mathers in That Certain Feeling (1956)

Jerry Mathers in The Seven Little Foys (1955)

Other major motion pictures of the 1950s Jerry Mathers appeared in:

Men of the Fighting Lady (1954) and director Nicolas Ray’s Bigger Than Life (1956) starring James Mason and Barbara Rush. The gritty and obscure film noir The Shadow on the Window (1957) starring Philip Carey, Betty Garrett and John Drew Barrymore. And The Deep Six (1958) starring Alan Ladd.

“Our generation is the first to have grown up with TV. I’m one of the first kids that they watched grow up on television.” –Jerry Mathers

It was the advent of television. TV was something new, and it was all live studio work. Jerry Mathers explains that while there were child stars in motion pictures, there weren’t really any television child actors, so they thought they could pool from child models who were used to being out on stage and could follow direction.

Heinz 57 was sponsoring and premiering a lot of television variety shows and pilots and after a year or more of languishing it was actually General Douglas MacArthur who was on the board of Remington-Rand (Typewriters) who decided to option the series. The pilot for the show was initially called It’s a Small World.

There was a cattle call for the pilot show where over 5000 young boys of varying ages turned up to audition for the part of both brothers and their friends. His mom wasn’t sure she wanted Jerry to do a series. After many weeks of showing up for the grueling audition schedule, Jerry started to get a bit tired of the process of sticking around, saying his lines, and being told to come back the next day as they weeded out the potential actors for the series. It came down to the last 10 kids and the day he was supposed to show up at the casting call, he had his first cub scout meeting, so he didn’t want to go. Writers Joe Connolly and Bob Mosher both had big families and were used to the machinations of children. They noticed that Jerry was acting pretty fidgety on the rehearsal stage. He agreed to go to the audition only after his mother fixed it so they could go to the audition and his cub scout meeting right afterwards, Jerry even wore his cub scout uniform to the audition.

LEAVE IT TO BEAVER, 1957-63, Hugh Beaumont (kneeling), Bob Mosher (co-creator), Jerry Mathers, Tony Dow, Joe Connelly (co-creator) (sitting), Norman Tokar (director) (kneeling), 1958, on-set

It seemed like it took forever watching each kid to go in and run their lines. Finally he was called in. Young Jerry went inside, said his lines and came right out in a short period of time. His mom asked why he was done so quickly, he told her that they asked him if he wanted to be there and he said “no,” he’d rather go to his cub scout meeting. That night they called and said he’d gotten the job! They’d rather have a boy that wanted to go to a cub scout meeting rather than be an actor. The producers chose him because they wanted a boy who possessed the genuine spirit of a real little boy.

LEAVE IT TO BEAVER, Jerry Mathers, Hugh Beaumont, ‘The Black Eye’, (Season 1), 1957-63

And of course Connolly and Mosher just loved young Jerry every time he showed up for each exhaustive part of the audition process. Jerry Mathers is the consummate professional. He began his career at age 2, he took direction well, learned his lines perfectly, and gained immeasurable experience in the early infancy of television with variety shows and dramatic live performances. He is such an extraordinary actor and a natural talent that he makes you believe he wasn’t following direction at all, and somehow he had manifested Theodore ‘Beaver’ Cleaver as a very real character — a universally lovable little guy. And after listening to interviews and talking to the actor himself, he makes it clear that there was a little bit of himself in Beaver, and a bit of Beaver in Jerry Mathers. The skill involved makes you think that what you’re seeing is real, and that is an art. A lot goes into the process of creating, not only a believable and beloved iconic character, but a television series that will go on to last decade after decade. And as you will learn from my conversation with Jerry Mathers, that lovable little boy was very serious and focused on the craft of acting all while having the time of his life!

“You know, working isn’t as much fun as I thought it would be. I wonder why older people do it so much?” —Beaver Cleaver

On Friday October 4th 1956, months after the pilot aired, Leave it to Beaver debuted on CBS and began a legacy of the magic and innocence of childhood. The iconic television sitcom Leave it to Beaver is about an inquisitive and often unsuspicious little lad whose misadventures within the world of his suburban middle-class life symbolized the idealization of the American family during post WWII.

The first sublimely marvelous episode ‘Beaver Gets Spelled’ introduces Beaver and Wally navigating the tricky mechanism of kid vs school and authority. It includes a scene where they feign taking their baths by running the tub, dampening towels and throwing in some turtle dirt so it leaves a ring. The next episode ‘Captain Jack’ which made television history by featuring the first toilet shown on TV. Beaver and Wally send away for a pet alligator from the back of a comic book. In the 1960s, I ordered all sorts of things as a kid, including a giant rubber fly, sea monkeys, and x-ray glasses! It’s a quirky entertaining episode with wonderful moments — for instance when Ward accuses Minerva the cleaning woman of getting drunk on the job when she says there’s an alligator in the basement sink. In 1997 ‘Captain Jack’ was ranked number 42 in TV Guide’s 100 Greatest Episodes of All Time.

In 1957, radio, film and television writers/producers Joe Connelly and Bob Mosher conceptualized a television show that would feature the family life of an average suburban couple and their young children. Connelly and Mosher met in New York City while working on the radio show Amos ‘n’ Andy, which they continued to be involved with after it moved to television in 1950. What set the show apart from other family sitcoms and domestic comedies of that time period like Ozzie & Harriet or Father Knows Best is that their show would be conveyed through the eyes of the children and not their parents, which introduced a new direction for a mainstream family genre, a series being told from the kid’s point of view. Leave It to Beaver is a thoughtfully lyrical insight of middle-class American boyhood.

Both Connolly and Mosher had kids of their own and actually got their inspiration for the characters, plot lines and dialogue from their own personal lives and conversations from their children. Most or all 234 episodes, 39 per year for 6 years, were taken from real life situations.

Joe Connolly collected stories in a notebook over the years with anecdotes based on things that really happened to family and friends, embellishing a bit along the way. “If we hire a writer we tell him not to make up situations, but to look into his own background. It’s not a ‘situation’ comedy where you have to create a situation for a particular effect. Our emphasis is on a natural story line.” -Joe Connolly

“The Haircut” episode, for example, is based on something that happened with Bob Mosher’s son who had to wear a stocking cap in a school play because he gave himself a terrible hair cut like the one Beaver gave himself with the help of brother Wally of course!

Even the name Beaver was inspired by a merchant marine friend of Joe Connolly’s during WWII. Both Connolly and Mosher became executive producers on the show having initially written all the earlier episodes. Later on they began accepting scripts from other writers.

The series cinematographers were Mack Stengler, who shot 122 episodes between 1958 and 1962, and William A. Sickner who worked on 37 episodes between 1957 and 1959, and later included Fred Mandl, and Ray Rennahan. The cinematographers often keenly lensed the series using angles that emphasized the world from Beaver, Wally and their mischievous friends’ perspective.

Director Norman Tokar, who had experience working with children, directed most of the episodes for the first three years and developed the characters of Eddie Haskell and Larry Mondello. Other directors involved in the series include Earl Bellamy, David Butler (who had worked with Shirley Temple), Bretaigne Windust, Gene Reynolds, and also Hugh Beaumont directed various episodes. Norman Abbott directed most of the episodes during the run of the last three years.

Leave it to Beaver is so memorable for us because it’s an allegorical journey of innocence and the magical world of childhood. Beaver is the ‘innocent’ while Wally is the ‘transitional’ character. Wally tries to explain to his brother what the world is really like, because he’s been out in the world longer. Beaver often looks to Wally for guidance as he tries to navigates the awkward and often perplexing situations he gets himself into.

Beaver grew up on the television screen, and we watched his trajectory of his adventures and life lessons through his perspective. The show shared the valuable and straightforward morals he learns about life, love, and friendship. And amidst all the shenanigans and mischief, Theodore ‘Beaver’ Cleaver is a very loyal, caring and kind little fella. Leave it to Beaver has touched fans’ lives immeasurably at the core of our collective hearts.

LEAVE IT TO BEAVER, Jerry Mathers on-set, (1959), 1957-63

Not only is Leave it to Beaver known as the first television show to reveal a toilet on air but quite a few scenes occurred in the boys bathroom. There’s even an episode where Beaver allows a bum to come in and take a bath getting all sudsed up in Ward and June’s bathroom. Then he takes one of Wards best suits! It’s a crazy bit of trivia but tubs and toilets were what the censors took notice of!

Jerry has mentioned in other interviews as well as in our conversation that the environment on the set was geared toward everyone involved feeling like a family, and making sure that the crew’s families felt welcomed and included. Writers Joe Connolly & Bob Mosher visualized the series with a very conscious aim at representing the idealization of the American family and the American Dream of the 1950s but somehow they managed to narrate finely drawn messages within the framework of the story lines. They even contributed to The Munsters which was a way to invert the average All-American ideal using an unconventional family of monsters to introduce not so subtly, the idea of ‘difference.’

Leave It to Beaver was filmed at Republic Studios in Studio City, Los Angeles during its earliest run of Season 1 and 2. Then the production moved to Universal Studios for the last four seasons of the show. All the exteriors, including the façades of the two Cleaver houses, were filmed on the both studio’s back lots.

One of the intros for Alfred Hitchcock Presents was done on the set of the Cleaver home. The studio went around looking for places and they decided on the Cleaver living room. If you know the design of the house, and all the furniture – notice the foyer and as Jerry Mathers says- “It’s probably a murder mystery – but they actually filmed on their set (Leaver it to Beaver) one day…”

One of the significant elements of the series was the musical theme song at the opening of Leave it to Beaver and it’s incidental music throughout. Each episode was accompanied by whimsical, evocative and poignant melodies that help elevate the story lines in moments that invoked either the adventurous spirit, the curious imagination, or tap into the bonds of affection and kindness. The opening spirited theme song “The Toy Parade” was written by David Kahn, Melvyn Leonard and Mort Greene. For the rest of the wall to wall incidental music CBS utilized stock music from their Television Orchestra library, suggestive of shows from that decade and early 1960s. There are expressive melodies used in Leave it to Beaver that can be heard in the studio’s other shows, such as Alfred Hitchcock Presents. The final season showcased one of my favorite composers Pete Rugolo who scored many television series of the 1960s.

Essentially the typical set up for each episode of Leave it to Beaver places Beaver or Wally or both boys in situations where they get into some sort of mishap or predicament. First they try to noodle their way out of it somehow by covering up or avoiding the issue, eventually coming before his wise but not infallible mother and father June and Ward for his/their admonishment. Often June and Ward would discuss their own shortsightedness in handling the boys, ultimately admitting that they have a lot to learn as parents. This is part of what makes the show so earnest and endearing. And the affectionate and often humorous chemistry Barbara Billingsley and Hugh Beaumont share comes across as real as can be.

Frequently Ward tries to impart some kernel of wisdom referring to classical myths and literary characters as models for teaching the boys moral lessons about making good choices, and solving problems. Ward often idealizes his own childhood, forgetting the various ways boys can get in trouble. He gives the boys Tom Sawyer to read, forgetting that the book is full of Tom’s bad habits and delinquency. Applying the logic to their own lives, for example when Beaver fights with Larry, and Ward tells him the story of Damon and Pythias, and the boys make a friendship pact that at first backfires on Beaver when Larry takes advantage expecting him to ‘die even’ for him by giving him his math homework. Ultimately, Wards story gets through to Larry, and the boys learn a valuable lesson about integrity, loyalty and friendship.

LEAVE IT TO BEAVER, Barbara Billingsley, Jerry Mathers, Hugh Beaumont, 1957-63

One of the tenets of the show is emphasis on cleanliness and the importance of good grooming habits, manners, your appearance and caring for your personal belongings. Like not throwing your grubby socks under the bed or in contrast to June’s wishes that the boys take a bath, the two run the tub, dampen towels, and then throw some of Beaver’s turtle dirt in to create a ring.

While girls were still ‘creepy’, It’s a mischievous ruse that would eventually be left behind as Wally grew up and pampered and preened himself once he started to notice girls. Beaver’s awakening came a bit later, though he did have sweet crushes on Miss Canfield (Diane Brewster) and Miss Landers (Sue Randall), he wasn’t above coming up with great verbal scourges like telling Violet Rutherford “You do too drink gutter water” after she gives him a black eye and calling Linda Denison ‘a smelly old ape’ when the other kids accuse him of being her boyfriend.

And Leave it to Beaver dealt with issues that were pretty enlightened for it’s era. There was an episode that dealt sensitively with alcoholism as Beaver becomes aware of the issue within a very tender friendship with the house painter. There is a story line where one of June’s college friend’s son Dudley comes to spend time with the Cleavers. Wally is asked to befriend him and introduce him to his friends. Dudley is gentile and cultured, playing piano, and wearing an overcoat and fedora. He carries a briefcase to school which serves as fodder for Eddie Haskell to ridicule the young man for being an oddball. Dudley was an outsider, the idea of his difference was blaring and the show handled it to subtle perfection. It was a very interesting character as he represented a very ‘different’ sort of teenage boy.

There was also the episode that showed a Latino immigrant family whose little boy Chuey communicates with ease, without Beaver speaking Spanish embracing their new found friendship without prejudice, until Eddie Haskell injects his cruel joke laced with racism when Beaver asks Eddie to teach him a Spanish phrase to surprise Chuey with, Beaver innocently tells Chuey he has ‘a face like a pig’. Even the episode with Lillian Bronson as the local ‘witch’ who was really just an older woman living by herself in a spooky run down house was a lesson in not judging people by their appearance.

Then there was the episode that dealt with classism involving the Junkman’s kids. While June worries a bit that the boys will be playing in a dirty environment surrounded by garbage and rats and boys who might be rough around the edges — boys from the other side of town–  she learns that there is understanding and alternate wisdom to be shared from unexpected places and it teaches her not to judge people by their station in life, as they share endearing observations about June and Ward that impress not only Beaver and Wally who have a new perspective on their parents seeing them “through the eyes of the Junkman’s kids.”

Leave it to Beaver in it’s own innocuous way even Introduced esoteric themes of the supernatural in a humorous fashion with the episode Voodoo Magic where Beaver believes he’s inflicted a curse on Eddie Haskell by sticking pins and nails in his Raggedy Andy doll. It’s one of my favorites of the series. Ward in his calm and sagely manner even teaches Beaver than you can beat a bully like Lumpy Rutherford by not becoming like him. But Ward learns his own lesson when he realizes that he sabotages Beaver’s self-confidence when he is disappointed that he’s only playing a yellow canary in the school revue and not a bald eagle. His underlying dismay at his son representation of masculinity by playing a whimpy bird sends Beaver into a panic on the night of the show.

And Beaver catches the capitalist fever in Water, Anyone? when the water main is shut off, and he gets inside information from the water department guys digging up the road. Beaver proceeds to try and sell his jugs of water from his wagon to the neighborhood, inciting one of the local housewives to call Ward up and invoke the word ‘communism’ in her rant. It’s another of my favorites. And there’s more than one episode that shows Beaver’s sensitivity and caring for all creatures great and small.

After hearing Miss Landers recite a poem about trees, he is so moved that he goes to rescue the tree given to him on his birthday a few years back, that is still rooted at his old house. Beaver digs it up with the help of Larry Mondello and sneaks it back to replant it at his new house. What might seem like simple childhood exploits, there is always a small shining gem of wisdom within the narrative.

Some people may assess the show as syrupy or fluffy but the show is way more nuanced about unconditional love, acceptance, tolerance, difference and embracing the vast untapped qualities revealed by a child’s flourishing imagination.

“Give the shrimp a paddle!”

Therefore the show shouldn’t be constrained by 1950s standard. Uncle Billy and Aunt Martha who is an elitist, were single adults with no experience raising children, Billy is painted as sort of the ‘black sheep’ on Ward’s side of the family, a braggart and exaggerator who travels and doesn’t have a stable lifestyle and June’s Aunt Martha doesn’t seem to be in touch with how to raise boys in a contemporary manner, dressing Beaver in short pants that lead to him getting into a brawl at school. Even Mrs. Mondello has to raise the problematic Larry as her husband is always out of town and rarely taking charge at home, leaving her to scramble for advice, often looking to Ward to help straighten out Larry when he gets into mischief.

Of course Eddie Haskell is an archetypal anti social troublemaker who is the counterbalance to Wally’s clean cut, always follow the rules kind of idealized All-American boy.

The series offers us drunks, bums, effete males, bullies, fat shaming, and the emotional subject of divorce. A friend of Beaver’s from camp Konig spends the weekend. He is bought off by gifts and cash to keep him placated while he’s left alone amidst a hostile divorce, where the parents remarry every other year. This episode features another fine child actor, Barry Gordon who was nominated for a Tony Award for his portrayal of Nick in A Thousand Clowns on Broadway revising the role in the film in 1965.

Jerry Mathers is both fortunate and burdened — he will be forever associated with an eternal boy in the mind of the collective American audience. He will be typecast forever in our imaginations as a part of the cultural iconography of nostalgia for believed better by gone days.

Beaver is an ‘every kid’ and each episode is filmed almost like a fable. There is a sweet alchemy that creates a world that feels comfortable and comforting amidst an early suburban enchantment that is gratifying. Beyond the nostalgia there is an incredibly nuanced sentiment within the series and the performances — clever morality plays which are veiled in the everyday adventures that wind up mattering a whole lot.

There’s just wonderful ‘time period’ aspects to the show that are steeped in nostalgia. And you’ll hear expressions like ‘creepy”rat’ ‘gosh’ ‘grubby’ ‘wise-guy’ and ‘A hunk of milk’ or a hunk of anything really. The worries were whether you washed your feet, not throwing your dirty socks under the bed, not losing your library book and not playing hooky from school!

Or you could be like Beaver, climbing into a giant steamy cup of billboard soup, ditching dancing class, spitting off a bridge, building a club house, camping out in the yard during a torrential downpour, selling perfume that smells like an old catchers mitt, getting a black eye from a girl, and sneaking an alligator into the house…

I’ll just mention a few predicaments Beaver gets himself into, especially with the help of his best friend Larry. Beaver lets Larry talk him into drilling a few holes in the garage wall, and after Ward tells him if he doesn’t pay attention to the rules, they’re going to have nothing but trouble between them. So Beaver tells him he’s running away so Ward never has to be troubled with him hanging around there — no more. Of course he gets as far as Larry Mondello’s dinner table with three desserts while June is frantic and Ward won’t bend… at first!

The boys are so late to school for the third time in one week when a truck crushes their lunch boxes that they play hooky and wind up on a television commercial at the local grocery store. One day the boys smoke from the Austrian Meerschaum pipe Mr. Rutherford sends the family – first they try just some coffee grinds then used cigarette butts Larry collects from last nights’ company–they both get sick, and Wally is the one who gets blamed for smoking. Beaver believes Larry who tells him that Mrs. Rayburn has a spanking machine in her office closet then gets himself locked inside the school that night and needs the fire department to get him out — making himself a ‘most conspicuous’ character. Then the very next day he gets his head stuck in the iron fence in the park, making himself yet again that’s right — ‘conspicuous’.  I got my own head stuck in the wrought iron railing in our house when I was about his age. Let me assure you… It’s not fun!

Continue reading “A Conversation with Television Icon 📺 Jerry Mathers”

What a Character! 2018 – Sassy Sisterhood: Eileen Heckart & Louise Latham

It’s that marvelous time again, when one of the most enjoyable Blogathons has come around, it’s the 7th Annual What A Character Blogathon. And the reason I adore it so much –it’s purpose is essential in paying tribute to the memorable character actors who have often added the sparkle to the cinematic sky of movie stars– they touch our lives so profoundly because of their unique contribution as the characters they bring to life!

I want to thank Aurora of Once Upon a Screen, Paula Guthat of Paula’s Cinema Club, and Kellee Pratt of Outspoken & Freckled. for giving me the opportunity to once again show my sincerest love for the actors & actresses who are so discernible within the art of film, television and theatre. It is their unforgettable performances that make it a much richer, a more compelling experience — as they are as much the stars who inhabit the dream of art because of their singular personalities.

I’ve been participating now for 7 years, and it’s always a great expedition to delve deeper into the career’s of the people who I’ve found the most enigmatic, extraordinary and uniquely engaging. This year I’ve been excited to pay special attention to two remarkable women, Eileen Heckart and Louise Latham.

For years I have always thought of these two women together, as one of those odd associations–yet unexplicable– that makes you put certain faces or impressions together in your head. Another example of two actors that often seem to merge in that vast noggin of mine — I’m always thinking of E.G.Marshall and Eli Wallach together. Heck, maybe, next year I’ll do the same double feature for them. As I adore them both!

It struck me that I should pair Eileen and Louise as a kind of sisterhood, for both of their uniquely extraordinary styles stand out and somehow stand together for me. And an interesting confluence happened as I went on my more intensive journey of discovering of these two fine actresses. I found out that Eileen Heckart and Louise Latham appeared together in a rare episode of The Doctors and The Nurses an hour long television medical drama that ran from 1962-1965. In a macabre tale reminiscent of a Robert Bloch story — the episode is called Night of the Witch, about a woman (Eileen Heckart) who is tortured by the loss of her 6 year old daughter, and seeks her own brand of retribution from the medical staff she believes is responsible. The hospital receptionist who is cold and unfeeling is portrayed by none other than Louise Latham. The fascination I’ve had to see this performance led me to hunt down a rare copy and now I own it and have put together a sample of it here for you. It’s a rather long clip of the episode in honor of them appearing together. It showcases both their talents. I hope you enjoy the excerpt And I am praying that the television series itself will someday find a full release as it is worthy of being re-visited for it’s groundbreaking content, incredible cast and performances.

 

 

As in past What A Character Blogathons Burgess Meredith, Ruth Gordon, Agnes Moorehead, Martin Balsam, and Jeanette Nolan–each of these actors– had a way of elevating every single project they were involved in, making it just that much more fascinating, delightful, heart wrenching and unquestionably memorable because of their performance–no matter how small their presence, they changed the landscape and impacted the narrative.

It is my absolute honor this year to feature two of the most remarkable women whose legacy still lives on.

Continue reading “What a Character! 2018 – Sassy Sisterhood: Eileen Heckart & Louise Latham”

What a Character! Blogathon 2017- Martin Balsam: The Average Guy!

It’s finally here! The sixth annual What a Character Blogathon! 2017

It’s great to once again be contributing to this wonderful blogathon. It’s become my favorite event each year. And I’m grateful to all three marvelous bloggers who put this bash together! It’s a fantastic line up so stick around for the next few days and enjoy the tribute being paid to those wonderful character actors and supportive players who made the movies full of… well CHARACTER!!!!!

Hosted by that fabulously fanatic film friend Aurora from Once Upon A Screen…

Paula from Paula’s Cinema Club & Kellee from Outspoken and Freckled

This year I’m focusing on one of my all time favorites, one of those great familiar faces–Martin Balsam!

“I think the average guy has always identified with me.“-Martin Balsam

“The supporting role is always potentially the most interesting in a film.”

ALL THE PRESIDENT’S MEN, Dustin Hoffman, Robert Redford, Jason Robards, Jack Warden, Martin Balsam, 1976

“I’ll tell you, I still don’t feel whatever change you’re supposed to feel when your name goes up above the title. I think that’s because this star thing has never been the first consideration with me. Never. The work has always come first.”

George Peppard and Martin Balsam offer to light Audrey Hepburn’s cigarette in a scene from the film ‘Breakfast At Tiffany’s’, 1961. (Photo by Paramount/Getty Images)

Martin Henry Balsam nicknamed “The Bronx Barrymore” by columnist Earl Wilson, was born November 4, 1919 in the Bronx to Lillian and Albert Balsam. His mother was born in New York City to Russian Jewish parents, and his father was a Russian Jewish immigrant. Martin Balsam is like a comfortable friend, he could even be my father.

Martin participated in the Drama Club at DeWitt Clinton High School in New York. After high school, he attended the New School for acting. But when WWII started, he enlisted in the U.S. Army Air Force. After WWII, Martin worked as an usher at Radio City Music Hall, and was selected by Elia Kazan and Lee Strasburg to join the Actors Studio. A struggling actor living in Greenwich Villege, Balsam started acting on Broadway in the late 1940s,“I ate a lot of mashed potatoes in those days. It was 1950 and I was 30 years old… I thought I had better learn to do something with my hands before it was too late.” He finally established himself as an actor in 1951 in Tennessee Williams’ “The Rose Tattoo.” He won a Tony for “You Know I Can’t Hear You When the Water’s Running” and an Obie for “In Cold Storage.”

After his success on Broadway, Balsam began working in television, becoming known for regular parts on shows like the United States Steel Hour, The Philco-Goodyear Television Playhouse, Studio One in Hollywood, and the Goodyear Playhouse. In 1955 he starred in  episodes of Alfred Hitchcock Presents and The Twilight Zone , and as a result was offered the supporting role of Detective Milton Arbogast in Psycho (1960). After Psycho, he played strong parts in films like Breakfast at Tiffany’s (1961), Cape Fear (1962) and The Carpetbaggers (1964). In 1965, he won an Academy Award for Best Supporting Actor for “A Thousand Clowns.” His later television appearances included a regular role as Archie Bunker’s Jewish business partner Murray in “Archie Bunker’s Place.”

During his 50 year film career he worked with top film directors like Alfred Hitchcock, Elia Kazan, Martin Scorsese, John Frankenheimer, and Sidney Lumet. After his success in the U.S., he accepted roles in European films, spending much of his later years in Italy.

Balsam was married 3 times. Actress Talia Balsam is his daughter, with his second wife, actress Joyce Van Patten. He died while in Rome from a heart attack on Feb. 13th, 1996 at age 76. He was survived by his third wife Irene Miller and three children, Adam, Zoe and Talia.

Balsam could play anything: a vengeful mob boss, a blustering pompous politico, a Mexican stagecoach driver, an Italian train line director, a flaming antiques dealer/caper crew member, a disgruntled subway motorman turned lukewarm hijacker with a tale-tell head cold.

Balsam could either play at being the old school seasoned good cop, or the jaded bad cop, a humble talent agent scraping by to make a living but comfortable with who he is, an average Joe, he was perfect as a non confrontational jury foreman, an over-eager opportunistic Colonel, or a quirky snake oil salesman in the wild west who keeps losing parts of his body. Several times he played the old Hollywood studio mogul, and a private investigator who gets more than he bargains for when he meets a psychotic old lady wielding a very large knife at the Bates Motel. And many more supportive parts that helped the sum total of whatever he was performing in to become even better because of his presence.

For over 55 years Balsam entertained us on the theatrical stage, in feature films,  in television plays and tv series as well as serious made for tv movies. His roles run a wide range since his first appearance in 1949’s tv show Suspense, to later on appearing in several Italian crime thrillers in the 70s.

He deservedly got the nomination for the Golden Globe Awards – (1974) Best Supporting Actor – Summer Wishes, Winter Dreams (Nominated) and won the Oscar for Best Supporting Actor as Jason Robards brother Arnold in A Thousand Clowns 1965.

Martin Balsam is an everyman. His familiar comfortable face and voice is easy for us to make a connection with because he appears to be one of us. My father was raised in the Bronx and also worked in the garment district like Martin’s father -til the mid 70s- I myself am a Russian Jew. Whenever I see him in something I think to myself, now we have the whole mishpocha, he’s like kin!

Every performance of Martin Balsam seems to be seasoned with a dash of significant flavor -his presence always makes whatever he’s appearing in more potent, salient and that much more comprehensible.

He more often in his roles exudes an authentic and, likable personality. Balsam is a ubiquitous guy, his performances always manage to deliver an extra special bit of realism or something familiar that makes it feel special. He exudes true accessibility as an ordinary 5’7 guy. But he also has the ability to transcend that average guy persona we can relate to and adopt a quirky either lovable or despicable character. Yet- he is not only the everyman. He’s also one of the most versatile actors, never playing the same character or role twice. Sometimes mild-mannered, sometimes bombastic, at times a face of still waters, at times a volatile geyser of emotions!

While he does epitomize the ordinary guy, Balsam stretched his range that included Italian crime films, serious teleplays, made for tv movies, feature classic films as well as a few quirky offbeat films

It may seem easy to be an ‘everyman’, to portray an ordinary fella whose personality is based on conformity and quiet acquiescence. But to be a regular guy who possesses many layers and dimensions, who isn’t just a flat cut out figure to fill out the plot… that takes talent, that is acting magic!

Martin Balsam draws you in and makes the experience memorable. That’s what makes him one of the most versatile and recognizable actors. I wish I had been able to see him on stage in the theater, but I regret that I was too young to experience that great time in our culture when the New York City theatre was thriving with Strasberg trained actors.

Martin Balsam has been imprinted on our collective consciousness with his legendary death scene in Hitchcock’s Psycho 1960 as Detective Arbogast who gets up close and personal with Norman’s knife wielding rage filled mother only to stumble backwards (wonderful bit of camerawork by John L. Russell) down the staircase at the Bates Motel—the quintessential cinematic scene still remains a shocker today!

While Jason Robards delivers a superb portrayal of an iconoclast living outside of society, railing against conformity, trying to raise his wonderfully compassionate nephew in search of a name, played by Barry Gordon (who also did the character on stage) in the film version adapted from the stage play of 1962, A Thousand Clowns 1965, Balsam’s performance as his brother Arnold is the quintessential downtrodden man who has risen above the grind to find inner peace and satisfaction with who he is: Balsam plays Arnold without a hint of artifice.

It was this impassioned performance in A Thousand Clowns that won Balsam’s Best Supporting Actor Academy Award.

Mr. Blue:{Robert Shaw} “What did they catch you doing?” Mr. Green:{Martin Balsam} “Nothing. They framed me. The beakies needed a fall guy.” Mr. Blue: “The beakies?” Mr. Green: “Transit cops. Undercover guys. They got wind of a gang passing dope, you know, transporting from downtown uptown and giving it to a motorman, somebody picking it up in Harlem. They tried to pin the evidence on me but they didn’t find anything.” Mr. Blue: “You were innocent?” Mr. Green: “Course I was innocent. Do you think I’d do a thing like that? What’s the matter with you?”

A few of my favorite performances are his flamboyant decorator/ in on the caper Tommy Haskins in director Sidney Lumet’s The Anderson Tapes 1971. And of course I particularly love his Harold Longman aka ”Mr. Green”, the reluctant subway train hijacker with a that pesky head cold, which ultimately gets him pinched because of an ironic ill-fated “atchoo” just as the dauntless Walter Matthau’s police Lt. Zachary Garberin is leaving his NYC apartment checking up on Longman as a suspect in the original 1974 classic version of director Joseph Sargent’s The Taking of Pelham One Two Three (1974). I loved his portrayal of the wise Mendez in director Martin Ritt’s Hombre 1967, And then there’s Bianchi who is quick to pin the murder on everyone Poirot interrogates in director Sidney Lumet’s wonderful Murder on the Orient Express 1974. One of his most heartbreaking roles is that of Dr. Harry Walden, eye doctor who is beaten down and haunted by the ghosts of war, married to Joanne Woodward an ice queen in Summer Wishes, Winter Dreams (1973). As Professor Ruzinsky the dotty academic who translates the portion of Paradise Lost Balsam’s characterization of an eccentric adds humor to Michael Winner’s frightening 70s horror masterpiece The Sentinel (1977). And in Contract on Cherry Street (tv movie) 1977 Balsam plays the hardened and world weary Capt. Ernie Weinberg who is beaten down and beleaguered and just can’t deal with the reality of fighting against the system that allows criminals to reign over his beloved New York City.

Balsam started out as part of the Method actors led by Lee Strasberg along with actor and friend Shelley Winters who shared the stage with him in the 1950s.

Shelley wanted to return to the theater after feeling strangled by her 7 year contract with Universal Studios. At that time, she was friends with Method actors like Elaine Stritch, Ben Gazzara Kim Stanley Virginia Vincent Tony Franciosa (her then husband) Paul Newman and Joanne Woodward and our wonderful Martin Balsam. Shelley wanted to do a Summerstock tour of her play Wedding Breakfast. Shelley and Marty met with a hot new director Sidney Lumet hoping at the end of the play they could shoot it as a film script. Unfortunately Shelley didn’t have faith in her erratic husband Tony Franciosa and so she cancelled the project, which made Lumet angry.

The two would come together again on television in 1964 for Bob Hope Presents the Chrysler Theatre “Two is the Number” Later once again they both co-starred in The Delta Force 1986.

At the Actor’s Studio Balsam was in the great company with friends and co-stars the likes of Geraldine Page, Rip Torn, Ben Gazzara, Julie Harris, Barbara Harris, Anne Bancroft, Maureen Stapleton, Jane Fonda, Anne Jackson, Eli Wallach, Burgess Meredith, Walter Matthau, Paul Newman, Joanne Woodward, Estelle Parsons, Marilyn Monroe and Franchot Tone. Working with writers, Arthur Penn, Arthur Miller, William Inge and Clifford Odets.

You can see a full list of his work at IMDb but here is a list of some of my favorite Martin Balsam’s filmography stopping at the mid 1980s:

Television shows such as: Suspense 1949, Inner Sanctum 1954,  Goodyear Playhouse (TV Series) 1954-1956, Kraft Theatre tv series 1958, Studio One in Hollywood (TV Series) 1957-1958, Decoy tv series 1958, Playhouse 90 (TV Series) 1958-1959, Have Gun – Will Travel (TV Series) 1958-1960, Roald Dahl’s Way Out (TV Series) 1961, Alfred Hitchcock Presents (TV Series) 1958-1961, The New Breed (TV Series) 1961, Naked City (TV Series) 1959-1962, The Untouchables (TV Series) 1961-1962, Route 66 (TV Series), The Twilight Zone (TV Series) 1959-1963, The Defenders tv series 1961-1964, The Man from U.N.C.L.E. tv series 1965, Dr. Kildare tv series 1926-1966, The Fugitive tv series 1967, The Name of the Game 1968-1970, The Six Million Dollar Man 1973, Police Story tv series 1973, Kojak 1974 tv series, Maude 1976 tv series, Quincy M.E. 1982 (Tv Series), Archie Bunker’s Place (tv series 45 episodes) as Murray Klein–Previously they had performed together in the The Sacco-Vanzetti Story on Sunday Showcase (1959)

Television Movies : The Old Man Who Cried Wolf (1970), Night of Terror (1972), Trapped Beneath the Sea (1974), Death Among Friends (1975), The Lindbergh Kidnapping Case (1976), Raid on Entebbe (1976), Contract on Cherry Street (1977), The House on Garibaldi Street (1979), The People vs. Jean Harris (1981), I Want to Live (1983) remake 

Feature Films: On the Waterfront 1954 uncredited as Gillette, 12 Angry Men 1957 as the Foreman Juror 1, Time Limit 1957 as Sgt. Baker, Marjorie Morningstar 1958 as Dr. David Harris, Middle of the Night 1959 as Jack, Psycho 1960 as Detective Milton Arbogast, Ada 1961 as Steve Jackson, Breakfast at Tiffany’s 1961 as O.J. Berman, Cape Fear 1962 as Police Chief Mark Dutton, Seven Days in May 1964 as Paul Girard, The Carpetbaggers 1964, Come Back Little Sheba 1965 as Doc Delaney, Harlow 1965 as Everett Redman, The Bedford Incident 1965 as Lt. Cmdr.

Martin Balsam as Lt. Cmdr. Chester Potter, M.D., U.S.N. in The Bedford Incident (1965) also shown James MacArthur as Ensign Ralston-

Chester Potter, M.D., U.S.N., A Thousand Clowns 1965 as Arnold, Hombre 1967 as Henry Mendez, The Good Guys and the Bad Guys 1969 as Mayor Wilker, Catch-22 1970 as Colonel Cathcart, Tora! Tora! Tora! 1970 as Admiral Husband E. Kimmel, Little Big Man 1970 as Mr. Merriweather, The Anderson Tapes 1971 as Tommy Haskins, The Stone Killer 1973 as mob boss Al Vescari, Summer Wishes, Winter Dreams 1973 as Harry Walden, The Taking of Pelham One Two Three 1974 as Harold Longman aka Mr. Green, Murder on the Orient Express 1974 as Bianchi, Mitchell 1975 as James Arthur Cummings, All the President’s Men 1976 as Howard Simons, Two-Minute Warning 1976 as Sam McKeever, The Sentinel 1977 as Professor Ruzinsky, Silver Bears 1977 as Joe Flore, The Delta Force 1986 as Ben Kaplan, St. Elmo’s Fire 1985 as Mr. Beamish along side real ex-wife Joyce Van Patten.

director Damiano Damiani’s Confessions of a Police Captain 1971 Martin Balsam as Commissario Bonavia

Special note of Balsam’s Italian Crime films: Confessions of a Police Captain 1971 as Commissario Bonavia, Chronicle of a Homicide 1972 as Giudice Aldo Sola, Counselor at Crime 1973 as Don Antonio Macaluso, Smiling Maniacs 1975 as Carlo Goja, Season for Assassins 1975 as Commissioner Katroni, Meet Him and Die 1976 as Giulianelli, The Warning 1980 as Quester Martorana 

HERE ARE SOME MEMORABLE SCENES FROM BALSAM’S IMPRESSIVE CAREER

A Thousand Clowns 1965″I have a talent for surrender”
Directed by Fred Coe Famous broadway play comes to the screen with memorable performances by all the principles in standout jobs by Jason Robards as a talented non conformist and Barry Gordon as his precocious ward. They struggle against welfare bureaucracy in order to stay together. Funny and poignant throughout. Martin Balsam’s performance as brother Arnold lends the axel of normalcy to the entire shenanigans with his fresh fruit and common sense filled equilibrium.

12 Angry Men 1957

Directed by Sidney Lumet. Martin Balsam plays the unassuming jury foreman who tries to keep the proceedings run by the rules but soon finds out that many of the jurors are racist, filled with rage, apathetic and just in a rush to get the ballgame even when a young man’s accused of murder’s life hangs in the balance.

Little Big Man 1970

Directed by Arthur Penn, Dustin Hoffman plays Jack Crabbe who recalls 121 of his adventurous years ending with General Custer’s Last Stand. Told in flashback it tells of numerous encounters in the Old West. One of the most touching relationships is with his chosen Grandfather Old Lodge Skins played by Chief Dan George. Martin Balsam is perfect as the irascible Mr. Merriweather a snake oil salesman who with each town he get’s chased out of, winds up losing an eye, an ear, then a hand then a leg. And after all that getting tarred and feathered to boot! But he still has a mouth to crack wise with and ponder life’s deep questions

The Carpetbaggers 1964

Directed by Edward Dymtryk. Howard Hughe’s like millionaire George Peppard Jonas Cord is a rude and unfeeling rich young tycoon makes movies love and enemies in the Hollywood of the 1920 & 30s. Alan Ladd as a Tom Mix clone helps in this his last picture. Carroll Baker is steamy very tame compared to the porno edged Harold Robbins novel. Martin Balsam plays studio Mogal Bernard B. Norman.

Murder on the Orient Express 1974

Directed by Sidney Lumet. Albert Finny is astonishing as Agatha Christies Belgian detective
Hercule Poirot who is stranded on the train by snow, and a murder where nothing is as it seems. With an extraordinary cast of characters Lauren Bacall, Ingrid Bergman, Jacqueline Bisset. Jean-Pierre Cassel, Sean Connery, John Gielgud, Anthony Perkins, Wendy Hiller, Vanessa Redgrave, Rachel Roberts, Richard Widmark, Michael York, Colin Blakely and of course Martin Balsam is animated and hilariously radiant as the Italian Bianchi -head of the train line, who suspects everyone!

Contract on Cherry Street 1977

Directed by William A. Graham
When Frank Sinatra’s partner is killed, NYC detective Frank Hovannes and his organized-crime squad go against the mob run by Martin Gabel, despite strong objections from his superiors and the legal-departmental restrictions that hinder him. Martin Balsam plays Capt. Ernie Weinberg a career cop who is just worn down by all the bureaucracy. The chemistry between Sinatra and Balsam is terrific. Very well done for a made for tv film. Good supporting performances by Harry Guardino and Henry Silva.

Catch-22 (1970)

Directed by Mike Nichols. This black comedy about the absurdity of war stars Alan Arkin as a soldier during World War II. The dilemma of trying to avoid the insanity or to embrace it in order to get out of duty. Orson Welles plays a rabid general who keeps scheduling more and more bombing missions, and Martin Balsam as the blustering opportunistic Colonel Cathcart adds an extra edge of preposterous folly and audacity

Hombre 1967

Directed by Martin Ritt
Henry Mendez (Martin Balsam) plays a sage Mexican who himself has been treated less than by the white man because of his heritage. Mendez tells John Russell (Paul Newman -Hombre) the stagecoach line is shutting down because of the railroad and urges John Russell to return to his White Man’s roots and take over a boarding house left to John by his deceased stepfather.

Henry Mendez is the stagecoach driver paid by Alexander Favor to transport him and his family. Mendez decides to take the back road to Bisbee Arizona because of a suspicious group of men (led by outlaw Richard Boone), in the area. Alexander Favor (Fredric March) makes Henry do his dirty work and tell John Russell that he has to ride on top with Mendez when Alexander finds out that John Russell is a White Man raised as an Apache. Mendez doesn’t see the point in fighting this because he has seen how it isn’t worth making trouble. Co-stars Barbara Rush as Alexander Favor’s wife Audra.

Cape Fear 1962

Directed by J. Lee Thompson Cape Fear is a taut thriller about a lawyer (Gregory Peck) and his family being menaced by a vengeful psychopathic ex-con Max Cady played with authentic relish causing real chills by Robert Mitchum. CADY blames Sam Bowden (Peck) for sending him up the river and now that he is out. he’s got disturbing plans for his family. Martin Balsam plays Sam’s friend Police Chief Mark Dutton who tries to help him protect himself though it seems Cady has ways of getting around the law.

The Sentinel 1977

Directed by Michael Winner. This is a simple nightmarish adult fairy tale about a young model Alison Parker (Christina Raines) who has been picked by a secret cult of catholic priests to become the next sentinel to watch over the gates of hell, which happens to be a brownstone in Brooklyn Heights. (the building is still there) While renting this lovely furnished apartment she meets a host of weird characters that may or may not exist. When odd occurrences begin to drive Alison mad, her boyfriend lawyer Michael (Chris Sarandon) looks for help from various criminal elements lock pickers, private eyes and our man Martin Balsam as Professor Ruzinsky to help translate a passage in Latin. Balsam is hilarious as the forgetful & nutty old professor. Co-stars Ava Gardner, Burgess Meredith

Alfred Hitchcock Presents episode “The Equalizer” aired February 9, 1958

 

Marty plays a mild mannered accountant Eldon Marsh who is called “little man” too often after the new company hot shot who is much bigger and stronger Wayne Phillips (Leif Erickson) humiliates him and steals his wife (Norma Crane). Eldon gets punched a lot but still defends his honor by challenging Phillips (Erickson) to a fight to the death

Naked City episode “Beyond Truth” aired July 7 1959

 

Directed by John Brahm

Martin Balsam plays Arnold Fleischmann who is haunted by a reoccurring nightmare. Arnold has served time in jail for manslaughter when driving drunk he hits and kills a little girl. Now his wife seeks out the help of Det. James ‘Jimmy’ Halloran (James Fransiscus) of the 65th Precinct to re-investigate the case, as she has never believed that Arnold was driving that night. But Arnold refuses to co-operate with the police and just want to leave it in the past. But the evidence does look like Arnold’s been framed for the killing and that the wrong man has been convicted. Balsam plays a sobering and sad guy who has come to accept the hand he’s been dealt.

The Twilight Zone episode “The Sixteen Millimeter Shrine” aired October 23, 1959

 

Written by Rod Serling. Ida Lupino plays Barbara Jean Trenton a faded film star who lives in the past, constantly re-watching her old movies and shunning the outside world. Martin Balsam plays her agent Danny Weiss who tries to get her to come out of isolation, even getting her a part in a new film, though it’s not a lead nor glamorous role. Danny tries so hard to get Barbara to see that it’s no good living int he past, and though she refuses to embrace what’s new, Danny stands by her loyally ultimately with frightening and uncanny results.

Summer Wishes, Winter Dreams 1973 “I have to stand someplace, someplace that I’ve stood before!”

Directed by Gilbert Cates the story follows the journey of depression experienced by housewife Rita Walden. At the opening of the film, Rita loses her overbearing mother played by Sylvia Sidney. Martin Balsam does an incredible job of stoically navigating around Rita’s ice water emotions, though he has ghosts of his own that he quietly battles. Somehow through all the harsh words and bitter detachments, the couple seem to find each other again at the end. Balsam was nominated for the 1974 Golden Globe Award for Best Supporting Actor as Dr. Henry Walden unloved by his unemotional wife, finally articulates his feelings and confronts his pain head on while on a trip to France revisiting Bastogne where he was stationed during the war. It’s an outstanding performance which shows Balsam’s acting range, as he shakes off the average guy persona and reaches deep inside and bares his soul.

Summer Wishes, Winter Dreams 1973

Psycho (1960)

Directed by Alfred Hitchcock After Marion Crane steals money from her employer and runs off into the night staying at the Bates Motel run by the gentle young man Norman -which leads to her terrifying demise, her sister and lover Lila Crane (Vera Miles) and Sam Loomis ( John Gavin) hires a private detective Det. Milton Arbogast to find Marion. Balsam plays the edgy Arbogast who isn’t buying sweet and humble Norman’s story that he’s never seen Marion Crane. Arbogast is not one to be put off, he suspects Norman’s mother knows something and secretly goes up tot he house on the hill to investigate. to his ‘down fall’ Sorry for that cheap pun!

The Anderson Tapes 1971

Director Sidney Lumet’s taut action thriller about an ex-con (Sean Connery) under surveillance who wants to pull off The Big Heist, consisting of loot and treasures from the affluent tenants of a high rise apartment where his lover/call girl (Diane Cannon) lives. Martin Balsam plays the wonderfully exuberant interior designer Tommy who helps out with the caper.

The Taking of Pelham One Two Three 1974

Directed by Joseph Sargent -Walter Matthau plays the belly-aching gum chewing Police Lt. Zachary Garber chief of security on the New York City subway. A band of clever thugs led by Robert Shaw as Bernard Ryder aka Mr. Blue has hijacked a commuter train with,demanding a ransom of $1 million dollars or they will start killing the passengers one by one. Martin Balsam plays Harold Longman aka Mr. Green plagued by a really bad head cold, and sneezes throughout the film so much so that Lt. Garber recognizes it, even replying “Gesundheit” . Green is also a bit reluctant throughout the caper, but he’s disgruntled for having lost his job as a transit worker.

Well this is Joey giving you all the Bronx Cheer for me and Marty!!! But I mean it in the nicest way!

🚀 “Keep watching the skies!” Science Fiction cinema of the 1950s- The year is 1951- Part 2

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CONTINUED!

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AND DON’T FORGET TO RE-VISIT THE FABULOUS CLASSIC MOVIE HISTORY PROJECT BLOGATHON 2016!

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Click Here for the original introduction to the series!

X MAN, trips to MARS, Lost Continents, Men in White Suits, the man in red silk underwear-SUPERMAN, a Super Intellectual Carrot– plus lots more!

Flight to Mars

flight-to-mars-1951-sci-fi-movie-poster-r-muirhead-art

Flight to Mars _1951

Fligth to Mars 1951

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The Earthlings…

flight to mars

The Martians…

Fifty Years Into The Future!–The Most Fantastic Expedition Ever Conceived by Man!

Director Lesley Selander with a screenplay by Arthur Strawn  (The Black Room 1935, The Man Who Lived Twice 1936) Selander it seems is more known for his work with westerns both on the big screen and television set. The film stars Marguerite Chapman as Alita, Cameron Mitchell as Steve Abbott, Arthur Franz as Dr. Jim Barker, Virginia Huston as Carol Stafford, John Litel as Dr. Lane, and Morris Ankrum as Ikron who became an incredibly familiar supportive player in many of these fantastic films of the 1950s, (Rocketship X-M 1950, Red Planet Mars 1952, Invaders from Mars 1953, Earth vs. the Flying Saucers 1956, Beginning of the End 1957, Kronos 1957, The Giant Claw 1957, Zombies of Mora Tau 1957, Half Human 1958 and How to Make a Monster 1958.)

With special effects and art direction by Edward S. Hayworth, Jack Cosgrove, and cited by Fantascene Irving Block (matte artist for Invaders from Mars 1953, Forbidden Planet 1956, Kronos 1957, The Giant Behemoth 1959) was responsible for the impressive design and over all look of the picture with cinematography by Harry Neumann (The Land of Missing Men 1930, Vanity Fair 1932, The Thirteenth Guest 1932, When Strangers Meet 1934, The Mysterious Mr. Wong 1939, The Fatal Hour 1940, Doomed to Die 1940, The Face of Marble 1946, The Maze 1953 in 3D!, A Bullet for Joey 1955, My Gun is Quick 1957, The Wasp Woman 1959)

Flight to Mars telescope

Flight to Mars 1951 lobby card color

flight_to_mars_1951

After the reception that Destination Moon and Rocketship X-M got at the box office it’s no big leap to see why there would follow a film like Flight to Mars (1951) though 1951 and the rest of the 1950s decade wasn’t more jam packed with other films that forayed into space voyage. What became more noticeable was that the aliens–came here! Most likely to to budgetary constraints filming on location on Earth seems to make a lot more sense as it was cheaper to pull off. Along comes Monogram pictures, that became Allied Artists, who ventured into the landscapes of Mars, with a story filled with the sub-plot of earthly melodrama and cliché battle of the sexes on board.

flight_to_mars_1951 arthur franz

Flight to Mars offered little pesky problems, like weightlessness, meteor showers, a contemplative pipe smoking Arthur Franz as scientist Jim Barker who spends so much time calculating their trip to Mars that he can’t see that Carol Stafford (Virginia Huston) is hopelessly in love with him. Cameron Mitchell plays newspaper man Steve Abbott, who is the ‘man’s man’ there to act as brawn and counter-balance to the intellectual egg-headedness of the brainy types on board including Dr. Lane (John Litel) and Professor Jackson (Richard Gaines) also scientists on board.

Flight to Mars brain and brawn

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“You listening Carol, I think you are a prize package and VERY feminine… {…} I sure do Mr. engineer and I don’t have to look in a test tube to find out.”– Steve

Flight to Mars Cameron Mithell "close enough to the man in the moon to talk to him"

The extent of Steve Abbott’s philosophizing “Close enough to the man in the moon to talk to him.”

Flight to Mars 5

As Bill Warren writes, “It’s as if a law (the law of the box office) was laid down for makes of science fiction films of the 1950s; a man could not be both brilliant and amusing ; he couldn’t be both a genius and a lover, both a scientist and a sinner.; both skilled with his brains and with his fists. Wisecracks, sexual drive and heroics were usually allotted to one or two other characters. The scientist was almost always a loner with the faraway look of dreams in his eyes., never also a down to-Earth regular Joe who was also a brilliant researcher.

It stands to reason then that Carol would run straight into the arms of the hero, Steve Abbott, who notices that she’s “really feminine.”

Flight to Mars crash land orange sky

flight to mars the orange sky and towers

When the ship crash lands on Mars, and the sky burns a brilliant orange things get pretty exciting for the crew and us when they spot strange structures as part of the landscape. Enter steady science fiction player Morris Ankrum as the duplicitous Martian named Ikron, who not only looks very human but is quite eloquent with his use of the English language due to the fact that he has studied us from our radio and television broadcasts, and have know of their impending arrival. Ikron takes the earth men underground to their city dwelling with cars and air ships (animated) to show how advanced their civilization is.

flgiht to mars animated underground technology

Flight to Mars

OSA MASSEN Character(s): Dr. Lisa Van Horn Film 'ROCKETSHIP X-M' (1950) Directed By KURT NEUMANN 26 May 1950 CTW88028 Allstar/Cinetext/LIPPERT PICTURES **WARNING** This photograph can only be reproduced by publications in conjunction with the promotion of the above film. For Editorial Use Only.
OSA MASSEN
Character(s): Dr. Lisa Van Horn
Film ‘ROCKETSHIP X-M’ (1950)
Directed By KURT NEUMANN
26 May 1950
CTW88028
Allstar/Cinetext/LIPPERT PICTURES

Incidentally Alamy has mis-marked this photograph as Osa Massen when clearly it is Flight to Mars…

Flight To Mars 1951 B&W lobby card

Flight To Mars

The truth is that the Martians are running out of their precious resource of Corium and without the planet will become uninhabitable and they will perish. The Martians plan on hijacking the Earth rocket, use their technology to produce more rockets like ours and then conquer the Earth! But among these nefarious Martians are those who want to help them escape, like Tillamar played by Robert Barrat (Captain Blood 1935, The Life of Emile Zola 1937, Relentless 1948, and his last appearance as the kind father Stoney Likens in The Alfred Hitchcock Hour’s incredible episode Return of Verge Likens 1964) and his beautiful daughter Alita played by Marguerite Chapman  (Charlie Chan in the Wax Museum 1940, Appointment in Berlin 1943, Strange Affair 1944, The Green Promise 1949, The Seven Year Itch 1955)

Marguerite Chapman

flight_to_mars_

Ikron finds out about the little insurrection taking place as he has a pretty spy Terris (Lucille Barkley) who alerts him to everything that is going on. Alita who has also fallen in love with brainy boy scientist Dr. Jim Baker (Arthur Franz) is a true heroine and helps the crew lift off Mars and away from her treacherous father and his evil plans.

Flight to Mars the spy

Steve Abbott: Dr. Lane, I once heard of a man who climbed a higher mountain than anyone else alive, but he was never able to get down again. What’s left of him is still up there.

Dr. Lane: The point is, Steve, he made it.

Flight to Mars the ship

Steve Abbott: [looking at the Earth through the port hole of the spaceship] Ah, the Earth seems so big when you’re on it… from out here so small and nothing. It’s like closing your eyes in the dark and suddenly you’re alone with your soul.

Lost Continent

The Lost Continent

Directed by Sam Newfield (The Terror of Tiny Town 1938, The Mad Monster 1942, Dead Men Walk 1943, I Accuse My Parents 1944) starring Cesar Romero as Maj. Joe Nolan, Hillary Brooke as Marla Stevens, Chick Chandler as Lt. Danny Wilson, John Hoyt as Michael Rostov, Acquanetta as ‘Native Girl’, Sid Melton as Sgt. Willie Tatlow, Whit Bissell as Stanley Briggs and Hugh Beaumont as Robert Phillips. Cinematography by Jack Greenhalgh and Augie Lohman (Barbarella 1968) in charge of visual effects and stop motion animation.

Let’s just get Hillary Brooke out of the way now, as she doesn’t crash land on the Lost Continent, as Marlashe only gets to dance with Cesar Romero before his flight leaves for parts unknown!

Hillary and Cesar in Lost Continent 1951jpg

Lost Continent 1950 lobby card dinosaurs

Somehow dinosaurs seems to go along with rocket ships and exploration of lands without and within. So naturally a lot of fantasy/adventure films are considers little lost continents amidst the Sci-Fi genre. According to Bill Warren, dinosaurs were actually a potential plot mechanism thought of by Robert Lippert for Rocketship X-M, thank the space-gods that the film maintains it’s integrity with just a civilization of savages wiped out by nuclear holocaust.

As Bill Warren cites in his bible for the 1950s genre there was a “tradition of blending phony Old Native Legends with some new, science fictional story elements.”

Lost Continent lobby card

Lost Continent lobby card

An atomic powered rocket craps out over the South Pacific, and so a rescue mission led by Maj. Joe Nolan (Cesar Romero) is sent out to find the crew, aided by his co-pilot Danny (Chick Chandler) and cracking wise Sergeant Willie Tatlow played by Sid Melton who adds the comic-relief (Sophia Petrillo’s smart-alecky Sal, ‘May he rest in peace til I get there’) Along is Ward Clever, no wait he was a Sea-Bee, teehee Hugh Beaumont as top scientist Robert Phillips and scientists Michael Rostov played by the other ubiquitous supportive actor John Hoyt and Stanley Briggs played by the other very familiar face Whit Bissell who is terrified by a giant lizard one night and falls off the side of the mountain.

Major Joe Nolan: Look at the size of that footprint! I’ve never seen anything like it before!

Robert Phillips: I have. Once… in a museum.

Lost Continent Brontasaurus

lost-continent-1951-film

The crew crash lands just coincidentally in the same spot as the prior ship, and they find themselves on an Island (tinted in glorious green at the mountain top ) not only filled with volcanic activity but is radio-active AND it’s inhabited by the sultry Acquanetta (Captive Wild Woman 1943, Tarzan and the Leopard Woman 1946) a native girl who remained after all the others fled when they saw the great fire-bird fly over head and made the earth tremble.

Acquanetta born Mildred Davenport of Ozone, Wyoming.

Acquanetta_005_(Tarzan and the Leopard Woman)

Here she is in Tarzan and the Leopard Woman 1946

Lost Coninent -Acquanetta

She also warns them not to climb the mountain as it is a ‘sacred mountain taboo’ which is the home of her gods. The crew is also getting a bit mistrustful of Rostov after all he is a Russian ex-patriot and has ice water in his veins. Joe gives him a dig after Briggs falls to his death pondering if he in fact just let the poor man fall, “another one of your–unpredictables?”

Lost Continent crew

The island or Lost Continent is a pressure cooker of vapors, clouds, greenery and uranium fields that might just blow! All this radioactivity must have been what brought down both rockets. and as one of them points out as “powerful as a stockpile of hydrogen bombs…”

The crew shoot a flying reptile minding it’s own business, there’s a gratuitous dinosaur fight between horned beasts and a brontosaurus ( which I thought were leaf eaters hhm, I’ll have to look that up) chases Phillips up a tree. The crew is befuddled by the presence of prehistoric dinosaurs, but Hollywood isn’t so they’ll just have to deal. Phillips asks,  “Who can explain it?… it’s an impossibility, yet here we are right in the middle of it!” 

The film even gets to stick some anti-red sentiment in there as the stranded crew from the rocket-ship come to find out that Rostov not only didn’t sabotage the rocket but is a regular ‘Joe/Mike’, who lost his wife in a concentration camp and considers some of his Russian countrymen ‘villains’ who he wants to go back and fight against them ‘pushing buttons on more rockets.’

Finally they find their ship nose down in the earth, but they can’t get near it because there is a large brontosaurus and a triceratops hanging around, and Willie winds up getting gored to death. Then the earthquakes begin but the survivors make it out to sea on a raft just as the whole mountain blows up!

The Man from Planet X

the-man-from-planet-x

manfromplanetx poster

🚀

Directed by Edgar G. Ulmer (People on Sunday 1930, The Black Cat 1934, Detour 1945, The Strange Woman 1945, Ruthless 1948, Daughter of Dr. Jekyll 1957, The Amazing Transparent Man 1960)

Written by Aubrey Wisberg and Jack Pollexfen (The Secret of Convict Lake 1951, Captive Women 1952, Port Sinister 1953, The Neanderthal Man 1953, Five Bold Women 1960.)

Stars Robert Clarke as John Lawrence, Margaret Field as Enid Elliot, Raymond Bond as Prof. Elliot, and William Schallert as Dr. Mears.

Though this is a very low budget film, I have an affection for it’s unassuming and atmospherically charming tone and I actually had an action figure of the alien as part of a series released in the late 60s, early 70s which included the winged angel from Barbarella!

Man from Planet X jpg

Okay enough meandering down nostalgic Warren Drive, Long Island USA.

The sets were left overs from Joan of Arc (1948) at Hal Roach Studios. Ulmer designed the ship that resembled less of a space craft and more like ‘diving bell that was lowered into our dense atmosphere -Bill Warren. The film’s use of low lighting hides that fact that set and the interior ship design was constructed out of plywood. Inside the alien suit it is suggested was a little person or person of short stature actor possibly Billy Curtis. According to Warren, as described in the script, his face had the look of being distorted by pressure, or as if similar to a ritual mask belonging to a primitive tribe. The lighting adds to the unique quality of his expressionless face.

The_Man_from_Planet_X_ enid sees the ship

The film opens with American reporter John Lawrence (Robert Clarke-The Astounding She Monster 1957, The Hideous Sun Demon 1959) narrating in voice-over his panic over the well being of both Professor Elliot and his daughter Enid who have been taken back to a space craft by the alien from planet X. As he paces the observatory tower floor he begins to relate the strange story that has unfolded in the past few days. He fears for their lives as well as his own.

Lawrence was sent to a remote Scottish Isle Burray in the Orkneys, to see Professor Elliot (Raymond Bond) after a wandering planet called ‘X’ is spotted in our solar system and is approaching Earth, estimated coming close to the Orkneys. John Lawrence stays with Dr. Mears played by extremely likable and oft seen William Schallert, although in this film he plays a rather suspicious and brooding character who has a mistrust of Williams. John Williams also meets his lovely daughter Enid played by Margaret Field. This science fiction gem has a sub-plot as most do where love gets to blossom, as Enid and John they take a foggy drive then a cozy walk along the moors, they encounter a small metallic object and eventually stumble upon an object that they establish is a probe.

The Man from Planet X a fine british love story

As Anthony Newley sings from his and Leslie Bricusse’s song from their award winning musical The Roar of the Greasepaint –the Smell of the Crowd“Look at that Face, just look at it!”

Man from Planet X looks at Enid

Later that night Enid gets a flat tire and walks back across the moors in the shrouded mysterious late night fog where she comes upon a sphere with an observation glass and she looks in, a strange face peers out at her!

X-shows his face

Enid runs and gets her father, and when they arrive back at the ship to inspect it, a light shines in her father’s face and becomes temporarily submissive. The laser gun creates a calming light zone where people not only comply, but can understand the droning language of the alien from X. When Lawrence and Mears go back to investigate the Man from Planet X comes out once again to greet them. In a very interesting scene, this adorable alien attempts to judge whether these earth men can be trusted, so he turns off his air supply until Lawrence realizes what he is doing he turns his air back on and from that point he sees that Lawrence can be trusted.

Dr. Mears is another matter entirely. The Man from Planet X has not come to Earth meaning any harm, and only turns defense and hostile after the greedy Mears bares his viciously aggressive teeth–bad scientist, bad bad scientist!

The Man from Planet X Enid and Dad get zapped by beam

the-man-from-planet-x-lobby-1951

The Man From Planet X 1951

The Man from Planet X

The Man from Planet X Enid is scared

The Man from Planet X alien follows them home

The alien follows both men back to the tower where they’re staying, but he’s left with the greedy Mears who only wants to exploit the poor little gray guy in the cutest little space suit ever. He discovers great cosmic secrets from Mr. alien X conversing within the universal language of mathematics. The nasty Mears tries to subdue him by turning his oxygen source on low but once he revives and takes Mears and Enid with him back to the ship, later taking Professor Elliot and several villagers along with him putting them in the same hypnotic trance forming a wall around his ship.

The man from planet x Dr Mears intimidates x

Dr. Mears: [to the Man from Planet X –laughing] Dr. Mears: To think – a fantastic gnome like you had to hurdle out of space to put this power in my hands. Well, now that we’ve made contact, I’m gonna tear out every secret you’ve got!

the-man-from-planet-x dr mears is dangerous

man_from_planet_x he comes in peae

the-man-from-planet-x-LAwrence and the alien

The Man from Planet X dr under light

the man from planet x villagers and contsable

Planet X is drawing nearer to Earth… Roy Engle as Tommy the Constable calls in the military. John Lawrence manages to awaken the sleep walkers and get them safely away from the ship, while the evil Dr. Mears runs back in the direction of military fire. The space craft and sadly, the alien are blown to smithereens. Planet X in it’s wake creates terrestrial winds, and bright lights — and then disappears into the vastness of outer space once again, perhaps dooming Earth to bad weather?

the man from planet x bad weather

Whether or not The Man from Planet X was an innocent drifter who found himself in a kerfuffle on Earth just trying to survive being in the wrong place at the right time or as Lawrence feared might have been trying to invade the planet… because of his ‘otherness’ he had to be destroyed.

Dr. Mears-” How may we know what processes of thought run through his head? How may we assume he thinks as we do? How may we anticipate what a bizarre and fantastic organism might or might not do?”

The Man from Planet X oxygen tank testing humanity

Down on the ground Alien X has turned off his oxygen to test the earthling’s response. He’s about as aggressive as a kitten going belly up! John turns his air back on.

I have to admit that I am one of the ones who finds Edgar Ulmer’s work fascinating and worthy of it’s cult following as he’s done everything from moody b horror films to film noir. Some more lavish budgets like The Black Cat 1934, and Bluebeard 1944, to film noir masterpieces like Detour (1946) Some poverty row flicks with titles like Girls in Chains, Isle of Forgotten Sins and Jive Junction all made in 1943.

In an interview with film maker Peter Bogdanovich in Kings of the Bs, Ulmer said that he had to do it all for the sake of the money, “I admit to myself that I was somehow schizophrenic in making pictures. On one hand, I was absolutely concerned with the box office and on the other, I was trying to create art and decency with style. I could not completely get out of the commercial though I knew it limited me.” 

The Man from Planet X a diving bell

the man from planet x dr and john look inside the ship

But as Bill Warren says, what ultimately wound up happening because of Ulmer’s hand in The Man From Planet X resulted in ‘the first science fiction gothic horror film.”

An Austrian implant who had a knack for set design. And the lustrous and atmospheric demur of The Man From Planet X  just sets this curious and obscure little gem apart from all the other Sci-Fi films of the 1950s.

Enid Elliot: When I got close to it, it looked like a giant glass ball girdled with something like a steel belt. Three of them, I think. When I got close enough to look in – there it was.

Professor Elliot: It? What?

Enid Elliot: That face! Right on the other side of the glass looking right into mine! I was terrified!

Professor Elliot: A face? A human face?

Enid Elliot: A ghastly caricature like something distorted by pressure. I can’t think how else to describe it – a horrible, grotesque face looking right into my eyes!

Professor Elliot: Your statement has the tinge of fantasy.

the man from planet x diving bell

Enid Elliot: You know, I think that creature was friendly. I wonder what would have happened if… if Dr. Mears hadn’t frightened him.

 John Lawrence: Who knows? Perhaps the greatest curse ever to befall the world, or perhaps the greatest blessing.

The Man from Planet X a curse or blessing

the-man-from-planet-x_1951

 

Continue reading “🚀 “Keep watching the skies!” Science Fiction cinema of the 1950s- The year is 1951- Part 2″

The Classic Movie History Project Blogathon 2016! 🚀 “Keep watching the skies!” Science Fiction cinema of the 1950s

History-Project-2016-godzilla

“I bring you a warning. Every one of you listening to my voice. Tell the world… Tell this to everybody wherever they are. Watch the Skies! Everywhere. Keep looking. Keep watching the skies!

Ned ‘Scotty’ Scott — The Thing From Another World (1951)

Keep watching the Skies!

It’s that time of year once again when Movies Silently, Silver Screenings & One Upon a Screen host a momentous event…. The Classic Movie History Project Blogathon 2016 which will begin August 5th -10th, 2016.

Science fiction is a genre of speculative fiction dealing with imaginative concepts such as futuristic science and technology, space travel, time travel, faster than light travel, parallel universes and extraterrestrial life. Science fiction often explores the potential consequences of scientific and other innovations, and has been called a “literature of ideas. –Wikipedia definition of Science Fiction

Robot Monster rocket

This event always promises to be an epic endeavor as there are so many interesting themes and subjects to cover. I am excited to be participating once again with these fabulous hosts who make it possible for all of us to contribute to a wealth of classic film history goodies to devour. Now listen folks, don’t get frightened off! You cast of exciting unknown readers… This has become a real project for me, a work in progress that will unfold over the next several weeks. For the purpose of The Classic Movie History Project Blogathon 2016, I offer an overview that will be a lead in for the entire decade of 1950s science fiction cinema conquering it year by year in separate articles. As I started delving into this project, it began to grow larger and larger as if Jack Arnold and Bert I. Gordon themselves compelled me to GO BIG!

amazing colossal man vegas

attack_of_the_50_foot_woman_3_by_farzelgaart-d4ubn9h

50 foot woman at the bar

In order to review an entire genre of such an influential decade and do the treatment it so rightly deserves, I realized that I needed to spread it out as a series. Re-visiting these beloved movies that inspired my childhood with wonder and sometimes tapped into my own authentic fears, I fell in love all over again. And though I tend to gravitate towards the classical Gothic horrors that are steeped in mythology, the supernatural and the uncanny, I can’t help but feel my mind expanding by the iconic themes that emerged from 1950s science fiction! So I’ll be publishing each year as individual posts or chapters from 1952 on… over the next several week or so instead of all at once. Talking about all the films I mentioned here and so many more films & things to come!

It’s a collection–a decade of the sci-fi genre, sub-genres and it’s hybrids– some eternally satisfying because of their remarkable ability to continuously shine a light on fascinating & mesmerizing fantasy stories. Well written and adapted as visual narratives and surreal stories by beloved visionaries who set out to reach inward and outward through all of us dreamers and thinkers.

There are also those lovable Sci-fi films that are charming and wonderfully kitsch. And some… are just downright so, so, soooo awful their… awesome!

That’s what makes so many of these diverging films cut through the cross-sections to become cinematic jewels & memorable cult favorites!

Robot Monster 2

There are many films that I’ll cover more in depth, some are the more highly polished masterpieces that have lingered for decades with us as adult children who grew up watching them on a rainy afternoon on televisions with knobs that only had 9 channels and if you were lucky you didn’t snap the knob off every 6 months! Growing up in New York I had Chiller Theater, on local channel 11 or Creature Features on Channel 5, or Fright Night on Channel 9. That’s how I fell in love, and got my fill of the treasures of films & television anthology series that was lurking out there destined to leave long lasting impressions on so many of us!

Chiller Theater

Fright Night WOR

Or back in the day, you went to the Drive-In theater to explore in the back seat of your pop’s Chevy Impala any double feature, and it was an invigorating and entertaining experience and you didn’t even have to get out of your pajamas.

Retro Drive In

You could spend all day in a musty theater festooned with captivating promotional lobby cards and colorful posters. Too bad, I wasn’t of the age to witness William Castle’s ballyhoo he strategically placed at certain theaters for that interactive live experience , EMERGO, PERCEPTO! You could take in a bunch of the latest scary films, sometimes double & triple features, while sitting on sticky red velvet seats that smelled like hot buttered popcorn and week old spilled Pepsi. A box of Milk Duds in hand and the faint wiff of air conditioner freon at your back. You’d enter the movie theater in the bright light of a sunny Saturday afternoon only to exit into the dark of night, tired and filled with wonder, awe and okay maybe looking over your shoulder a few times. Some films were big budget productions, that contained serious acting by studio contract players, terrific writing that blended deep thoughts and simple escapism pulled from some of the best science fiction, fantasy & horror literature and adapted screenplays, scares and witty dialogue besides and cinematography that still captivates us to this day.

3D Audience

Well… sure some were B movies that have now sustained that Cult film charm and cheesiness, and some… are just downright pitiful, laughable guilty pleasures… and a bunch even came with really neat 3D glasses!

SOME ICONIC GEMS FOR THE AGES THAT I’LL BE COVERING!

Creature From the Black Lagoon

Incredle Shrinking Man vs Cat

THEM! (1954)*INVADERS FROM MARS (1953) *DAY THE EARTH STOOD STILL (1951)*FORBIDDEN PLANET (1956) *THE THING FROM ANOTHER WORLD (1951)*EARTH VS THE FLYING SAUCERS (1956) *THE INCREDIBLE SHRINKING MAN (1957) *INVASION OF THE BODY SNATCHERS (1956) *WAR OF THE WORLDS (1953) * CREATURE FROM THE BLACK LAGOON (1954) * IT CAME FROM OUTER SPACE (1953)* IT, THE TERROR FROM BEYOND SPACE (1958) *EARTH VS THE SPIDER (1958) *THE CRAWLING EYE (1958) *THE GIANT BEHEMOTH (1959) *IT CAME FROM BENEATH THE SEA (1955) *TARANTULA (1955) *FIEND WITHOUT A FACE (1958) *THE MONOLITH MONSTERS (1957)* THE AMAZING COLOSSAL MAN (1957) * THE ANGRY RED PLANET (1959)*KRONOS (1957)* THE CREEPING UNKNOWN (1956)*X-THE UNKNOWN (1956

I’LL ALSO BE TALKING ABOUT SOME GUILTY PLEASURES!

Attack of the Crab Monsters 4

Attack of the Crab Monsters (1957)

not-of-this-earth paul birch

Paul Birch is the alien vampire Paul Johnson in Roger Corman’s Not of This Earth 1957

The Brain from Planet Arous 1957* Attack of the Crab Monsters 1957* The Killer Shrews 1959* The Giant Claw 1957 *Beast From Haunted Cave 1959 *The Monster from Piedras Blancas 1959 *Invasion of the Saucer Men 1957 *The Monster that Challenged the World 1957 *Not of this Earth 1957* The She-Creature 1956* The Man Who Turned to Stone 1958* Invisible Invaders 1959* Attack of the 50 Foot Woman 1958* The Hideous Sun Demon (1959) * Monster on the Campus 1958* The Unknown Terror 1957* Creature with The Atom Brain 1955 * The Unearthly 1955 * From Hell it Came 1957,

Tabanga and Korey

It’s also important to mention some of the ubiquitous actors who graced both the great & guilty pleasure flicks, you’ll be seeing a lot of in the following chapters like John Carradine * Ed Nelson *Allison Hayes *Paul Birch *John Agar *Hugh Marlowe*Peter Graves *Richard Denning *Richard Carlson *Faith Domergue *Mara Corday *Les Tremayne *Marie Windsor *Morris Ankrum * Arthur Franz *Kenneth Tobey* John Hoyt * Whit Bissell and of course Beverly (kicks-ass!) Garland!

One thing is for certain, each film is relevant and all have a place in the 50s decade of Sci-fi / Horror & Fantasy!

So come back and read a little at a time and get some thrills even while you’re sitting under the hair dryer… Do people still do that today? I need to get out more…

1955 hairdryer wants to be a space-age helmet

This 1955 hair dryer is just begging to be a space-age helmet!

It all started with Georges Méliès 1903 fantasy A Trip to the Moon
Le Voyage Dans La Lune 1902 – Georges Méliès

Le Voyage Dans La Lune 1902

Trip to the Moon 1902

As early as 1920 there was the German expressionist film dealing with the arrival of a menacing alien visitor from the planet Algol giveing actor Emil Jannings a machine that awards him unlimited powers. ALGOL aka POWER 1920 directed by Hans Werckmeister

Emil Jennings in Algol 1920

“That which you believe becomes your world.”
Richard Matheson from ‘What Dreams May Come’

Science Fiction emerged out of the “Age of Reason” literature reflected a merging of myth and historical fact. Stories filled with an imagination that had no boundaries. While Science Fiction is a literary movement that can be a separate study all it’s own, story tellers who grasped the concepts of science fiction who questioned the endless possibilities, the far reaching machinations of brilliant minds, this project if focused on the history of 1950s science fiction cinematic and all it reveals. Science Fiction cinema flirted blatantly with ideas and images of a world that reached beyond the known, and contemplated aloud, fantastic stories as early as the silent era. Consider Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde, re-envisioned time and time again.

barrymore 1920 dr jekyll

dr-jekyll-and-mr-hyde-(1920)

John Barrymore lifts the dark conflicting tale of the inward monsters off the pages of Stevenson’s book. Barrymore so fluently moved through the silent stage, reveals that we all just might be harboring in our sub-conscious hidden dark and primal desires. Unleashed by a concoction, a seduction of science creates a fiend! Dr Jekyll & Mr. Hyde (1920)

aelita-queen-of-mars-1924

Aelita Queen of Mars (1924)

The odd yet visually stunning Russian spectacle Aelita Queen of Mars (1924) aka Revolt of the Robots.e

There were a few early visions of fantasy, magic & Science Fiction films from all around the world- At 3:25 aka The Crazy Ray (1924)  Directed by Rene Clair-a scientist invents a ray that makes people fall asleep where they stand! The German film Master of the World (1934) (Der Herr der Welt) where a German scientist wants to create an army of Robots to do the dangerous work of laborers so, when he is told it’s too risky he goes mad and it’s too late the machine has a mind of it’s own. It features really cool electronic chambers and more!

And Transatlantic Tunnel (1935) Scientists construct a tunnel under the ocean-stars Richard Dix, Leslie Banks and C. Aubrey Smith.

Metropolis 1927 the dystopian masterpiece by director Fritz Lang was the beginning of the fascination with exploring the fantastic and our unbounded imaginations on film, it’s remarkable set design, imagery and narrative sparked the Science Fiction genre in a big way— spanning decade upon decade, in particular revived in the 1950s!

Metropolis

The first influential science fiction film by Fritz Lang created a dystopian societ in Metropolis 1927. It’s influence has maintained it’s powerful thrust for decades. An inspiration for Ridley Scott’s neo-noir sci-fi masterpiece Blade Runner (1982)
Metropolis 1927

“Man is the unnatural animal, the rebel child of nature, and more and more does he turn himself against the harsh and fitful hand that reared him”-H.G.Wells

Island-of-Lost-Souls 1932

Kathleen Burke Island of Lost Souls

Island of Lost Souls charles_laughton

Island of Lost Souls 1943 The House of Pain

Charles Laughton is superb as H.G. Wells Dr. Moreau a sociopathic sadist/scientist with a god complex whose profane experiments on animals and humans tortures them in the ‘house of pain’ trying to create a hybrid race he can hold sway over on his private island hell! Science has never been more evil! Island of Lost Souls (1932)

Then there was the 1936 adaptation of H.G. Wells’ Things To Come (1936) directed by William Cameron Menzies and starring Raymond Massey as Oswald Cabal, Ralph Richardson as The Boss, Margaretta Scott as Roxanna/Rowena and Cedric Hardwicke as Theotocopulos.

things-to-come

96h01/huch/2909/08

“What is this progress? Progress is not living. It should only be the preparation for living.”

Flash Gordon and similar serials provided super heroes for generations of young people in the 30s & 40s, planting the seeds for the future that would give us the Star Wars legacy.

Flash Gordon Buster Crabbe and Ming

Audiences between the World Wars preferred horrors of a Gothic nature– James Whale’s Frankenstein 1931 & Bride of Frankenstein 1935, as they helped exercise demons conjured up from the 19th & early 20th century.

James Whales Bride of Frankenstein 1932

The electrical secrets of heaven, the lighting, the elaborate sets designed by genius Kenneth Strickfaden with his lights throbbing gizmos flashing and zapping, the creepy atmosphere of murky tones. The consummate Universal monster movie with iconic scenes introducing a new face, Boris Karloff who would become the great father of terror stories …

colin clive and dwight frye Frankenstein 1931

Frankenstein's hand it's alive

ColinClive it's Alive

What’s on that slab?,It’s Alive, It’s Alive!…” those monumental words that remain ingrained in our consciousness. Colin Clive becomes hysterical as he has creates life from death, but that life would become a whole new ethical, moral and imposing dilemma for Dr.Frankenstein. A horror film with strong science fiction/fantasy tropes. And the laboratory as gorgeous set pieces would become a staple of the science fiction realm.

Bride & Frankenstein's monster

bride_of_frankenstein 1935

The 1950s Science Fiction genre took root with it’s profouns contribution to our collective consciousness AS a genre its vision & breadth possessed quintessential & ever-lasting sociological and psychological metaphors, iconic tropes and striking imagery.

The splitting of the atom, ushering in the atomic age and the collective anxiety most definitely was the catalyst for the many of the movie fantasy stories known as the 1950s Sci-Fi film.

“But no matter what else it might be, what makes a science fiction film science fiction is the fact that it is, in some sense, about science—and not only science but futuristic science. By that I mean that science fiction movies deal with scientific possibilities and technologies that do not exist yet but that might exist someday. Science fiction is the realm of the not-yet.” — “Cult Science Fiction Films” by Welch Everman

Ridley Scott – (Alien 1979, Blade Runner 1982) “When you come to the second World War You’ve got a very specific enemy. You know what that enemy is, It’s there for all the wrong reasons and it should be prevented…. Then you got the next phase which is The Cold War again which is to do with paranoia . But I think real, it’s real. Movies started to dip into that.”

splitting the atom men in white coats

“The Splitting of the atom…. forces that can only be explained to us by these guys in white coats… All of a sudden the guys in white coats became these simultaneously kind of rock stars and the most evil thing you could imagine.”

In a scene from The Atomic City 1952– The mother’s child sitting at the kitchen table with his breakfast “If I grow up do you know what I’m gonna do?” The mother turns to him, leaving her scrambled eggs on the stove and corrects him nervously, “It’s when you grow up, not if…”

The Atomic City 1952

The Atomic City 1952 trailer

Duck & Cover 1951 classic propaganda film

From the short instructional film Duck and Cover “But no matter where they go or what they do they always try to remember what to do if the atom bomb explodes right then!” (the kids suddenly fall into the brick wall. The narrator says ) It’s a bomb DUCK & COVER!

James Cameron – “All of our fate as human beings, our destiny seems bound up in our technology and our technology is frightening. It’s Terrifying!”

Steven Spielberg- “So there was a great deal of anxiety in the air. It was not just fear of being beaten up by the local bully. But the fear was being NUKED!… But we almost pushed a button on each other during The Cuban Missile Crisis…… I was absolutely prepared for Armageddon and these movies from the 1950s and early 60s played on those fears. And these movies were all metaphors for those fears. ”

George Lucas- “I would say that there was a certain amount of anxiety about that I mean I grew up right in the very heat of that. DUCK & COVER drills all the time… We were always hearing about the fall out shelter. About the end of the world, issues that were always going on about how many bombs were being built. The Cold War was always in the media.”

From The Twilight Zone “The Shelter” season 3 episode 3

Twilght Zone 'The Shelter' s3e3

1950s Sci-Fi films represented a conservatism or ‘reactionary wing’ that seems consumed by a motive to emphasize the values of 1950s America post WWII, in the midst of a McCarthy era witch hunt that prevailed fueling our fears that seeped into many of the Sci-Fi narratives on screen and in literature. Reflecting the growing internal struggles within American society and the developing mistrust about Soviet aggression and anyone and anything perceived as subversive.

“Are you now or have you ever been a member of the Communist party?”

Some films that reflected the paranoia of the period were well regaled by a Hollywood studio system that was itself at the center of the controversial House Un-American Activities Committee (HUAC) targeting screenwriters and actors as ‘communist sympathizers’ and no one could be trusted. -Just like Invaders from Mars 1953, Invasion of the Body Snatchers 1956, X the Unknown 1956, The Incredible Shrinking Man 1957, and I Married a Monster From Outer Space 1958.

X The Unknown

Invaders from Mars

In 1947, in Roswell New Mexico the military reports that they have a UFO in their possession. The phenomena of sightings of UFOs would continue throughout the 1950s, though agencies were fully prepared to explain away the reports. Yet the public had a hunger to and fascination with the possibility of extra-terrestrials.

As Phil Hardy’s insightful take on the genre, all this manifested in a way that the Science Fiction films of the 1950s ‘supplanted horror as the genre that dealt with fear and paranoia.” The films expressed a very realistic look at science within the atomic age, and shed the shadows and expressionism of the earlier Gothic horrors and while not all scientific fact, tried to embrace a world of possibility.

The Flying Saucer 1950 begins the momentum for the decade of Science Fiction cinema’s love affair with unidentified objects and begins to round the edges of space crafts from other worlds that aren’t our American sharp and phallus shaped rockets!

The Flying Saucer -ship

The flying_saucer 1950

DESTINATION MOON 1950 was featured in COLOR BY TECHNICOLOR. Being hailed the 2001, Space Odyssey of it’s time, it attempts to portray a realism trip to the moon. Phil Hardy calls Destination Moon 1950a sober celebration of man’s imminent conquest of space that dominated the decade.’

destination moon rocket

destination-moon-space matters

Destination Moon did attempt to accurately portray a trip to the moon given the technology and knowledge that was stuck in 1950.

Then we shot past the moon in cinema and went straight to the red planet with Flight to Mars 1951!

Flight to Mars

Themes and metaphors that emerged from anxiety about the atom bomb, radiation fallout, the advent of modernity, the space race and the wanderlust to conquer outer space, interplanetary warfare, military vs. science hubris, science meddling with nature, fear of science and technology, invasion anxiety, continued fear of otherness, deviant (in terms of counter-culture not exclusively moral judgement) subversion and xenophobic nightmares.

Sometimes we were even married to a monster from outer space and didn’t even notice much of a difference except for the lack of small talk! Here’s Tom Tryon and Gloria Talbott in I Married a Monster from Outer Space 1958.

I Married-a-Monster-from-Outer-Space Tom Tryon and Gloria Talbott

I Married a Monster From Outer Space

Director Howard Hawk and screenplay by Charles Lederer, created a striking science fiction masterpiece of film noir ambience with it’s chilling back lit set pieces- The Thing From Another World 1951, adapted from John W. Campbell’s story ‘Who Goes There?’, other films that followed the path of paranoia — Invaders from Mars 1953, War of the Worlds 1953, It Came from Outer Space 1953, It Conquered the World 1956 & Invasion of the body snatchers 1956.

Xenomorph

bodysnatchers 1956 review

The Thing it's round like a spaceship

The Thing at the door

the thing shadow play

There were also science fiction films that rang the warning bell about cosmic calamity and catastrophic world coming to an end, annihilation fantasies like When Worlds Collide 1951.

War of the Worlds 1953 and When Worlds Collide 1951 had as Phil Hardy states, ‘religious dimensions’ that accused us of bringing about catastrophic punishment because of our misdeeds and transgressions.

War of the Worlds Valley of Shadows

When Worlds Collide 6

H.G. Well’s view of Martian invaders created for the public consciousness the idea of destructive beings from another world. It was a great reflexive move for those science fiction films to portray aliens that were sympathetic, yet non-humanoid in appearance. Most Sci-Fi films show aliens as menacing, not only destructive but dangerous because they also wanted to keep us as captives, zap our resources and colonize our planet, sometimes even take our women, oh god no unhand Faith Domergue you pants wearing Mutant!

This Island Earth Metaluna mutant

invaders from mars b&w

Is that a fireball or something

“Is that a fireball or something?”

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INVADERS FROM MARTS MUTANTS WITH ZIPPERS

InvadersFromMars

invaders-from-mars-

Hollywood saw a trend later on in the 50s with Destination Moon 1950 when they came upon a story written by Harry Bates called The Return of the Master this became Robert Wise’s The Day the Earth Stood Still 1951 which has remained one of the best regarded science fiction films of all time. This is one of the rare occasions when the alien Klaatu played beautifully like an intricate clock by the chiseled face, tranquil speaking Michael Rennie is benevolent, bringing with him a sincere and dire warning about earth people’s course and the future of their civilization if they don’t relent about the proliferation of atomic weapons. There were several well intended alien visitors who were met with hostilities as with, Klaatu (Michael Rennie ) in Day the Earth Stood Still 1951, and The Man From Planet X 1951.

The Man from Planet X

the-day-the-earth-stood-still

Day the Earht STood Still Klaatu solves the board 2

Day the Earth Stood Still Patricia Neal and GORT1951-

GORT

Many films, even the low budget excursions dealt with our primal fears of alienation, estrangement & loss of identity i.e.,(communism at it’s core, the ramifications of otherness) nothing hits home more than Invaders from Mars 1953, and the quintessential loss of self and individualism in Don Siegels’ Invasion of the Body Snatchers!

they would have changed into people who hate you

“They would change into people who hate you!”

Steven Spielberg talks about the impact of Invaders from Mars 1953, “It certainly touched a nerve among all the young kids like myself who saw that movie at a very young age. That you would come home and that you would not recognize your mom and dad they would have changed into people who hate you!”

I can attest to the persuasion these films could have over the burgeoning imagination of a child, especially one like me who felt very much like an outsider as a kid. One night, as sure as my name is MonsterGirl, I went home, looked at my parents, decided they had been switched by aliens and ran out of the house, walking around the block for at least an hour before I convinced myself that I was being ridiculous. Or was I? These themes did have a not so subtle impact on a young impressionable mind who could easily question the world around them. Who could you trust? Would would believe you anyway?

There is the outsider narrative, diminishing human forms as in Bert I. Gordon’s Attack of the Puppet People 1958 where obsessed and lonely puppet maker John Hoyt loses his marbles. Although mad -bad science has shrunk down people before the 1950s in The Devil Doll 1936 and in the hands of crazed Albert Dekker in Dr. Cyclops 1940.

Attack of the Puppet People John Hoyt and Agar

dr cyclops 1940

There is the quintessential existential crisis, the beautifully thought provoking film by director Jack Arnold starring the eternally transcending man Grant Williams in, The Incredible Shrinking Man 1957.

the-incredible-shrinking-man-1957-

And of course there is the matter of GIGANTISM!

Earth vs the Spider

EarthVsTheSpider

THEM!

Monster_Challenged

The Black Scorpion

Giant insects, sea creatures and people who ran around half crazed and scantily dressed were a by-product of the atomic age!

50 ft Woman

The Amazing Colossal Man

George Lucas —“Out of that fear came I think a lot the monsters which you mess around with stuff and you’re gonna unleash this unknown monster!… it’s making tangible the unknown… A lot of that has to do with the mystery of this silent death that comes along with it that nobody knows exactly what it is or where it came from or can’t see it, can’t touch it. Well let’s make it easier to deal with by making it a giant monster.”

War of the Colossal Beast

Some films show the ascension from violence & hyper-masculinity, Women as professionals & bold heroines who didn’t shrink as hysterical victims. Female dominated civilizations (Cat- Women of the Moon 1953, Queen of Outer Space 1958, Missile to the Moon 1958, Fire Maidens from Outer Space 1956, that threatened to maniacally seduce & subsume male voyagers, dressed by 5th avenue they are outré chic. Wanton warriors & nubile space maidens who often never saw the male species before or wanted to destroy them altogether!

Fire Maidens of Outer Space

missile-to-the-moon-1958 directed by richard-e-cunha

A tagline reads “SEE-Astounding she-beasts of Venus!”

Queen of Outer Space

In Queen of Outer Space 1958 the masked disfigured Queen Yilana (Zsa Zsa Gabor) imprisons the men who crash land on her planet, intending to annihilate the earth with her beta disintegrator, though her beautiful subjects revolt in the name of love.

Mark Hamill –“We sometimes imagined other planets as paradises…. with girls!!! they looked more Hollywood starlets than space aliens, anyway they were eager to please. Their dancing their music their leotards were so Moderne! like Greenwich Village in outer space.” referring to Cat-Women of the Moon 1953.

Cat Women on the Moon May we serve you earth men?

“May we serve you earth men?”

Missile to the Moon-You're the first man I've ever seen.

“You’re the first man I’ve ever seen!” Carol Brewster as Alpha is mesmerized

missile to the moon

Step on it and don't spare the atoms! planets as paradise with GIRLS!!!

“Step on it, and don’t spare the atoms!” from Abbott & Costello Go to Mars (1953)

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“Their dance, their music, their leotards were so Moderne!”

KT Stevens as The Lido in Missile To The Moon

Missile To The Moon- Hollwood chorus girls

Missile to the Moon 1958

Missile to the Moon spider maiden

Missile to the Moon 1958

There’s nothing worse than a space Queen–The Lido (K.T. Stevens ) and one of her maidens in distress…

Mark Hamill who narrates the wonderful documentary written and directed by Richard Schickel Watch the Skies! Sci-Fi , the 1950s and Us presented by Turner Classic Movies also reminds us that “50s science fiction may have shot at the stars but the dialogue often remained earth bound tied up with the battle of the sexes.” Many prevailing sub-texts were also love stories, soap operas involving relationships between men and women.They would create love stories in space!

project moonbase 1953

Project Moonbase 1953 Donna Martell as Colonel Briteis (bright eyes?)

they would create love stories in space Lloyd and Osa in Rocketship X-M doomed to crash

Rocketship X-M (1950) starring Lloyd Bridges and Ossa Massen

Osa's character in Rocketship XM is brave in the end not hysterical-she sees her death as a new beginning

Cameron Mitchell plays Steve Abbott in Flight to Mars 1953, who tells Marguerite Chapman as Alita a fellow scientist/astronaut, “I think you’re a prize package and very feminine.”

Flight To Mars 1951

There is always time for romance in outer space!

flight-to-mars with scientist Margaritte Chapman

There were menaces from without, menaces from within. The ordinary world transformed into the monstrous. There were warnings from benevolent aliens and aggressive attacks by aliens who wanted to colonize our planet.

Sometimes the warnings or threats came from disembodied heads and brains, like Donovan’s Brain 1953, Fiend Without a Face 1958 and The Brain from Planet Arous 1957.

Donovan's Brain 1953

fiend WITHOUT A FACE