Film critic Leonard Maltin: “Roddy McDowall’s career spanned more than six decades, and he managed to remain relevant and respected throughout. His performances were always compelling, and his contributions to cinema are invaluable.”
Roddy McDowall certainly had a distinctive presence: He always seemed to exude this uncanny youthful appearance. Even as an adult, McDowall was described as being “perpetually youthful.”
“McDowall was sharp-faced, clearly intelligent, chilly in his pride, and a kid who believed in masking his feelings (just like real kids). There are scenes in the film (How Green Was My Valley) in which older actors seem to learn restraint and stealth from the child. He was so emphatically honest in that film, and a kid who sometimes looked like a little old man (it was observed in life how, close to 70, Roddy still had “a child’s open face’).”– David Thomson for The Independent:
In 1941, The Detroit Free Press had this to say: “The child marvel of Hollywood right now is 12-year-old Roddy McDowall who arrived here from England a year ago. The public hasn’t had a really good look at him, but he has already been boosted to stardom. If you saw Manhunt, that was a small part; it was just a warm-up for the role in How Green Was My Valley, which Fox had in mind when they signed him. It is in this, his second film over here, that Roddy is becoming an American screen personality in his own right.”
“I enjoyed being in movies when I was a boy. As a child, you’re not acting- you believe. Ah, if an adult could only act as a child does with that insane, playing-at-toy-soldiers concentration!” – Roddy McDowall
Roddy McDowall was a highly prolific and versatile actor whose career spanned nearly six decades, encompassing a variety of genres in film, television, and radio. He began his acting journey as a child in 1938 and continued to be a prominent figure in Hollywood until his death in 1998. Throughout his extensive career, McDowall appeared in a wide range of classic films, beginning with 20th Century Fox’s 1941 thriller Manhunt directed by Fritz Lang and including his breakout role in How Green Was My Valley (1941).
Maureen O’Hara and Roddy McDowall in How Green Was My Valley 1941.
This is where he met and became lifelong friends with actress Maureen O’Hara. After Fox’s Best Picture winner, they cast him in the war film Confirm and Deny 1941. The following year, he played Tyrone Power as a young boy in Son of Fury: The Story of Benjamin Blake 1942.
Also, in 1942, they gave him top billing in On the Sunny Side, and he was given co-star credit alongside Monty Woolie in The Pied Piper, playing an orphan of the war. With McDowall’s success sealed, MGM borrowed the fine young actor to star in Lassie Come Home (1943). The studio held onto him and gave him the leading role in The White Cliffs of Dover in 1944.
Anne Baxter, Monty Woolley, and Roddy McDowall in The Pied Piper 1942.
Roddy McDowall was voted the number 4 ‘Star of Tomorrow’ in 1944, and Fox gave him another starring role in Thunderhead – Son of Flicka 1945.
Early on, he turned to the theater, starring in the title role of Young Woodley in the summer stock production in West Port, Connecticut, in July 1946. With his love of working on the stage, Orson Welles cast him in his production of Macbeth, where he played Malcolm. In 1948, he took on the same role in the film version.
By now, it was the late 1940s & 1950s, and he signed with Monogram Pictures, a low-budget studio that embraced recognizable stars to make two pictures a year. McDowall made seven films with them and worked as associate producer for director Phil Karlson’s Rocky 1948, a story about a boy and his dog. This was followed by the adaptation of Robert Louis Stevenson’s Kidnapped in 1948, Black Midnight directed by Budd Boetticher, Killer Shark, Big Timber in 1950, and The Steel Fist in 1952.
Lyn Thomas and Roddy McDowall in Black Midnight 1950.
Fans appreciate his appearance in the 70s disaster film The Poseidon Adventure (1972) and Overboard (1987). In the latter part of his life, he became a sought-after voice actor, lending his talents to animated projects such as A Bug’s Life (1998)and the popular television series Pinky and the Brain (1995-1998). Notably, McDowall also received acclaim on stage, winning a Tony Award for his supporting role in The Fighting Cock. McDowall worked with some of the most prominent actors in the industry, including Elizabeth Taylor, Gregory Peck, Orson Welles, Charlton Heston, Angela Lansbury, Kim Hunter, Vincent Price, Donald Crisp, Maureen O’Hara, Irene Dunne, Rock Hudson, Bette Davis, Jennifer Jones. Maurice Evans, Ruth Gordon, Natalie Wood, Lauren Bacall, Ava Gardner, and Rex Harrison. His career also included working with directors like Joseph L. Mankiewicz, John Ford, Jack Smight, Franklin J. Schaffner, and John Huston. His ability to transition from a child star to a respected adult performer set him apart in the industry.
Roddy McDowall possessed a fascinating duality; the contrast between his youthful looks and worldly-wise poise defined his unique charm and quiet intensity.
He was noted for his expressive eyes and articulate dispatch, which were instrumental in conveying a wide range of emotions. Roddy McDowall was intelligent and witty and often brought sharp intellect and a keen sense of humor to his roles, delivered with impeccable timing. McDowall was praised for his ability to mask feelings and convey restraint, even as a child actor. As an adult performer, he was characterized as “unpredictable,” which suggested a dynamic and varied approach to his roles. Critics noted his reliability as an actor, describing him as “always dependable.”
McDowall’s performances were subtle and nuanced: his approach to acting was all about restraint and introspection rather than over-the-top dramatics, at least in his earliest work. His acting was emotionally authentic, bringing a palpable sincerity to his characters and allowing audiences to connect with them on a profound level. Even in roles like Planet of the Apes, navigating the constraints of elaborate makeup, he transformed physical limitations into artistic opportunities. His performance transcended mere mimicry, embodying the character through a masterful blend of precise gestures and subtle nuances. Playing Cornelius in the Planet of the Apes series, he masterfully balanced intelligence, empathy, and subtle humor.
“Supernaturally or otherwise, we are all haunted. Anyone who’s lived in this past century, this last week, cannot escape being haunted. For some of us, it’s a mass haunting, an all-pervading specter of guilt or futility or alienation that we suffer collectively. For others, the haunting is more private and more terrible because the ghosts are ours alone and we recognize them. Sometimes it takes so little to free ourselves of our ghosts. And if my believing in another man’s haunting helps to free him, does it matter whether science calls his agony hallucinatory or real?”
Joseph Stefano’s and Villa Di Stefano Productions (his sole effort as a director) The Ghost of Sierra de Cobre 1964 emerges as a fascinating yet obscure and underappreciated artistic artifact in the landscape of 1960s television horror. Its legacy, while somewhat overshadowed by Stefano’s more famous works, remains an intriguing footnote in the history of televised terror. The film ambitiously blends elements of horror, paranormal investigation, and film noir, creating a narrative that is both intriguing and yet potentially unwieldy.
In 1964, while Joseph Stefano was immersed in the production of the inaugural season of his acclaimed science fiction anthology series The Outer Limits (1963-1965), a series created and executive produced by his old friend Leslie Stevens. Stefano felt inspired to create a companion show that would explore more supernatural themes.
Over the next year or so, he wrote two scripts as pilots for the proposed spin-offs, The Unknown and The Haunted.
The Unknown didn’t quite hit the mark, so it was reworked and added as an episode of The Outer Limits entitled The Forms of Things Unknown, which starred Barbara Rush, Vera Miles, David McCallum, and Sir Cedric Hardwicke.
The Ghost of Sierra de Cobre’scollaborative endeavor by Stefano, photographer Conrad Hall, and its incredibly intuitive cast of actors make it a little jewel that remained shoved in a drawer for decades. This made-for-TV film, which was originally conceived as the unrealized pilot for the ill-fated series called The Haunted, offers a compelling glimpse into Stefano’s creative vision beyond his most famous work on Psychoand highlights Joseph Stefano’s inclination to embrace a subtext that deals with psychological inner chaos through his eye for compelling narratives even within the constraints of modest television productions. The film’s existence in this liminal space between pilot and standalone feature offers a unique opportunity to examine the evolving landscape of horror in 1960s television.
The Haunted/The Ghost of Sierra de Cobre features Martin Landau as Nelson Orion, Diane Baker as Vivia Mandore, and Judith Anderson as their housekeeper Paulina.
Tom Simcox plays Henry Mandore, Diane Baker’s husband; Nellie Burt (who appeared in The Outer Limits episodes, Don’t Open Til Doomsday and The Guests in 1964 plays Mary Finch, Orion’s skeptical but loyal housekeeper, and Leonard Stone plays Benedict Sloane, the remarkably tolerant head of the architectural firm where Orion works. Both actors had a fine working relationship with Martin Landau and with each other and helped embellish Nelson Orion’s world. John Drew Barrymore was initially cast as Henry Mandore.
Tom Simcox, Nellie Burt, Martin Landau, and Dame Judith Anderson.
There’s also an additional nod to The Outer Limits with its use of an eerie score from series regular Dominic Frontiere, who created much of that anthology series’ transcendent hymn-like qualities. Here, Frontiere’s score keeps the story a little off-kilter and nightmarish.
The movie features black and white photography by Conrad Hall (an Outer Limits regular and later working on films like The Day of the Locust (1975) and Marathon Man (1975); 1965 would be his first of ten Oscar nominations, three of which he would win.
Conrad Hall’s visual artistry vs the television constraints is a standout element, pushing the boundaries of what was typically expected in TV productions of the era. His use of expressive lighting and ambitious camera work, dramatic use of shadows and light, striking black-and-white imagery, spectral elongation effects, and rare-for-TV crane shots demonstrate a cinematic ambition that strains against the medium’s limitations. It all lends to the film’s eerie quality. His camera operator, William A. Fraker, was on the brink of shooting Roman Polanski’s Rosemary’s Baby (1968)and a career of five Oscar nominations in cinematography.
The Outer Limits Season 1 episode, The Galaxie Being aired Sep. 16, 1963
Also adding an effective creepy touch is the black-and-white art direction by McClure Capps and the sets by veteran designer Frank Tuttle. Fred B. Phillips’s makeup revises his groundbreaking work on The Outer LimitsThe Galaxy Being for the spectral figure using the reverse negative. The Galaxy Being itself was created using a negative image effect, with the actor wearing a black scuba diving suit covered in oily makeup that reflected light. When filmed, this created a glowing, otherworldly appearance when the image was reversed to negative. This gave the alien a distinctive face with no mouth and glaring eyes.
There are a few visual set pieces that are deconstructed; they are quite compelling. The movie also includes a bit of a rare hallucinogenic drug and a creepy bit of business, with a ghostly Dame Judith Anderson stalking Baker as she sits in a car on a clifftop in the tragic finale.
A striking title sequence features the Los Angeles skyline being wiped out by a tidal wave. The artful visual blend at the very start shows a wave breaking on a beach, metaphorically devouring the city.
There’s a visually arresting sequence that weaves together multiple elements of suspense and atmosphere. The scene unfolds in a single, meticulously choreographed shot that showcases both Stefano and Hall’s technical prowess and artistic vision.
The camera’s gaze encompasses the ominous phone line, a lifeline between two worlds: the foreboding crypt, the silent sentinel of family secrets; Pauline’s furtive movements, a dance of noirish light and shadow; and nature’s subtle intrusion.
A transition from a small, enigmatic black vial nestled in the crypt to Paulina’s windswept figure on the beach, her black attire echoing the vial’s darkness, a visual metaphor, linking disparate elements of the story through powerful imagery.
Stefano, fresh from his triumph with Psycho, cleverly leverages his Hitchcock connections in casting to orchestrate a cinematic reunion of sorts, bringing together some of Alfred Hitchcock’s wonderful ensemble of cast members.
Martin Landau, who gave a mesmerizing performance in North by Northwest, brought his intense gaze and brooding presence of cool demeanor and class; Judith Anderson, the imposing Mrs. Danvers in Rebecca 1940; her steely spined visage lends her formidable presence as the sinister housekeeper Paulina, And Diane Baker, the fresh-faced ingénue from Marnie 1964, and in William Castle’s Strait-Jacket that same year, adds a touch of vulnerable allure.
Stefano’s shrewd choices infused each frame of this atmospheric production with an unmistakable aura of suspense, a subtle homage to the master of suspense. Each frame carries with it the echoes of these actors’ Hitchcockian past. In addition to Nellie Burt’s appearance on two episodes ofThe Outer Limits during Stefano’s tenure on that series, Martin Landau, who is one of my favorite underrated actors, starred in perhaps one of the most enduring, evocative, and emotionally compelling of that series, The Man Who Was Never Born which aired in 1963. Landau portrays Andro, a time traveler from a decimated world in the future who travels back in time to prevent the birth of the inventor who would become the inventor of destruction. He was cast opposite another favorite of mine, Shirley Knight, as Noelle Anderson, the intended mother of the future antagonist.
THE OUTER LIMITS – “The Man Who Was Never Born” – Airdate: October 28, 1963. (Photo by ABC Photo Archives/Disney General Entertainment Content via Getty Images) SHIRLEY KNIGHT; MARTIN LANDAU
Martin Landau in The Outer Limits episode The Bellero Shield
One account suggests that the pilot for The Haunted either never aired on U.S. television or was shown only once in limited markets. Stefano wound up adding extra footage and an alternative ending to the pilot, extending it from sixty to eighty minutes and releasing it as a feature-length and re-named The Ghost of Sierra de Cobre internationally, but not in the US.
The Ghost of Sierra de Cobre reveals the adaptability required of creators in the face of network rejection. By extending the runtime and altering the ending, Stefano attempted to salvage his work for a different market, showcasing the malleability of content in the pursuit of an audience.
Kino Lorber yanked it out of obscurity and released it on Blu-ray, allowing us to witness its moody and intriguing hint at what might have been a full-length feature and a continuing series.
There is a commentary track by film historian David J. Schow and an unrestored print of The Haunted(the sixty-minute pilot) with a commentary track by film historian Eric Grayson, who actually owns the print that Kino Lorber used.
Eric Grayson, who covers The Hauntedin the commentary, makes the keen observation that the name Mandore sounds like Manderley, the mansion in du Maurier/Hitchcock’s Rebecca.
One narrative suggests that the pilot’s intensity exceeded the comfort level of American audiences; reports indicate that the TV stations that did air it received countless concerns from viewers that the story was just too frightening for television, and ultimately, the show was dropped.
Joseph Stefano and Martin Landau planned for this movie to be the pilot for a new show similar in concept to The Twilight Zone (1959)and The Outer Limits (1963) but with a much greater focus on horror rather than science fiction and fantasy.
An anecdote attributed to Martin Landau claims TV executives “soiled themselves” during the pilot’s screening. While likely hyperbolic, this underscores the potential disconnect between creative ambition and network expectations. It highlights the subjective nature of evaluating content and the power dynamics at play.
According to David Schow in his commentary for the Kino Lorber release – the then-President of the CBS Television Network, James T. Aubrey, did pick up the series, but when the unpopular executive was fired from CBS, his successors scrapped all his other projects – including The Haunted.
This account involving CBS President James T. Aubrey, If true, demonstrates how industry politics and personnel changes could abruptly alter a show’s trajectory, regardless of its intrinsic worth. This unrealized potential serves as a poignant reminder of the often arbitrary nature of television development and the impact of network decisions on the evolution of genre television.
Despite its promising elements, The Ghost of Sierra de Cobre fell victim to the capricious nature of network television. The departure of CBS president James T. Aubrey effectively sealed the fate of the proposed series, relegating this potential pilot to standalone film status, and it begs the question – what if? – what would have been the potential impact of a Stefano-helmed supernatural anthology series? Stefano’s vision for The Haunted as an anthology series, with its promise of weekly paranormal investigations, could have potentially predated and influenced later similarly themed pilots that failed to take off.
Roy Thinnes and Angie Dickinson in The Norliss Tapes TV movie 1973.
There was a similar attempt at the television supernatural detective genre with Harvy Hart’s Dark Intruder in 1965, starring Leslie Nielson as Brett Kingsford, an investigator with an occult bent, and in the 1970s, there was Dan Curtis’s The Norliss Tapes 1973, and Spectre 1977 co-written by Gene Roddenberry, or the beloved television series from the prolific Dan Curtis with Kolchak: The Night Stalker. And, of course, The X-Files, the show’s creator, Chris Carter, lovingly touts the former as his inspiration.
The Ghost of Sierra de Cobre isn’t just a curiosity in Stefano’s career but also a harbinger of the more sophisticated, genre-blending television that would emerge in subsequent decades.
The enigmatic fate of The Haunted pilot not only emphasizes the conflict between artistic vision, network politics, and audience sensibilities in 1960s television. The show’s rejection and decision-making in the industry remain very opaque, as do the challenges faced by boundary-pushing, innovative content in early television. Despite its initial obscurity, The Ghost of Sierra de Cobre has gained recognition for its chilling atmosphere and compelling storytelling.
Nelson Orion (Martin Landau) is an architect by profession with a passion for the supernatural and a paranormal investigator who lives in a self-created garçonnière, hazy in its aesthetic futurism, precariously situated as an audacious cantilever on a cliff, hanging on the edge of a sheer drop.
He is recruited by heiress Vivia Mandore (Diane Baker), who mistakenly thought herself free from the domination of her recently deceased mother-in-law, Louise Mandore, whose ghost is seemingly exerting her will via telephone. Vivia is married to the wealthy and blind Henry Mandore (Tom Simcox). The couple lives on a large, rustic 100-acre family estate.
Henry is being tormented by nocturnal calls from the ghost of his dead mother, who, haunted by the fear of being buried alive, had installed a telephone in the family crypt. The old woman appears determined to continue her controlling ways… from beyond the grave.
In her will, she stipulated that there must be five doctors who examine her before signing her death certificate. She must not be embalmed. The coffin lid must remain open. And there must be a telephone placed by the coffin with a direct line to her son Henry’s bedroom. She would also be able to dial the code H.E.L.P., something also engraved on a cross in her tomb.
Louise Mandore’s death marks the beginning of an unsettling time. Not too long after, the phone rings in Henry’s room, its eerie tones ringing out through the silence. On the other end, a woman’s sobs echo, each cry steeped in dissonant sorrow and desperation. The haunting timbre of her voice weaves a chilling narrative as if the very air is thick with unresolved grief and lingering shadows. Like a ghostly leitmotif, these unsettling cries constantly remind us of the supernatural forces at play. The eerie wail of a tormented soul is a haunting prelude to the macabre tale that unfolds at the very top of the chilling The Ghost of Sierra de Cobre.
Dark Intruder is a 1965 television movie directed by Harvey Hart and written by Barré Lyndon. Set in 1960s San Francisco, the film follows a series of gruesome murders that leave the police struggling to solve the bizarre crimes that appear to be linked to dark occult rituals. They enlist the help of Brett Kingsford, an urbane occultist/criminologist played by Leslie Nielsen, who is as charismatic as he is roguish. Kingsford poses as a wealthy playboy and encounters a mix of interesting characters, including Peter Mark Richman and Judi Meredith (The Night Walker 1964, Queen of Blood 1964), uncovering dark secrets connected to the city’s history and a demon that emerges from a mystical statue left at each crime scene
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Devils of Darkness is a 1965 British horror film that uses vampire lore and satanic ritual themes. Lance Comfort directs with an atmosphere typical of the 1960s British vibe. It stars William Sylvester as Paul Baxter, Hubert Noël as Sinistre, and Carole Gray as Tania. It was written by Lyn Fairhurst and was Comfort’s last feature film.
A group of British tourists on holiday finds themselves in a perilous situation when Count Sinistre, a vampire who leads a secret Satanic cult in a small French village executed in the sixteenth century for his profane acts, rises from the grave. He unleashes his cult upon the unsuspecting tourists, killing three of them. Sinestre resurrects a gypsy girl named Tania, whom he has killed and taken as his bride.
One of the survivors, Paul Baxter, becomes suspicious of the supernatural nature of the deaths and decides to investigate. During his search for answers, Baxter acquires a bat-shaped talisman belonging to Count Sinistre. This prompts the Count to pursue Baxter back to England in an attempt to recover the talisman, murdering anyone connected to him.
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In And Soon the Darkness, a 1970 British thriller directed by Robert Fuest and written by Brian Clemens, is the taut story of two beautiful young English nurses, Jane (Pamela Franklin) and Cathy (Michele Dotrice), who embark on a cycling holiday touring the picturesque rural French countryside.
They stop at a cafe to chart out their next destination when Cathy catches the eye of the mysterious presence of a Frenchman named Paul (Sandor Elès). They hop on their bicycles and continue on their journey when Paul zooms past them on his motor scooter, only to park and wait for them on the side of the road up ahead.
After they peddle along their way, he stops to visit the grave of a young girl, a lovely young tourist who had been murdered three years ago.
The girl’s adventure takes a dark turn when they disagree about their plans. Jane wants to get going before it gets dark, and Cathy hopes to meet up with Paul again. The two quarrel and decide to split up. Jane stops at the local Cafe San Rivo, owned by Madame Lassal (Hana Maria Pravda), who warns Jane that the road is ‘bad,’ though she briefly waits for Cathy to catch up. When Jane returns to the spot where they last took a sojourn, she discovers that Cathy has vanished without a trace, having left her camera behind a trace. A menacing stranger has attacked and killed her. Paul suddenly shows up and becomes the prime suspect in Cathy’s disappearance.
As Jane frantically searches for her friend, she faces language barriers and growing paranoia in an unfamiliar rural community. The hostile locals and Paul’s suspicious behavior heighten Jane’s sense of dread. As she is being stalked, it is hard to know who to trust. The beauty of the unease Fuest creates is that it all takes place in broad daylight, creating an atmosphere of ironic, expansive claustrophobia amidst the vast open spaces of the French countryside. And Soon the Darkness is a suspenseful little psycho-sexual masterpiece penned by British fantasy television writer who created The Avengers and the cheeky little Daleks’ and – Doctor Who. And Fuest manages to attain a level of restrained 1970s shivers, a Hitchcockian landscape, though devoid of the campy, vividly colorful, psychological butterflies that Fuest saved for The Abominable Dr. Phibes duet and The Devil’s Rain in 1975.
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Daughters of Darkness is a 1971 erotic melancholic horror film directed by Harry Kümel (Malpertuis 1971); it is a German/French/Belgian production photographed with exquisite detail by Eduard van der Enden and art direction by Françoise Hardy. The story follows a newlywed couple, Stefan (John Karlen) and Valerie (Danielle Ouimet), who, after having a passionate love-making session on a train, head back from Sweden. Valerie is apprehensive about Stefan’s mother meeting her for the first time, so he suggests taking a room somewhere until he can make a call and prepare for his domineering mother, to whom he is newly married. They arrive at a nearly empty, opulent old hotel in Ostend, Belgium, while en route to England. learning they are the only guests except for two glamorous beauties. The sophisticated image of pure elegance – Countess Elizabeth Battori ‘Bathory’ (Delphine Seyrig) and her traveling companion, the sensuous, full-lipped nymphet Ilona (Andrea Rau).
The clerk is baffled by Battori’s appearance because she poses a remarkable resemblance to a woman who visited the hotel thirty years earlier, yet she hasn’t aged a bit. The couple takes an adjoining suite next to the mysterious pair while there is a series of gruesome crimes: four local girls who are found slaughtered. Also, Stefan seems to be fixated on the murders, while his taste for violent sex rises to new heights.
Stefan and Valerie’s stay takes a sinister turn once they encounter the enigmatic Countess, who is actually a modern-day incarnation of the infamous historical ‘Bathory,’ known for her gory torture of young girls.
While celebrating the luxuriations and pleasures of life, the four share drinks in the hotel lounge, where the Countess relates the story of the ‘Scarlett Countess’ and her sadistic appetites for the blood of hundreds of chained virgins. She not only drank their hot-flowing blood but bathed in its glorious crimson nectar after committing vile atrocities on these poor, helpless maidens. Stefan becomes fascinated and aroused by the details of slit throats… and worse. Valerie is deeply disturbed by the grim conversation.
As the couple becomes entangled with the Countess and her alluring secretary, Ilona, their dark secrets are revealed. They finally learn the truth about the two women who are actually vampires: Elizabeth, the ‘Scarlett Countess,’ and Ilona, one of her lovers. When Stefan beats Valerie with his belt after having sex, she leaves him but is met by the Countess at the train station.
Stefan makes love to Ilona and accidentally kills her when he drags her into the shower. Running water is lethal to vampires. When Valerie and Elizabeth return from the train station, they help Stefan dispose of Ilona’s body, and finally, the Countess seduces Valerie, whom she’s had her eye on from the beginning. Countess Elizabeth now has her new companion. The struggle over Valerie ensues til the climatic, poetic finale—a mesmeric tableau.
With its stylish cinematography and haunting atmosphere, Daughters of Darkness remains a cult classic in the genre. This is another film that calls to me to do a right full-length, The Last Drive In treatment. So stay tuned.
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Released on October 10, 1973, Don’t Be Afraid of the Dark led with the tagline: Now you see them… now you don’t… now you die!
Tiny demonic imps living in a Victorian house terrorize Sally (Kim Darby), married to up-and-coming advertising executive and workaholic Alex Farnham (Jim Hutton), who have just moved in. Sally has inherited the house from her grandmother. The secret of this Victorian portal to the bowels of a hellish domain, the entrance, which is a bolted fireplace in her grandfather’s dingy study, is linked to his volatile relationship with the sadistic little creatures – before he disappeared. Sally is hell-bent, literally, on redecorating with garish appeal, insisting on opening up the locked room, which leads to all the trouble.
Only when Alex is out of the house do the little menacing prune-faced imps play head games, taunting and threatening her while they impatiently wait for the time when she will truly come home. Handyman William Demarest, as cantankerous as ever, continues to urge Sally not to meddle in things better left locked away, but she does not heed his warning. “Some things are better left unopened.”
She hires Pedro Armendariz to tear open the bricked-up fireplace, but he soon pays for it when these horrific little creatures rig up a chord on the stairs meant to break Sally’s neck. The atmosphere of paranoia sets the mood, as no one else sees them, though they pop up everywhere while taking a shower, at a dinner party, and through the staircase. Alex angrily suggests she see a doctor. Barbara Anderson, who plays her best friend, doesn’t even believe her until the very end when it’s too late. Their little Greek chorus, calling her name in whispered tones, “free free free… set us free!” haunt the shadowy darkness as they hate the light—even flash bulbs and lit candles.
Sally is a frustrating, stubborn sort of person who just doesn’t leave when she knows she’s not imagining things, and her dismissive husband refuses to listen. I love to watch this every Halloween, and I can’t resist calling, sitting on my couch, yelling at Sally, the idiot, for just not getting out of the house. Even at the end,… taking sleeping pills and taking a nap on the bed when she is an inch away from being dragged down the darkened hole to nowhere, only to become a whispering tone in the shadows… herself. There’s a great score by composer Vic Mizzy, and one of the imps was played by Felix Silla, who was The Addams Family’s hirsute little character who squeaks and tribbles – ‘Cousin It.’
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Leo Penn directed, and Jack Laird produced this NBC miniseries, The Dark Secrets of Harvest Home. It’s a very atmospheric, folksy horror tale about an urban family who relocates to a seemingly idyllic rural community with unsettling undercurrents. Much like the tranquility of rural life known by Hammer, the surroundings belie the dark secrets beneath its surface. Bette Davis, in a role she was determined to play ever since she had read Thomas Tryon’s (The Other) novel, delivers an unambiguous bond to her Hammer days with films like The Nanny; wearing a pastoral high-neck black dress, white bonnet, and owlish glasses, she captures the essence of the Widow Fortune. Sage and world-weary, outwardly benevolent, yet there is a trace of malice lurking beneath. The Widow presides over the quaint and provincial village of Cornwall Coombe, acting as many things. As their medicine woman, the elder, and the matron who guides the villagers with her strict council. It is this isolated way of life that appeals to the Constantines, who are the perfect archetypal disaffected city people, Nick (David Ackroyd) and Beth (Joanna Miles). Beth has a regular gig with her psychiatrist to help her deal with Nick’s straying, and their daughter Kate (Rosanna Arquette) suffers from anxiety-driven asthma attacks. Once the family is taken into the Widow’s matriarchal bosom, her spell seems to be the nostrum the family needs. Beth is free of her therapy, and Kate’s asthma is cured. But Nick starts to feel the tremors of something corrupting at its core and the facade of their cloyingly charming new life, and the residents of the Coombe are a bit too obsessed with exalting their traditions that make you wonder about the sacred self-reliance and hints – with a rather sinister tone – that no one ever leaves the Coombe. Note: the recordings that blind Robert Dodd listens to are voiced by Donald Pleasance.
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Tobe Hooper and John ‘Bud’ Cardos direct The Dark 1979, starring William Devane, Cathy Lee Crosby, and Richard Jaekel, who are fighting some kind of monster who goes on a killing and mutilation spree only in the dark of the night. Frustrated by the clueless police, the father (Devane) of the first victim goes looking for answers.
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This made-for-TV chiller aired on CBS on October 24, 1981. The dapper burlap fellow above is Bubba (Larry Drake), an innocent, kindly man with an intellectual disability who is befriended by a little girl (Tonya Crowe). In a small Southern town, four vigilante farmers (including Robert F. Lyons) wrongfully execute him when they think he has harmed Marylee, who he actually saved from a dog attack.
But after the court sets them free, Bubba seemingly returns from the grave to exact revenge as inextricable accidents begin to kill them off one by one.
Writer/director Frank De Felitta (Audrey Rose 1977, The Entity 1982) directed this pretty nifty small television production. It is pretty drenched in atmosphere during its nighttime sequences, in particular, the scene where Bubba is hiding in a field disguised as a scarecrow, which will become the haunting embodiment of Bubba’s return. While I agree clowns are terrifying, scarecrows can have a similar effect on me!
Dark Night of the Scarecrow also features Jocelyn Brando as Bubba’s mother and Charles Durning as a postman who delivers more than the mail; he brings a special kind of nasty, viciousness, and bloodlust who instigated the torturous death against Bubba in the first place and adds more murder to cover his tracks.
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First, here’s a quick note: I met with director Jack Sholder (who also wrote the story) a while back and will interview him once we both have the opportunity. As part of my feature on Sholder, I’ll give more of my commentary on this special horror film as well as some of his other work, The Hidden (1987), A Nightmare on Elm Street 2: Freddie’s Revenge (1985), and 12:01 (1993).
Alone in the Dark is perhaps one of the most iconic representations of the best of 1980s horror with the finest of genre veterans who are the perfect hosts to entertain us with this bitingly satirical film!
In this superb horror thriller, down is up, and up is down – madness blurs as chaos reigns and the lunatics run the asylum. Dr. Daniel Potter (Dwight Schultz), a psychologist, arrives at the mental asylum known as “The Haven” to work under the eccentric and overindulgent Dr. Leo Bain (Donald Pleasence).
Potter is unaware that the most deranged of the inmates there—”Preacher” (Martin Landau), Colonel Hawks (Jack Palance), “Fatty” (Erland Van Lidth), and “The Bleeder” (Phillip Clark)—are convinced that Potter killed his predecessor and their friend, Dr. Harry Merton (Larry Pine).
This experimental hospital seeks to create a sanctuary for the insane where the rooms don’t have bars on their doors. The head doctor, Pleasance, is himself unhinged, and his fellow patients are referred to as voyagers.
Paranoia grips the violent inmates as they fear Potter might turn on them next. When a power outage strikes, these crazies seize their chance; they break out – arming themselves during a riot and looting before heading to the Potter’s white-bread suburban Springwood, New Jersey home.
Preacher — who likes to burn churches and people — kills a bicycle messenger en route and, gleefully, takes his hat! The group makes it to Potter’s house, where they set siege on the family.
Fatty, a psychotic child murderer, is mistaken as the babysitter of Potter’s daughter, Lyla, whom the sinister Colonel has murdered.
As part of the sharp cynicism of the film, the teenagers in Springwood worship a band called The Sick Fucks as they wield prop axes at their concerts. It’s a commentary on the normalization of violence in American pop culture.
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From the magnificently prolific minds of Jim Henson and Frank Oz On comes the story of another planet in the distant past and a Gelfling who embarks on a quest to find the missing shard of a magical crystal and restore order to his world.
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You know, around this time in October each year, I like to do something a little special spooky to celebrate the coming of All Hallow’s Eve, Halloween, or Samhain for those of us of the Wiccan faith.
To keep up with my tribute to those memorable Scream Queens, I’m now up to the 1970s. In the next few weeks, I’ll be publishing my deep dive into that decade’s iconic femmes of fright. In the meantime, I’ll treat you all to a few tidbits here and there. Perhaps a few Trailers to Keep the Boogeyman Away or a Saturday Night Surreal: The Ghost of Sierra de Cobre 1964 TV Movie.
We’ll see what sneaks up on me! So stay tuned; I’ll be back. Grab some candy corn and please eat a little bit at a time; that crap’ll make you sick to your stomach. – Your EverLovin’ Joey saying, watch this sweet little guy in the meantime
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Adrienne Barbeau: A Bold New Chapter in 70s Television:
In the 1970s, television actors like Adrienne Barbeau faced significant barriers when transitioning to feature films; no one would consider hiring you, as the prevailing mindset was – why would audiences pay the price of a movie ticket to see an actor when they could just turn on their television and see them at home, for free.
Adrienne had a steady job from July through February every year and worked in New York for eight years prior without having had an agent, but once nominated for a Tony, she signed with Marvin Josephson at the Agency for the Performing Arts who negotiated the deal for Maude.
When she moved to L.A., her journey through various agencies was tumultuous and marked by a series of coincidences. She was told that she should be doing other things than Lear’s television series, like the popular viewing experience at that time, for instance, the movie of the week.
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Adrienne meets Johnny Carson for the first time in a 1973 guest appearance.
Adrienne, during her 1976 hiatus from Maude, was now working with the Creative Artists Agency (one of the industry’s most powerful firms at the time). She demanded a commission for a gig opening for Roy Clark at Harrah’s, which she secured directly from Clark’s manager despite the fact that singing engagements were not part of her contract. She changed agencies once again.
Mike Ovitz, the cofounder of Creative Artists Agency (Ovitz transformed the negotiation of major deals in film, TV, music, and corporate media from the 1970s to the 1990s), was a major male chauvinist who considered women – “˜chattel.’ This was another reason she didn’t feel comfortable being represented by CAA.“Every time we spoke on the phone, I hung up, enraged or in tears. He didn’t have a clue, of course.”
Adrienne Barbeau on the gameshow in 1974 hosted Dick Clark with Tony Roberts appear on The $10,000 Pyramid New York NY ABC Studio Elysee Theater – Photo by ABC getty images-1231784707.
The Tonight Show – Adrienne Barbeau, John Wayne, Bing Crosby, Bob Hope with host Don Rickles: photo by Fred Sabine 1974 NBC UNIVERSAL via Getty Images.
Adrienne started singing again and appearing on live talk shows. Working on The Tonight Show was a big career boost, and she did many interviews with Johnny Carson. Adrienne recounts in her book how the co-originator working on the pre-interview for Carson’s show would scream and put pressure on Adrienne to show up early. It made her break out in hives. However, all the other cohosts, including Roy Clarke and George Carlin, were wonderful. Singing was the hardest part of her various guest appearances. She hadn’t sung since Maude’s telethon episodes or Grease.
Adrienne Barbeau as Daisy in the television biopic The Great Houdini in 1976.
In 1976, Adrienne Barbeau appeared as Daisy White in her first TV movie, The Great Houdini, which is a slight supernatural dramatization of the life and the rise to fame of the iconic magician and escape artist. The movie starred Paul Michael Glaser (80s television’s sensitive action hero cop Dave Starsky) as Harry Houdini and featured Adrienne as his beautiful assistant. This TV movie included Ruth Gordon and Peter Cushing. Adrienne had no scenes with these two great actors, so she didn’t get to spend any time with them. However, she did know Sally Struthers because of her work as Gloria on Norman Lear’s All in the Family. It also features Vivian Vance, who played Ethel Mertz, Lucy’s loyal and comedic sidekick in the iconic comedy series of the 1950s, I Love Lucy.
“The first job they (Creative Artists Agency) got me was Houdini, a TV movie with Paul Michael Glazer and Sally Struthers; I was to play Houdini’s mistress. After I accepted the offer, the agent called back to say they wanted to do a semi-nude scene for the European release. I was so concerned about being shot only from the waist up and no one seeing my big butt that it never dawned on me to ask for more money. The agent didn’t either. Mike Ovitz was one of the partners in the film. This was the 1970s. I was a strong believer in the Equal Rights Amendment.”
from an interview with The Terror Trap in 2010-“It was the first film I had ever done and I knew nothing about film. I had only done stage and tape up until that time. We did Maude the same way you do a stage play. We just rehearsed for 4 1/2 days and then did it for an audience straight through, no stops or anything. So we did the master…the first establishing shot… on Houdini… and I didn’t know that people did close-ups. I went off and started to change clothes to do the next scene! It was my first film experience and a real learning process.”
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Adrienne has appeared in many TV movies, particularly Crash in 1978. One of the little details out of so many I found interesting in reading her memoirs was one of the only things that sticks out about working with director Barry Shear on that film. He was a screamer; he constantly yelled at everyone on the set and cursed up a storm. As Veronica Daniels, the shattered stewardess in a minor disaster flick, Adrienne once again shows that she is a very serious actor
“I think I was hired for a Quincy. If anyone is old enough to remember, Quincy, and I played a dramatic role there. Then suddenly, oh ok, she can do drama. She can do comedy. She’s a TV actress, but in 1978, feature producers did not think that anyone would pay to see a television actor on the big screen. So, no movies were coming my way. You know, because she’s on TV.”(from There Are Worse Things I Can Do)
Adrienne met John Carpenter in 1978 when he was casting his first network television film after Warner Bros hired him to write the screenplay and direct Someone’s Watching Me!
Her agent called and told her that this young, up-and-coming director wanted to meet her. She read the script and thought it was one of the best scripts for television that she had read. Adrienne wound up auditioning for the part of Lauren Hutton’s best friend and was offered the role. Carpenter was funny and relaxed, and she instantly felt at ease. There was an instant attraction. Her memoirs include a colorful description of her first meeting and the intense relationship that ensued with John Carpenter. Again, There Are Worse Things I Could Do is a must-read.
“He watched me in Maude, liked the character I played, and was hoping I had her same sensibilities; It was that kind of character he wrote, the Howard Hawks-type woman. Strong, smart, quick, witty. He was nervous it was his first studio film, and he was having to answer to “˜the suits.'” (Pg 14)
In one of director John Carpenter’s earlier works after his first feature film, Dark Star, in 1974, Someone’s Watching Me! 1978 was his television debut. This TV movie is a well-crafted woman-in-peril TV thriller centered on obsession, voyeurism, and the fragility of safety in urban life. It stars Lauren Hutton as Leigh Michaels, the lead heroine, a TV director who is under surveillance by a voyeur who is stalking her in her L.A. high-rise apartment. Originally titled High Rise and filmed in eighteen days, it was also scripted by John Carpenter; it is a bit of a tribute to Hitchcock’s Rear Window 1954 and would showcase a number of the director’s techniques that would emerge in his subsequent films. In particular, his gliding camerawork, point-of-view shots, and unexpected shock cuts.
Someone’s Watching Me! was based on a Sun-Times story called “Terror in a High-Rise” by Paul Galloway and Basil Talbott Jr. The story was about a woman living in a high-rise apartment who believed she was being spied on in her home and threatened by an anonymous stalker, which led to her suicide.
Adrienne Barbeau’s character is somewhat of a transformational role for a made-for-TV movie in 1978 because she is a lesbian who was treated very matter-of-factly. Adrienne ends up getting thrown off her apartment balcony while Lauren Hutton watches helplessly through her telescope.
Leigh (Lauren Hutton) becomes terrorized by threatening phone calls and letters from a mysterious man who seems to know her every move as she tries to convince the police that she’s in danger.
Adrienne Barbeau plays Sophie, Leigh’s co-worker and friend, who is casually revealed to be a lesbian during a conversation about ex-lovers. Being Leigh’s supportive friend – Sophie steps in to help her deal with the growing threat, and it gets her killed for her trouble.
Adrienne’s performance has been praised for its lack of sensationalism and is considered pretty progressive for a 1978 television. Sophie has been recognized as an early example of positive queer representation in media. “The first scene I did for John Carpenter in Someone’s Watching Me! was a scene where I revealed to Lauren Hutton that I’m gay. John wrote it beautifully.”
Adrienne herself has spoken positively about her role in interviews, acknowledging the significance of playing a casual, positive lesbian character in a 1978 TV movie, especially given the era in which it was produced. This was one of Adrienne Barbeau’s first collaborations with John Carpenter before the couple married, and she would go on to star in her first feature film.
To Adrienne, after years of doing musical theater and a major TV sitcom, the idea that she can “˜do less,’ those two words made all the difference in terms of the work she was now doing
“It wasn’t until I did my first film. It was with John Carpenter, and it was a television film called Someone’s Watching Me! Up until that point, I had done a massive amount of stage work, and I had been on the sitcom Maude. I had been in television movies, which were usually with a director who’s not taking the time to adjust your performance. So, we did the first scene, and John came over and said, “˜That was great. That was great. Let’s do it again and do less.’ I said Do less?” And all of a sudden, it was like, okay, that’s the last piece of the puzzle. That’s the light bulb going off.
I had been working on stage for most of my life, It’s a film, not stage, not a four-camer sitcom. Even situational comedy on Maude, we did it like a play. We did it for an audience. And now, John was telling me how to let the camera do the work and keep it small. So, I added that to my education.”
“All I knew about John was that he made horror movies; I’d heard about his ‘Assault on Precinct 13,’ I think. I walked in expecting some kind of hard-boiled guy, and here was this sweet, salt-and-pepper, gentle man… I think I began to fall in love with him right then and there. But I heard that he was seeing somebody else, and so all during the filming of ‘Someone’s Watching Me!,’ I kept my distance, and I tried to discourage my emotional feelings.”
“And then, on the last day of shooting, John said he wanted to have dinner with me and discuss something. I thought maybe it was his next screenplay. He sat down and said, ‘I’ve fallen in love with you.’ Well…we were married Jan. 1, 1979.” (Interview with Roger Ebert)
The couple wed and moved into the Hollywood Hills section of Los Angeles, purposefully remaining “totally outside Hollywood’s social circles.” (Roger Ebert) They remained together for five years but separated shortly after the birth of their son, John “Cody” Carpenter, on May 7, 1984. The couple divorced later that year.
1979 marked a pivotal year in John Carpenter’s career, propelling him to new heights of success. His film Halloween, released on October 25, 1978, became a box office phenomenon in 1979, establishing itself as the most profitable independent production in Hollywood’s history at that time. At the time the couple was starting out, and before his breakthrough, Adrienne had been the more prominent figure because of her Broadway success with Rizzo in Grease and her long-standing role in Maude. Halloween opened new doors for John Carpenter, which led to a lot of industry interest, getting calls and offers, and this newfound recognition translated into tangible opportunities and elevated his status in Hollywood. Now, he was able to secure financial backing for his next project, The Fog, in 1980.
The Fog is based on Carpenter’s idea “”nothing more than that a horror movie could be made with Fog as a leading character””and it provided Adrienne Barbeau with her first major movie role. But first, a year after Someone’s Watching Me! Adrienne appeared in another spooky made-for-TV movie.
Adrienne Barbeau and Robert Foster in the television horror/sci-fi flick The Darker Side of Terror 1979.
In an early foray into horror, before Adrienne Barbeau introduced us to Stevie Wayne in Carpenter’s The Fog, she appeared in the television movie – The Darker Side of Terror, a chilling chronicle of scientific hubris and a potentially intriguing doppelganger scenario, which crept onto television screens on April 3, 1979. At its heart lurks the aging Professor Meredith, played by Hollywood great Ray Milland, who by this time became his own brand of the cantankerous curmudgeon trope in these types of b-horror/sci-fi narratives. In this movie, his unorthodox ambitions lead him down a twisted path; with a daring act of genetic manipulation, he creates a carbon copy of his star pupil, a brilliant young academic Paul Corwin (Robert Forster). The only way you can tell the difference between the two Pauls is when the clone’s eye suddenly turns a ghostly white as sudden, murderous impulses strike him.
After Paul’s clone escapes from the lab, he falls in love with Adrienne, playing Paul’s unsuspecting and neglected wife, Margaret, who becomes seduced by Paul’s doppelganger, unaware that all this newfound passion and attention is coming from the wrong man.
Adrienne Barbeau stars with Greg Mullavey, Jessica Walter, and Ronny Cox in the TV movie Having Babies 1976: photo by ABC via Getty images-1228129255
Adrienne Barbeau in THE LOVE BOAT Hollywood Royalty/The Eyes of Love/ Masquerade 1978 seen here with Juliet Mills ABC Photo Disney via Getty Images.
Adrienne’s other credits: Her appearances in 1970s television movies and series, including the TV movie Having Babies in 1976, the TV movie Red Alert in 1977, and the TV movie Crashin 1978. She also appeared in an episode of Eight is Enough in 1977 and a very intense episode called Let Me Light the Way for Jack Klugman’s popular television series Quincy, ME1977. On the light side, she appeared in episodes of The Love Boat in 1978 and Battle of the Network Starsin 1978.
In Adrienne’s autobiography, she said: “I actually thought CBS asked me to be on Battle of the Network Stars because they thought I was athletic. My husband clued me in: Who cared if I won the race, as long as I bounced when I ran?”
Adrienne Barbeau: The 1980s and The Rise of a Horror Icon:
Adrienne at Avoriaz le 20 Janvier 1980: photo by Jean-Louis URLI/Gamma-Rapho Getty images-1753991732.
From Rizzo to Scream Queen – Adrienne Barbeau’s Candid Memoir There Are Worse Things I Could Do Reveals the Woman Behind the Role of Icon:
I have been a huge fan of Adrienne Barbeau since she appeared on television in the role of Bea Arthur's daughter Carol on the hit 1970s sitcom Maude. Maybe it was her raw authenticity that transcended the TV role; maybe it was her natural sensuality, her sharp jawline, glass-cutting cheekbones, and deep brown eyes. Growing up in the sixties and "˜70s, Adrienne Barbeau’s energy immediately drew me in. I care and recognize the contribution of her work across her long career.
I'm also one of those fans who is still steaming over HBO's cancellation of the dramatic and surreal series, Carnivà le. Adrienne's portrayal of Ruthie was not at all surprisingly captivating and jaw-dropping, watching her channel the grit of a wise and weathered soul who dances with Boa constrictors. Adrienne Barbeau's vivid presence embraced the curiosity of this extraordinary show and its transformative storytelling. And there is nothing more evocative and stirring than the sound of Stevie Wayne's smokey tones over the airwaves of KAB in John Carpenter’s The Fog. She sets the mood for one of cinema’s most haunting visions rolling in from the sea.
All I can say is that I'm beyond excited and extremely grateful to Adrienne Barbeau"”this legendary actress, performer, vocalist, author, and now trapeze artist! for granting me an interview amidst her busy schedule while on location shooting her latest project. She is so incredibly gracious with her time to answer my involved questions and sharing with us her perspective on life and her extensive career.
First of all, I can't urge people enough to read Adrienne Barbeau's memoirs There Are Worse Things I Could Do. She is a richly talented storyteller. Her memoir had reached No. 11 on the Los Angeles Times bestseller list in 2006.
In a cheerful, whimsical way, Adrienne Barbeau narrates her life story not only of her wandering existence as an all-around performer but as a versatile, strong, and self-possessed woman.
Her memoirs are witty and self-effacing; it is a lively, joyous, hilarious, intimate account of this genuine actress's life. She shares her adventures, not only her journey as a talented performer (acting & singing) & writer but also the authenticity and raw honesty with which she relates her funny, at times poignant experiences in the search for self-reflection and self-confidence. She boldly talks about her romantic relationships and her long-lasting friendships, both professional and private, putting a hilarious spin on her intelligent, personal narrative. I devoured the book in just two days, captivated by her vivid anecdotes, and it also offers a fascinating glimpse into the industry.
"Wow!! Adrienne, like Mame, has LIVED!!!! And like Candide, she emerges unscathed, as dear as she was when she began. But what a wild ride!!!" – Bette Midler
"There Are Worse Things I Could Do, says Adrienne Barbeau, but she couldn't do anything better than writing this delightful memoir."– Norman Lear
"I've rarely read a "˜Show Biz' autobiography that made me feel as much affection for the speaker."– George Romero
There is so much to take in, from growing up on a farm in California to life at 15 when she unriddles in the dramatic entries of her journals the depth of her teenage angst, philosophizing, and the deep thoughts of a young dreamer with intellectual wanderlust.
Adrienne Barbeau and cast in the Broadway production of Grease, 1972 photo courtesy of Playbill.
Adrienne reflects on her time in the original Broadway production of Grease as Rizzo, a role that helped launch her career. The book offers candid details about her relationships, the tumultuous romance with Burt Reynolds, and her second marriage to Billy Van Zandt in 1992. The couple divorced in 2018. It also tells the story of having twins when she was 54, giving birth to her sons Walker Steven and William Dalton Van Zandt.
Adrienne Barbeau Avoriaz, le 20 janvier 1980. (Photo by Jean-Louis URLI/Gamma-Rapho via Getty Images)
Adrienne Barbeau recounts with her readers, behind-the-scenes stories from various productions, including The Fog, Escape from New York, her work on Carnivà le, and more, including her working relationship with director and ex-husband John Carpenter that lasted from 1979 to 1984, working with directors George Romero and Wes Craven, and the grueling physical challenges due to budget cuts that forced constant script changes and challenging shooting conditions that she faced during the filming of his sci-fi fantasy Swamp Thing. All three films and HBO’s TV series have attained cult success.
Adrienne Barbeau and Swamp Thing 1982 courtesy of Embassy Pictures.
Adrienne also discusses her voice acting work in animated features like Catwoman in Batman: The Animated Series and shares a few hilarious misadventures, such as filming on location for the low-budget Burial of the Rats 1995 in war-torn Russia.
Adrienne Barbeau also talks about her debut album released in 1997, the self-titled Adrienne Barbeau, showcasing her versatility further. It's a great collection of country, blues, jazz, and pop tunes she performs in her concert appearances across the country. She went on tour, performing in concerts across the West Coast and Vegas.
She rounds out the book by discussing how prolific she’s been with her series of urban fantasy novels, the first of which was Vampyres of Hollywood, published in 2008.
Her official website is here. Her Instagram is here
The Accidental Scream Queen:
“You get typecast in Hollywood,” she said. “I think ‘Maude’ got everyone thinking I could only play comic women’s libbers. So in my TV work after ‘Maude,’ I did only drama. Now maybe ‘The Fog’ will help people think of me as slightly more versatile.”
The fluidity of labels. Labels are not fixed. The mutable nature of professional labels is challenging for actors who seek to redefine their artistic identities. In the dynamic landscape of the entertainment industry, an actor's perceived typecasting is often a transient construct, subject to evolution and redefinition. Actors are capable of transcending initial labels and reshaping industry perceptions. You can be many things all at once. It's what I call the; ‘Art of being many.’
She is considered a horror legend, yet she doesn’t have a strong affinity for the genre. She doesn't like to be scared, so it is ironic that she became a Scream Queen. It's also interesting that she wound up working with horror director royalty, the likes of John Carpenter, George Romero, and Wes Craven.
Adrienne Barbeau with director John Carpenter on the set of The Fog in 1979.
One reason she earned the title: “Also, because I was identified emotionally and socially with John Carpenter and because the first couple of films were "˜horror films.' Then I've got another label started out. (at first) Oh she's a musical comedy girl, then she's a comedienne. – TV wouldn't even see me for drama until I finally cracked that nut. Oh she's a TV actress, oh she's a film actress, oh but it's horror queen.” (interview with Ernie Manhouse 2015)
"I never set out to act in horror films specifically. I wasn't even aware of the genre, really. But I was offered the role of Stevie Wayne in The Fog, and in those days, if you were known for your work on television, you couldn't get hired to do movies. So when The Fog came along, I jumped at the chance. None of us knew, back in 1979, that the film would still be as much loved today as it was then." And as far as the 2005 remake goes? "I haven't seen the remake. Probably never will." (Jesse Striewski in an interview for Rewind It Magazine interview Oct 28, 2021)
Adrienne Barbeau’s career trajectory is a testament to her versatility and resilience in an industry often quick to pigeonhole its talent. She first captivated audiences on Broadway, showcasing her theatrical chops before pivoting to the small screen, where she honed her comedic timing in one of Norman Lear’s crucible sitcom television series – Maude. Because of her fluid ability to adapt – the series catapulted her to prominence as a feminist standard-bearer and "˜sex symbol' in popular culture.
Adrienne – On the set of The Fog in 1979 with director John Carpenter.
"The Fog was my first feature film. And I think in part because I was married to John by that time and in part because The Fog was a horror film or a fantasy or whatever you call it, ghost film that then the label came. Oh, she does genre movies. They didn't even say genre in those days. She does horror movies. She's a Scream Queen. But it hasn't followed me all the way through. I ended up doing comedies Back to School and Cannonball Run and a lot of stuff that god forbid anybody should see. Which I took for various reasons."– (from the Rue Morgue interview)
As she made the leap to cinema and throughout her journey commanding attention on the silver screen, Adrienne Barbeau’s vibrant presence defies simple categorization. Adrienne’s career arc saw her evolve from a feminist icon in television comedy and drama to a captivating film siren and serious actor who embodies sensuality, resilience, and strength always – with apparent ease. Yet, among the myriad roles she’s inhabited, one label has clung to her from her die-hard fans who have fueled her her image with particular tenacity: is that of Scream Queen. Being the symbol of the genre, far from being a limitation, has become a crown she wears with distinction, a lasting emblem that resonates with fans and cements her status in the pantheon of horror cinema.
However, her career is a vibrant legacy of reinvention, proving that an actor’s essence can be simultaneously multifaceted and as well as iconic.
When she arrived in Los Angeles after her Broadway success, she faced the challenge of industry typecasting. Her theatrical background led to her being labeled primarily as a stage actress. Her transition to television with her role in the sitcom Maude at that time further narrowed perceptions of her as she became widely recognized as a comedienne.
This pigeonholing created significant obstacles for Adrienne when she sought artistic growth and expanding talents to embrace dramatic roles. Yet once again, her success in comedy paradoxically became a challenge to overcome, as she tried to be taken more seriously for dramatic parts and not be limited by a perceived lack of range.
"Maybe I was typecast – I had labels put on me right from the beginning because I started as a musical comedy actress on stage on Broadway.”
Adrienne Barbeau proudly welcomes the designation of Scream Queen with pride; though she has openly acknowledged that she has no interest in watching horror films, I do not have a hard time imagining Adrienne Barbeau in a recurring role as an action hero or badass cop brandishing a formidable weapon. Or having her own television show playing a woman cop like Angie Dickincon's Police Woman.
Adrienne has recognized that she’s more geared toward action movies and thrillers, citing an appreciation for the psycho-sexual suspense masterpiece Alan J. Pakula's Klute 1971, which starred Jane Fonda as high-price call girl Bree Daniels.
Adrienne has stated that she believes part of the reason she winds up exploring the horror world is the volume of offers that keep coming her way, in contrast to other genres. These projects have enabled her to play an emotional spectrum and women survivors who wind up being the heroine and not the victim.
“Those are the kinds of roles I’m drawn to and that I tend to play better than the victim, who knows. Although I didn’t start out doing them. I started out on Broadway doing musical comedy. I was the original Rizzo in Grease, and so, that’s a far cry from where I ended up. But because my first feature was The Fog and it was a genre film, I identified with that genre and I love doing them when they’re good, when they’re well written.” (2020 interview with Coming soon.)
Rob Zombie, Malcolm McDowell, and Adrienne Barbeau on the set of his reiteration of Halloween 2007.
While she has an affection for the horror movies she has a relationship with, she turned down a role in Rob Zombie's The Devil's Rejects in 2005, voicing her opinion that it was just "˜too much' for her. Zombie's film has a hyper-violent and grotesque vision for the genre that has evolved through a very anti-philosophical lens. The genre’s evolution in contemporary terms has adjusted the mechanisms that constrain its focusing range on the relentless assault on our senses. There are classical horror films that have successfully balanced psychological terror and raw, visceral impact for the audience. If Adrienne Barbeau didn't like being scared before, she certainly wouldn’t want to be involved with a film that disturbs beyond mere catharthis of our collective fears.
Note:Zombie has cast notable, extremely talented classic actresses in his film The Lords of Salem, the other notable Scream Queens – Meg Foster, Dee Wallace, and Judy Geeson. While the casting coup of having Adrienne sign on to the project might have sweetened the pot for me, I still couldn’t bring myself to watch it.
Adrienne, as Stevie Wayne, warns Antonio Bay about the menacing fog.
Nothing about horror film narratives drew Adrienne to the genre initially. Aside from the horror films she had starred in, Adrienne never watched scary movies, not even Hitchcock's seminal thriller, Psycho, in 1960. So, in a big way, the genre sort of found her.
It wasn't until she starred in The Fog that she was offered these types of films. Adrienne has graciously come to embrace the title and has said that she is incredibly grateful and enjoys doing them when they're well-written. She even incorporated a Scream Queen character – Ovsanna Moore, the 500-year-old vampire. into her novels, showing her appreciation for the title.
Adrienne Barbeau poses on the red carpet at Scarefest in Lexington, Ky. Pablo Alcala 2010.
Even if she's not a horror aficionado herself, Adrienne Barbeau's impact on the horror genre is unmistakable. Her nuanced performances, intelligence, versatility as an actress, willingness to take on challenging roles, and commitment to her characters have established her reputation as one of the most respected and enduring, formidable presences as a Scream Queen in the history of the horror genre.
Adrienne Barbeau as Ruthie, the snake charmer in HBO Carnivà le.
"The characters have gotten older. That’s about it. I’m still attracted to strong women’s roles, sometimes the villain, sometimes the heroine, rarely the victim."
Regardless of whether she sought to attain the honored title or not, Adrienne Barbeau's reputation as a queen of horror is cemented across the cinematic and television landscape, from scholarly discourse to popular culture. There's a diverse array of voices in film scholarship and fandom consensus among a chorus of film critics, historians, journalistic critiques, aficionados, genre enthusiasts, and grassroots horror communities alike – affirm that Adrienne Barbeau fervently ranks high on the level of Scream Queen. Her credentials as horror royalty are unassailable, garnering unanimous recognition from the highlights of pop culture.
Whether by design or chance, Adrienne Barbeau has emerged as a celebrated figure of the realm.
Now that we got that out of the way, let's talk about the "˜art of being’ ‘many' other things.
"There's nothing more chilling than a warm family gathering."
A Flashback to the 1970s: ABC Movie of the Week:
Even now, when I hear that iconic theme music from the ABC Movie of the Week, I can’t help but feel a wave of nostalgia wash over me, like a warm hug from a long-lost friend who just walked in wearing bell-bottoms and a tie-dye shirt. It's like my heart does a little happy dance, reminding me of those cozy nights I spent rapt by the TV, ready for whatever wild ride the network had in store.
Growing up in the 70s, I was drawn to its unique vibe; who wouldn't get misty-eyed thinking about the sheer joy of watching a made-for-TV movie? Those were the days when that format was our portal to adventure, and that theme music was the soundtrack to our childhood dreams!
I often love reflecting on those days – the groovy vibes of the 1970s when the ABC Movie of the Week burst onto the scene, pulling you into its orbit. Launched in 1969 as a bold move to jazz up ABC’s lineup, this anthology series became a cultural phenomenon, delivering a fresh, funky mix of drama, suspense, and heartwarming stories that kept viewers like me glued to their couches.
With its vibrant opening theme and a mosaic of original films, the series kicked off with Seven in Darkness, a gripping tale of survival that set the tone for the creative magic to come. Each week brought a range of unique offerings, from the nail-biting tension of Duel, directed by the visionary Steven Spielberg, to the heartfelt camaraderie of Brian’s Song, which touched us on such a deeply emotional level.
The ABC Movie of the Week was more than just entertainment; it was a cultural touchstone that launched the careers of iconic actors and filmmakers, all while capturing the spirit of an era defined by bold experimentation and social change. With unforgettable stories and a flair for the dramatic, this series left an indelible mark on the fabric of television, making it a true classic of the 70s that still resonates today.
The landscape of 1970s television was rich and varied, featuring everything from soap operas and detective dramas to family sitcoms and supernatural thrillers. This era was characterized by a diverse array of genres, from groundbreaking sitcoms and gripping dramas to whimsical variety shows and thrilling action series. Shows like All in the Family, Mash, Columbo, and The Rockford Filescaptivated viewers with their clever plots and charismatic actors. They not only reflected the zeitgeist of the era but also influenced future generations of storytelling on screen.
The legendary Aaron Spelling contributed his vision to American television in a big way. He left a legacy as a producer known for creating some of the most unique made for tv movies chillers like Curtis Harrington’s How Awful About Allan 1970 and Satan’s School for Girls 1973 and iconic shows of the 1970s and beyond, including Charlie’s Angels, Dynasty, and Beverly Hills, 90210. With a career spanning over five decades, he holds the Guinness World Record for the most prolific television producer, crafting a staggering 4,300 hours of programming that defined the landscape of American pop culture.
Thanks so much, Gil of Realweegiemidgetreviews, for hosting this wonderful blogathon and giving me a chance once again to feel the groovy sense of nostalgia during my New York summer heatwave with this little chilly holiday tale of family fights and frights!
“I only ever wanted to be an actress, not a star.”
Teresa Wright may seem lamblike at first glance, but don’t let the soft smile fool you into thinking there isn’t something gutsy within that charming glow. She is one of the most engaging actors, and she shows a resolute luster and independence to take on Hollywood with the same veracity she pursued wicked Uncle Charlie in Shadow of a Doubt.
Wright was not only endearing, but her acting and personal life lacked ceremony and authenticity. She was discovered by Samuel Goldwyn and gained early recognition for her exceptional performances in her first three films. She became the only actor to receive Oscar nominations for each of them. Wright earned an Oscar nomination for Best Supporting Actress and one for Mrs. Miniver.
Teresa Wright and Greer Garson in William Wyler’s Mrs. Miniver (1942).
It stands to reason that Times drama editor Edwin Schallert described Wright’s burgeoning career as “one of the most remarkably brilliant for a young player in Hollywood.””¨Despite being a Hollywood star, she remained true to herself and rejected the pretentiousness that came along with being a star. She achieved Hollywood stardom on her own terms, without selling out for the sake of glamour.
Teresa Wright was resolute in her refusal to pose for photographs while wearing bathing suits and to subject herself to superficial interviews in gossipy fan magazines. At first, Goldwyn told her he was not of “the bathing suit school of Hollywood producers.”
Muriel Teresa Wright was born in Harlem, New York City. She discovered a passion for acting while attending the exclusive Rosehaven School in Tenafly, New Jersey, after watching Helen Hayes in “Victoria Regina.” While attending high school in Maplewood, N.J., Wright participated in theatrical productions. Although one teacher advised her to pursue typing instead, a public-speaking teacher mentored her and provided her with plays to read. He also arranged for her to spend two summers at the Wharf Theater in Provincetown.
After receiving a scholarship in the two summers preceding her graduation, she began apprenticing at the Wharf Theatre in Massachusetts, appearing in plays such as The Vinegar Tree and Susan and God.
She performed in school plays and graduated from Columbia High School in Maplewood, New Jersey, in 1938. She then decided to pursue acting professionally and moved to New York.
Wright had to drop her first name when she discovered that another actress named Muriel Wright was already registered with Actors Equity.
In 1938, in her first play, she landed an understudy role in Thornton Wilder’s “Our Town”on Broadway and then toured in the play.
Following her successful stage performances, Wright made her remarkable Broadway debut as Mary in Life With Fatherin 1939. This caught the attention of playwright Lillian Hellman, who recommended her to Goldwyn for the screen version of Hellman’s The Little Foxes.
Teresa Wright as Alexandra (Zan) Gibbons in Lillian Hellman/William Wyler The Little Foxes (1941).
She gained recognition for her work alongside Bette Davis (who played the cold, calculating mother Regina) and Patricia Collinge who reprised her unparalleled Broadway role as the mercurial Aunt Birdie) in the film.
At that time, she had signed a contract with MGM but refused to do publicity stunts or cheese-cake shots that would turn her into a centerfold:
” The aforementioned Teresa Wright shall not be required to pose for photographs in a bathing suit unless she is in the water. Neither may she be photographed running on the beach with her hair flying in the wind. Nor may she pose in any of the following situations: In shorts, playing with a cocker spaniel; digging in a garden; whipping up a meal; attired in firecrackers and holding skyrockets for the Fourth of July; looking insinuatingly at a turkey for Thanksgiving; wearing a bunny cap with long ears for Easter; twinkling on prop snow in a skiing outfit while a fan blows her scarf; assuming an athletic stance while pretending to hit something with a bow and arrow.”
Though she became the unwilling pin-up girl, Teresa Wright became Goldwyn’s biggest overall star during the 1940s.
Teresa Wright and Gary Cooper in Pride of the Yankees (1942) image RKO via Getty Images.
Teresa received Oscar nominations for her roles in Mrs. Miniver (1942), the only movie she made for her studio MGM, and The Pride of the Yankees (1942), winning the Best Supporting Actress trophy for Mrs. Miniver.
In both roles, Teresa Wright gave heartwarming performances as the granddaughter in the sentimental war-era Mrs. Miniver and as baseball icon Lou Gehrig’s kindhearted wife in Pride of the Yankees, starring opposite Gary Cooper. Wright, now one of the most appealing newcomers in Hollywood, garnered two Best Supporting Actress and Best Actress nods in the same year. She holds the record for receiving back-to-back Academy Award nominations in her first three film roles, which still stands today.
Teresa Wright received top billing for Shadow of a Doubt, a film that was her personal favorite and earned every bit of that limelight in Alfred Hitchcock’s psychological thriller. The film places Wright as serial killer Joseph Cotten’s unsuspecting niece, Charlie, at the story’s center. Unsuspecting at first”¦
When Young Charlie (Wright) is over the moon about her favorite Uncle Charlie coming to her sleeping California town for a visit, the whole family celebrates his arrival.Her mother, Emma, Charlie’s older sister (Patricia Collings, who appeared with Wright in The Little Foxes and Casanova Brown), can’t wait to dote on her baby brother.But soon, it comes to light that Charlie might have left strangled wealthy women in his wake, and in fact, maybe The Merry Widow killer.
Teresa Wright gives a nuanced performance as Charlie Newton, who daringly holds her own in a game of cat and mouse with Joseph Cotten. They are tangled up in danger as she carefully draws out his murderous impulses.
But in the shadows beyond the edges, the family is unaware of the two characters diverge ““ one set on self-preservation with a malignant disgust for fat lazy wives who live off their husbands and the other who seeks out the truth and bends toward humanity. Their same names are where it begins and ends. Wright is a glowing jewel in the blackness of Hitchcock’s nightmare.
The Raven-haired sylph who: "walks in beauty like the night"¦ Of cloudless climes and starry skies; And all that's best of dark and bright; Meet in her aspect and her eyes"¦" "”Lord Byron
Barbara Parkins is an icon of the 1960s, appearing in two of the decade's most popular and legendary film and television productions.
Barbara's exquisite beauty is undeniable, but her captivating performances in Peyton Place and Valley of the Dolls truly secured her legacy in Hollywood history and our collective consciousness. As beloved – Betty Anderson in the television series Peyton Place and as Anne Welles in the notorious adaptation of Jacqueline Susann's sensational novel Valley of the Dolls (1967). These memorable roles continue to resonate with audiences today.
But beyond any of it, the glamour, serious drama, pulp fiction, or even the camp, there is an actress who possesses an otherworldly beauty and a depth of character and quality. Not only has she touched our hearts with her performances as these two classic heroines, but she is also one of those recognizable actresses who project strength, confidence, and poise.
Barbara Parkins will undoubtedly be remembered for her portrayal of Betty Anderson Cord in the iconic 1960s prime-time operatic melodrama Peyton Place, which ran from 1964 to 1969.
Based on Grace Metalious's "˜dirty book,' Peyton Place blew the lid off of the hypocritical conformity of small-town America, capturing the complexities of American morality through high drama, showing the dark underbelly of a quaint community of "˜wholesome' families striving for normalcy amid controversial issues. That everything is not safe, it's not always comfortable, and it is without real struggle. And sometimes, life can be downright ugly. Her novel captures the "complexities of human existence"”the dramas, highs and lows, conflicts, and teenage sexuality"”depicting life’s un-romanticized, unvarnished reality. While the book offended some readers, it intrigued others, and despite being a popular show, critics often deem it shocking yet captivating."(The Baltimore Sun 1999 Laurie Kaplan article THE WOMEN OF PEYTON PLACE)
“Barbara Parkins has caught the public's eye, partly because of her beauty, partly because she is a capable little actress. But mostly because she seems to have an inner fire. She's a volcano in a tight dress.'' (From an article BARBARA PARKINS: MOST PROMISING NEWCOMER – Niagra Falls Gazette March, 1965 by Dick Kleiner)
This is the second of two features about Beverly Washburn. You can read Part One here.
THE INTERVIEW:
1. Your first part in a film was for the 1950 film noir classic The Killer that Stalked New York starring Evelyn Keyes. You were supposed to be the first victim, a little girl who gets smallpox from Keyes who is on the run spreading the plague. And it was a speaking part. The script said, "˜'There sits little Walda Kowalski with her great big brown eyes and brown hair'' but you had blonde hair and blue eyes. You immediately thought that you wouldn't get the part. But Western star Jock Mahoney lied to the producers of the film at Columbia Studios after he saw you in the lobby while auditioning for the part of Walda. Mahoney met you 3 months earlier at one of your sister Audrey's shows. He was very taken with you, so he raved to the producer that you had done all this work even though you had no credits. And you got the part!
Essentially it was Mahoney's misdirection that helped your career! "¨"¨Does it ever make you laugh that it took a harmless lie, a few speaking lines, and tragically dying from smallpox in a Columbia Studios production to give you the leverage you needed to move forward in your acting career? Can you tell us about that experience?
Getting my first big break was perhaps a little unusual particularly since it was based on a little lie! I had met Jock Mahoney a few months prior to the audition for the role in “The Killer That Stalked New York” which was to be filmed at Columbia Studios. At 6 years old, I had an agent who had sent me on countless auditions, none of which I ever got due to the fact that I had no experience other than having worked as a model of children’s clothes.
The role of little Walda Kowalski was listed in the script as a little girl with big brown eyes and brown hair. Now that description wasn’t pertinent to the actual role, however when a writer writes in a character, he or she typically envisions what they might look like. Well, right off the bat, it seemed apparent that I wasn’t what they were looking for because I had blue eyes and blonde hair. As I was sitting in the lobby among many little brown-eyed and brown-haired other hopefuls and my not having any experience, it seemed that this would just be another letdown and another rejection for me. As I waited to go in, something marvelous happened. Jock Mahoney happened to walk through the lobby! He remembered me as we had met at the Veteran’s Hospital in Long Beach California where he had been the guest of honor and where my sister was performing her act for the Veterans. He asked my mother what I was doing there and when she told him I was reading for the part of Walda, he said “I’ll be right back.” What we found out later was that he went into the office of the Casting director and told them that I was perfect for the role, that I had done this and I had done that, when the reality was, I hadn’t done a thing other than model! He was under contract at the time and had some clout, so they took his word for it. So as the story goes, he lied, they believed him and I got the part!
I do laugh sometimes thinking about how that all came about. I think about him from time to time and realize how blessed I was to have it unfold the way it did because after I had that one speaking role, it was then that I was able to continue on."¨ It’s such a “catch-22 ” situation because they don’t want to hire you if you don’t have experience, but how do you get the experience if they don’t hire you? I of course will forever be grateful to him for allowing me that one break, albeit he had to tell a little white lie in order for them to give me the role!
