Here’s to one of my all-time favorite episodes! Nick of Time aired November 18th, 1960-starring William Shatner, Patricia Breslin & that Jointy little Devil with the diamond eye!
Don and Pat are fresh scrubbed Midwestern newlyweds who wander into a stuffy little off the street sandwich shop, where the wheat toast is stale and the water tastes like swamp!
On their way to New York to find out if Don is going to be the next Office Manager/Accountant in his firm, the couples car breaks down and so does Don’s superstitious will when he can’t seem to move, after getting too many eerie answers from the Mystic Seer napkin holder…
Only a penny to learn your fate! It’s a tense and well thought out philosophical dilemma that only William Shatner could play to the hilt!
Got a penny, try your hand at fate!
You’re EverLovin’ MonsterGirl saying — Whether the answer is Yes or No.. Make up your own mind, it’ll see you free!
A simple and wholesome beginning… Agnes Robertson Moorehead was born on December 6th, 1900 in Clinton, Massachusetts. Her mother was a mezzo-soprano and her father was a Presbyterian minister whose work eventually moved the family to St. Louis, Missouri. She started her acting career on stage at the age of 3, and by the time she was 12 she was active in the St. Louis Municipal Opera as a dancer and singer. She went to college for biology at Muskingum College in Ohio, but remained active in acting. After college she moved to Wisconsin (her family was now in Reedsburg, Wisconsin), taught drama and English at local schools. She earned a Masters in English at the University of Wisconsin in Madison. Agnes eventually would earn a doctorate from Bradley University.
My partner Wendy and I happened to have lived in Madison for a wonderful 8 years while she was in grad school at the University of Wisconsin. I wrote my favorite album Fools & Orphans while living on Starkweather Creek on the East side of town. So Agnes’ presence there is all the more sweet to me…
To earn the money she would need, not only to eat but to build toward her dream of heading to New York City and acting school, she taught English, Speech and Ancient History at Centralized High School in Soldiers Grove. Teaching was something she maintained a strong affection for.
When she eventually saved enough money to get to New York City she audition for the American Academy of Dramatic Arts in the summer of 1926- she was accepted. I’m reading Charles Tranberg’s wonderful book, she talks about starving herself, being grateful for enough loose change to buy a buttered roll from the Automat …
Afterward she moved to New York City and enrolled in the American Academy of Dramatic Arts. Agnes studied with Charles Jehlinger at The (AADA) American Academy of Dramatic Arts, where he taught people ‘imagination’ is the key!
Not making it on Broadway during the 30s, she used her marvelous voice to make a name for herself in the media of radio. She began performing as many as six shows each day. During her radio performances she met Orson Welles, and Joseph Cotton and the three formed the famous Mercury Players Theatre. Agnes made her film debut in 1941 in Orson Welles’ ‘Citizen Kane’. She went on to play vital, high-spirited saucy & strong female roles in film and television eventually landing the iconic role as “Endora”on the popular & timelessly beloved television show “Bewitched” (1964-1972). She was married twice but eventually lived alone, enjoying solitude. She died quietly away from friends and the public, from lung cancer that had spread from her Uterus, she succumbed in 1974 in Rochester Minnesota. With Agnes’ work ethic she had maintained a busy schedule though drained and tired from the illness, performing hours on the stage and doing television appearances until she could no longer manage.
IMDb tidbit- Agnes’ death from cancer is often linked to other actors and crew members who worked on The Conqueror (1956). Including Susan Hayward, John Wayne and director Dick Powell, to name a few. The conspiracy theory behind the strong beliefs are that they were exposed while on location at the site which received heavy fallout from nuclear testing at the (then) Nevada Proving Grounds.
Fiercely private. Considered not beautiful because of her ‘hawk like’ face. I would boldly beg to disagree. Agnes Moorehead has a beauty that transcends the quaint and lovely upturned nose. She has a regal beauty as if royalty run in her veins, with a sage otherworldlyness and a voice like a chameleon that can change it’s tone and tenor to fit her myriad characterizations. I wish she and hope she knew that although she was THE consummate character actress for the ages, she too was as beautiful as any other leading star with a deep & fiery magnetism that draws you in ~
Agnes had that spark in her, since she was a very little Agnes, embodying, manifesting & emoting like the characters from the books she read and from theater. Her adoring father or mother would find her re-enacting scenes in her room!
Here’s a beautifully written snapshot of Agnes Moorehead by The Red List– data base by Romuald Leblond & Jessica Vaillat
“Wanting to become a comedian from a young age – her mother had become accustomed to discovering her daughter in her imaginary world and often asked her: ‘Who are you today, Agnes?’ – Agnes Moorehead appeared regularly on Broadway stages during the late 1920s. She rapidly became a celebrated radio actress and joined Orson Welles’s Mercury Theater on the Air from 1940. In 1941, Orson Welles offered the ‘Fabulous Redhead’ her first film role in Citizen Kane as the cruel and bitter mother of the lead role. The part soon shaped the other roles Agnes Moorehead would be offered while they privileged heartless authoritarian or neurotic women such as the menacing aunt of Johnny Belinda, in 1948. In 1943, on the radio, the American comedian delivered one of her most legendary performances in Sorry, Wrong Number for which she created an exhausting and dynamic presentation – ‘radiant and terrifying’. In 1964, she was cast as Samantha Steven’s sarcastic and buoyant mother, in Bewitched and, although she disliked the rapid pace of television series, the show helped install the actress in the pantheon of American pop culture icons. Quite an irony for a woman who didn’t ‘particularly want to be identified as a witch.”
Agnes Moorehead went on from her imaginative childhood musings to play some of the most colorful characters on stage, radio, film and television- perhaps her persona had been ‘shaped by Citizen Kane’but Agnes obviously had a range of emotions and archetypes she could readily tap into as she is a natural, authentic artist… making her a cultural icon recognized by so many people & a even a new generation of avid fans!
Tranberg’s book is a wonderful read, he discusses from the beginning, the wealth of material he found at the historical society at the University of Wisconsin’s Historical Society. It’ is a marvelous place with marble floors warn down by years and the warm & musty smell of by-gone years, the building holds the archives to so many historical documents and films. For Agnes Moorehead, 159 boxes of material to be precise. He was not just a fan of Endora but her performances on old time radio in which she really shined. His book hints that her fire and brimstone Rev. John Moorehead with his sermons had a bit of the frustrated actor in the man, and why Aggie felt drawn to theater in the first place. He also read Shakespeare to the children. Her mother Molly was the boisterous outgoing flamboyant one who lived to be 106 and died in 1990… always saying what was on her mind, unless it was a strictly personal subject… sound familiar?
He also writes about Agnes’ spirituality and religious devoutness. That is ‘wasn’t a gimmick or publicity stunt’she really was a devoted Christian. It might cause heads to tilt, how such a fundamentalist woman would pick a career where she would be surrounded by creative types, often gay people that would become her friends. And though she was not thrilled with the idea of playing a witch, she certainly conjured the most iconic embodiment of the vexing & colorful Endora.
“Lavender is just pink trying to be purple” she paraphrased Proust… by Quint Benedetti from his book- (My Travels with) Agnes Moorehead: The Lavender Lady: (more BEWITCHING than Endora)– he goes onto to say, “And now I can see all the hues of her personality in that statement: the royalty, the naivete, the selfhishness, the piercing intuition and sometimes the astonishing lack of it (her two marriages), the phoniness and the irrepressible humanity it contained, the coldness and the longing to be warm and sometimes the warmth, the insecurity and the yearning to be loved, the human simplicity touching greatness. Agnes Moorehead in a way did what so many actor and actresses never did. She left her mark on society both as an actress and as a person.” Benedetti knew Agnes Moorehead for ten years and was her personal assistant for five of those years.
In her long & unforgettable career – Agnes Moorehead’s film debut as Charles Foster Kane’s picture of stoic motherhood, the bitter and icy cold Mary Kane.
She went on to play the emotionally tortured Aunt Fanny in what Charles Transberg rightly refers to Orson Welles’ The Magnificent Ambersons as ‘a mangled masterpiece’ I would give anything to see the footage that RKO hacked to pieces… and the ending that should have been, where Fanny is playing cards in the boarding house with the other old maids. The more nihilistic coda that RKO feared would turn the public off in the midst of WWII.
Stage: Agnes began touring in George Bernard Shaw’s Don Juan in Hell (1951) & revival 1973, Gigi 1973 co-starring with Alfred Drake.
Selected Radio:– Mercury Theater founded with Orson Welles- Mysteries in Paris, The Gumps, The New Penny, The March of Time (1967-38), The Shadow (1937-39), The Mercury Theater of the Air (ensemble) The Campbell Playhouse, The Cavalcade of America (1938-41), Mayor of the Town
(1942-49), Suspense (1942-1960.) And of course in 1945 she played the women-in-peril-(in bed) Mrs. Stevenson in the CBS radio mystery program Suspense- Sorry,Wrong Number, which became “radio’s most famous play.”
According to Charles Tranberg, Agnes was offered a supportive role in the film version starring Barbara Stanwyck, saying that she wisely turned it down, coming to understand that she would always be considered a ‘character actress’ and not a leading lady. This would influence her decision to focus more on the stage, beginning with her affiliation with the acclaimed Don Juan in Hell and later her very popular one-woman show.
On December 10, 2008 Celebrating Moorehead’s 108th anniversary on Turner Classic Movies- Moira Finnie writing for Movie Morlocks published a wonderful interview with Tranberg when asked if Agnes enjoyed both the mediums of radio and stage, he answered “I think she liked the challenges offered by all he mediums she worked on. The stage because it’s proximity in front of an audience. Radio because she had to create a complex characterization without being seen and could use her voice in many different ways. Film because it offered her the opportunity to visualize a characterization. Television because of its intimacy.”
Moira Finnie’s piece is wonderfully insightful and witty. While watching David O Selznick’s Since You Went Away (1945) “It struck me for the hundredth time that the presence of Agnes Moorehead in many classic and not so classic films was often what gave a movie a spine.”
“She proved her versatility throughout her career. She arranged her aquiline features accordingly to convey a believable briskness, sometimes comforting, sometimes disapproving. She most often appeared as a pragmatic presence in many films that have etched themselves on our collective memory.”
Moira Finnie aptly says it perfectly, honing in on the essence of what truly makes Agnes Moorehead such a powerful performer, “The actress could shift her characterizations easily from vinegary disapproval to warmly compassionate to richly detailed portraits of good and evil women.”
Selected Films– Citizen Kane 1941 (Mary Kane), The Magnificent Ambersons 1942 (Fanny), The Big Street 1942 (Violet Shumberg), Journey into Fear 1943 (Mrs. Mathews), Jane Eyre 1944 (Mrs.Reed), Since You Went Away 1944 (Mrs. Emily Hawkins), Dragon Seed 1944 (Third Cousin’s Wife), The Seventh Cross 1944 (Mme. Morelli), Mrs Parkington 1944 (Baroness Aspasia Conti), Our Vines Have Tender Grapes 1945 (Bruna Jacobson) Dark Passage 1947 (Madge Rapf) The Lost Moment 1947 (Juliana Borderau), Summer Holiday 1948 (Cousin Lily), The Woman in White 1948 (Countess Fosco), Johnny Belinda 1948 (Aggie MacDonald-nominated best supporting actress) The Great Sinner 1949 (Emma Getzel), Caged 1950 (Ruth Benton progressive Prison Warden), Captain Blackjack 1950 (Mrs. Emily Birk), Fourteen Hours 1951 (Christine Hill Cosick) , Showboat 1951 (Parthy Hawks), Magnificent Obsession 1954 (Nancy Ashford), All That Heaven Allows 1955 (Sara Warren), The Left Hand of God 1955 (Beryl Sigman), The Revolt of Mamie Stover 1956 (Bertha Parchman), Jeanne Eagels 1957 (Nellie Neilson), Raintree County 1957 (Ellen Shawnessy), The Story of Mankind 1957 (Queen Elizabeth I), Night of the Quarter Moon 1959 (Cornelia Nelson), The Bat 1959 (Cornelia van Gorder) Pollyanna 1960 (Mrs. Snow), Twenty Plus Two 1961 (Mrs. Eleanor Delaney) How the West Was Won 1962-(Rebecca Prescott), Who’s Minding the Store? 1963 (Mrs. Phoebe Tuttle), The Singing Nun 1966 (Sister Cluny)
Nominated four times for Best Actress in a Supporting Role for The Magnificent Ambersons (1942), Mrs. Parkington (1944),Johnny Belinda (1948) and of course as Velma in director Robert Aldrich’s Hush… Hush, Sweet Charlotte (1964)
It is the vitriolic, cantankerous yet loyal & righteous companion Velma to Bette Davis’ tragic southern Gothic has- been belle Charlotte that won my heart. Moorehead brought to life a raw and rugged plain quality of humanness that touched me so deeply, as did Davis’ incredible performance.
How impressed I was with her pantomime in The Invaders credited as ‘The Woman’ in Rod Serling’s sociological anthology fantasy series Twilight Zone… Moorehead had no dialogue in the episode yet she demonstrated so much art and emotion from her ‘primal woman’s’ body language.
She did win a Golden Globe Award for Best Supporting Actress -Laurel Award 2nd place for Top Supporting Performance for Hush… Hush, Sweet Charlotte 1964.
For many people she will be remembered as Endora, Samantha and Darrin Steven’s (the fabulous-Dick York) caustic ill-provoking mother-in-law from the netherworld? who hands down the legacy of being Bewitched… from 1964-1972. Initially Moorehead had turned down the role of Endora, and it wasn’t until Elizabeth Montgomery herself asked the actress to join the cast, never expecting it to last more than one season!
Moorehead did her string of horror films in the 70s that featured many fine actresses who had played fine ladies in their day, only to find Grand Dame Guignol roles waiting for them on the other side of fabulous fame…
What’s The Matter With Helen 1971 Curtis Harrington’s wonderful horror of personality psycho-drama where Aggie plays a Aimee Semple McPherson type character called Sister Alma co-starring with friend Debbie Reynolds and the incomparable Shelley Winters!
And then there’s always the campy & gruesome Dear Dead Delilah 1972 she plays Delilah Charles, appeared in Night of Terror 1972 a tv movie of the week… & Frankenstein: The True Story 1973.
Some very special clips of the immortal Aggie!
The much talked about ‘boiler scene’ Agnes as Aunt Fanny from The Magnificent Ambersons (1942)
Mary Kane the picture of stoic motherhood in Orson Welles’ Citizen Kane (1941)
Agnes as Baroness Conti in Mrs. Parkington (1944)
Agnes as Aggie MacDonald in Johnny Belinda (1948)
Agnes as Warden Bond with poor Eleanor Parker in prison noir classic Caged (1950)
Agnes as mystery writer Cornelia Van Gorder in The Bat (1959)
Agnes as Madame Bertha Parchman in The Revolt of Mamie Stover (1956)
Agnes as Mme. Morelli in The Seventh Cross (1944)
Agnes as the indomitable Velma Cruthers in Hush… Hush, Sweet Charlotte (1964)
Agnes as The Primal ‘Woman’ in a short clip -The Invaders ep. of The Twilight Zone 1961
Agnes as the vexing but always colorful Endora in television’s popular series Bewitched
With all my love & admiration, Agnes Moorhead… You are one of a kind! -Love, Joey
“I was born a character actor. I was never really a leading man type.” –Burgess Meredith
WHAT A CHARACTER! BLOGATHON 2014
It’s here again! The most fabulous blogathon honoring those unsung stars that add that certain singular glimmer to either the cinematic sphere or the small screen sky–The character actors we’ve grown to love and follow adoringly. Thanks so much to Aurora at Once Upon A Screen, Outspoken & Freckledand Paula’s Cinema Club for hosting such a marvelous tribute once again!
This post’s title comes from the opening narrative for Rod Serling’s favorite Twilight Zone episode “Time Enough At Last.” ‘Witness Mr. Henry Bemis, a charter member in the fraternity of dreamers’ From Season 1 episode 8 which aired on November 20th 1959.
Directed by John Brahm, “Time Enough At Last” tells the story of a little bespectacled bibliophile bank teller named Henry Bemis ,a bookworm, a slave to the iron fisted hand of time and all it’s dreary inescapable obligatory scars and yearnings.
Browbeaten by his wife, boss and even the public at large who see him as an outcast because of his ravenous appetite to read books! Henry can’t even sneak away to read a newspaper during work hours. He’s forced to resort to studying the labels on condiment bottles. She won’t even let him read the ketchup. His harpy of a wife Helen ( Jacqueline deWit) even blackens in the lines of his books at home, calling it “doggerel“– One day as fate would have it, he steals away to the basement vault of the bank to catch up on his beloved preoccupation, when –as many Twilight Zone episodes had been infused with a dose of Rod Serling’s nihilism (as much as there is his hopeful message), the feared 50’s bomb annihilates our vision of the world that was swarming just a few moments before. Suddenly poor Henry seems to be the last man on earth. But wait… perhaps not poor Henry.
As he stumbles through the debris and carefully placed set pieces– the remnants of man’s destructive force, Henry comes upon the city’s public library filled with BOOKS!!! Glorious books…
While he must struggle against the approaching loneliness of the bleak future ahead, he begins to see the possibility of a new world where he could dream, and wander through so many scrawled worlds. Already an outsider he could finally live a life free to be as his boss rebuked him, a “reader.’
Henry starts to amass various piles of selected readings. There was time now. Time enough at last to read every word on the written page without interruption, interference or judgement.
Yet…fate once again waves her fickle finger via The Twilight Zone and leaves bewildered Henry without his much needed glasses, now they have fallen on the great stone steps, crushed by Henry’s own feet. As with every role Meredith brings to life the character of Henry Bemis with so much mirth and pathos.
He’s always just a bit peculiar, idiosyncratic, eccentric, lyrical, salty, sometimes irascible, but always captivating and distinctive, His voice, his persona, his look, his style… Burgess Meredith could always play the Henry Bemises of the world and grab our hearts because he has that rare quality of being so damn genuine.
Let’s face it even when the prolific Burgess Meredithis playing a cackling penguin– nemesis to the caped crusader Batman or the devil himself (alias the dapper and eccentric Charles Chazen with Mortimer the canary and his black and white cat Jezebel in tow) in The Sentinel 1977 based on the novel by Jeffrey Konvitz and directed by Michael Winner–he’s lovable!
He always manages to just light me up. Ebullient, mischievous and intellectually charming, a little impish, a dash of irresolute cynicism wavering between lyrical sentimentalism. He’s got this way of reaching in and grabbing the thinking person’s heart by the head and spinning it around in dazzling circles with his marvelously characteristic voice. A mellifluous tone which was used often to narrate throughout his career. (I smile even at the simplest nostalgic memory like his work on television commercials , as a kid growing up in the 60s and early 70s I fondly remember his voice for Skippy Peanut Butter. Meredith has a solicitous tone and whimsical, mirthful manner. Here’s a clip from a precious vintage commercial showcasing Meredith’s delightfully fleecy voice.
And his puckish demeanor hasn’t been missed considering he’s actually played Old Nick at least three times as I have counted. In The Sentinel 1977, The Twilight Zone and Torture Garden! While in FreddieFrancis’ production he is the more carnivalesque Dr. Diabolo–a facsimile of the devil given the severely theatrical make-up, goatee and surrounding flames… he is far more menacing in Michael Winner’s 70s gem as the spiffy Charles Chazin.
And while I resist even the notion of redoing Ira Levin/William Castle and Roman Polanski’s masterpiece Rosemary’s Baby if, and I’m only saying if… I could envision anyone else playing along side Ruth Gordon as the quirky and roguish Roman Castevet it could only be Burgess Meredith who could pull that off!
Also being a HUGE fan of Peter Falk’s inimitableColumbo– I ask why why WHY?! was Burgess Meredith never cast as a sympathetic murderer for that relentless and lovable detective in the rumpled rain coat to pursue! Could you imagine the chemistry between these two marvelous actors!
Burgess Meredith all of 5′ 5″ tall was born in Cleveland Ohio in 1907. His father was a doctor, his mother a Methodist revivalist. We lost him in 1997 at the age of 89. That’s when he took his “dirt nap…”the line and that memorable scene from Grumpier Old Men 1993that still makes me burst out laughing from the outlandish joy of it all!… because as Grandpa Gustafson (Meredith) tells John Gustafson (Jack Lemmon) about how he’s managed to live so long eating bacon, smoking and drinking his dinner–what’s the point…? “I just like that story!”
Burgess Meredith said himself, that he wasn’t born to be a leading man, yet somehow he always managed to create a magnetic draw toward any performance of his. As if where ever his presence in the story was, it had the same effect as looking in a side view mirror of the car “Objects are closer than they appear”–What I mean by that is how I relate his contribution becoming larger than the part might have been, had it been a different actor. Like the illusion of the mirrored reflection , he always grew larger in significance within the story–because his charisma can’t help but consume the space.
He took over the landscape and planted himself there like a little metaphysical essence, animating the narrative to a higher level of reality.
Meredith started out working with the wonderful Eva Le Gallienne joining her stage company in New York City in 1933. His first film role was that of Mio Romagna in playwright Maxwell Anderson’sWinterset 1936 where Meredith plays the son of an immigrant wrongfully executed for a crime he did not commit. He also joined the ranks of those in Hollywood who were named as “unfriendly witnesses’ by the House Un-American Activities Committee finding no work, being blacklisted in the 1950s.
During the 1960s Meredith found his way back in various television roles that gave us all a chance to see and hear his incredible spectrum of performances. One of my personal favorites, dramatically potent and vigorously absorbing was his portrayal of Duncan Kleist in Naked Citytelevision series episode directed by Walter Grauman (Lady in A Cage 1964) Hold For Gloria Christmas
The groundbreaking crime and human interest series THE NAKED CITY– cast Meredith as a 60s beat poet & derelict who is literally dying to leave the legacy of his words to a kindred spirit.
A powerful performance told through flashback sequences that recollect his murder as he storms through the gritty streets and alley ways of New York City a volatile alcoholic Greenwich Village poet trying to get back his precious manuscript of poems that were stolen as he bartered them away bit by bit for booze -he has bequeathed his work to the anonymous Gloria Christmas. The chemistry between Burgess Meredith and Eileen Heckart who plays his estranged wife is magnificent. Heckart is another character actor who deserves a spotlight.
BURNT OFFERINGS 1976–Dan Curtis’ priceless treasure of creepy camp featuring Karen Black, Oliver Reed and once again uniting the incredible Eileen Heckart with our beloved Burgess Meredith as the ominous Roz and Arnold Allardyce.
Another memorable role for me, is his spirited performance as Charles Chazin alias The Devil in one of my all time favorite horror classics The Sentinel. “Friendships often blossom into bliss.” – Charles Chazin. Ooh that line still gives me chills…
Many people will probably love him for his iconic character study of a crusty cantankerous washed up boxing trainer named Mickey in the Rocky series of films. Or perhaps, for his colorful cackling or should I say quacking villain in the television series Batman -his iconic malefactor — The Penguin!
IMDb fact-His character, the Penguin, was so popular as a villain on the television series Batman (1966), the producers always had a Penguin script ready in case Meredith wanted to appear as a guest star.
Burgess Meredith will always remain one of the greatest, most versatile & prolific actors, character in fact… beloved and eternal…
“Like the seasons of the year, life changes frequently and drastically. You enjoy it or endure it as it comes and goes, as it ebbs and flows.”- Burgess Meredith
“I’ll just take amusement at being a paradox.”- Burgess Meredith
[on his childhood] “All my life, to this day, the memory of my childhood remains grim and incoherent. If I close my eyes and think back, I see little except violence and fear. In those early years, I somehow came to understand I would have to draw from within myself whatever emotional resources I needed to go wherever I was headed. As a result, for years, I became a boy who lived almost totally within himself.”- Burgess Meredith
Hosted by Once Upon A Screen- Outspoken & Freckled & Paula’s Cinema Club
As these fabulous bloggers say -“They are eccentric. They are unusual. AND they are BACK!”
Character actors are the grease that spins the wheels of cinematic & television memories. I am so thrilled to be participating in this blogathon, because there are a lot of unsung actors that deserve recognition. Though it was a tough decision, I decided to focus on the inimitable Jeanette Nolan!
Jeanette Nolan just kept popping up for me in film and television episodes until I couldn’t resist her often irascible charms, and quirky yet dignified demeanor. Okay okay, she’s played a truly bona fide hag at times. No one cackles and frets quite like a Jeanette Nolan crone.
But, don’t let that fool you into thinking that she didn’t have an incredible depth and range of characterizations filled with heart and a sharply honed instinct for creating an atmosphere that drew you into it’s orbit, even when she was on the periphery of the plot and the main stars in the story.
I adore this woman and I’m so glad I get to share more than just a few of the memorable moments in Jeanette Nolan’s long career.
Jeanette Nolan was born in 1911 in Los Angeles California, She began her acting career in the Pasadena Community Playhouse.She made her film debut as Lady Macbeth in Orson Welles’ 1948 film version of Macbeth.
Before her death at age 86 due to a stroke on June 5th, 1998 her career encompassed so many varied roles. Her last performance was in Robert Redford’s film The Horse Whisperer, where she plays Tom Booker’s mother “Ellen.” She played Bertha Duncan in The Big Heat 1953 andNora Ericson in The Man Who Shot Liberty Valance 1962
If you can imagine she brought to life some of the most interesting characters in over more than 300 television shows. From Perry Mason, Doctor Kildare, Boris Karloff’s Thriller, Medical Center, The Twilight Zone, Naked City, I Spy, The Mother’s In-Law, Ironside, Have Gun Will Travel, Gunsmoke, The Fugitive & Columbo and even played Rose Nyland’s (Bette White) mother Alma Lindstrom on The Golden Girls just to name a few. Jeanette Nolan earned four Emmy nominations.
Nolan was married to actor John McIntire who died in 1991. And… Nolan actually provided the screams for Norman’s “mother” in Psycho (1960) Husband John played Sheriff Chambers.
Here’s Jeanette Nolan in one of Columbo’s memorable episodes ‘Double Shock’ as Mrs Peck who keeps a very tidy house.
As the oddball Annie in Dr. Kildare’s The Hand that Hurts, The Hand that Heals 1964
Jeanette as Bernadine Spalding in Emergency! Weird Wednesday 1972
As Dirty Sally Fergus on Gunsmoke
As Mary Fitzgibbons in ‘Triumph’ The Alfred Hitchcock Hour 1964
As Edith Beggs in Coming Home Alfred Hitchcock Presents 1961
As Hallie in The Secret- Medical Center 1972
As Mrs Fleming in The Reluctant Astronaut 1967
Jeanette Nolan as Miss Havergill The Invaders
As Mrs Grimes in The Right Kind of House- Alfred Hitchcock Presents
As Naomi Kellin in ‘Ill Wind’ The Fugitive
Jeanette Nolan in Wagon Train- “The Janet Hale Story”
As Granny Harrad in Boris Karloff’s television anthology series Thriller- “Parasite Mansion’
Jeanette Nolan as Mrs Downey in Say Goodbye Maggie Cole Tv Movie 1972
As Bertha Duncan in 1953 film noir classic The Big Heat
As Granny Hart in Twilight Zone’s ‘Jess-Belle
As Lady Macbeth in Orson Welles’ Macbeth
As Mrs Tibbit in Marcus Welby MD “Epidemic”
As Mrs Waddle in Rod Serling’s Night Gallery episode “The Housekeeper”
As Mrs Fitzgibbons in The Alfred Hitchcock Hour “Triumph’
Jeanette Nolan in Rod Serling’s Night Gallery “Since Aunt Ada Came To Stay”
As Judge Millie Cox in The Streets of San Fransisco “The Runaways”
Jeanette Nolan as Granny Harrad in Boris Karloff’s Thriller ‘Parasite Mansion’
Jeanette Nolan as Emma ‘Martha’ Benson in Perry Mason’s The Case of the Nine Dolls
Jeanette Nolas as Mrs Trotter in Alfred Hitchcock Presents “The Morning After”
AsEdna Brackett in Quincy M.E. with husband John McIntire
Here’s to the inimitable character- Jeanette Nolan!!! Love Joey
Released on November 18, 1960 Rod Serling’s Twilight Zone episode Nick of Time starring the inimitably expressive William Shatner, Patricia Breslin and that diamond eyed bobble head devil The Mystic Seer.
Yes or No are we at the mercy of our fate, or do we choose our own path? One of my favorite episodes of the show. Featuring the song ‘Queer’ off my album Hunting Down The Ceremony Volume One.
‘The Fever’ air date Jan.29, 1960 Written by Rod Serling, Directed by the great RobertFlorey and starring Everett Sloane as the angry, feverish and ‘moralizing’ Franklin Gibson…it’s man vs machine…or is it…a monster!
“To an inanimate metal machine simply described as ‘a one armed bandit’ a slot machine or in a Mr Franklin Gibson’s words….A Monster…with a will all it’s own.”- Rod Serling
This is my cover to the iconic song of the 70s Todd Rundgren’s “Hello It’s Me”
I find myself often weepy about the good ole 70s, here’s a tribute to those dreamy hazy days filled with possibility and passion. I might even get myself some eagle feather eye lid paste ons like Todd and sit at the piano and play my heart out live soon!
with sadness in my heart over the great loss too soon, of Inger Stevens…
Originally recorded at The Luna County Conservatory In NY by Mike Fazio , now remixed by friend and fellow artist Mark Sheppard adding fretless bass and horns and dreamy drifts.
Because you know the first thing I would think to do if my cat got stuck in the nether regions of the house is to call a PHYSICIST !!!!!!!! This is a tribute to Physicists for without them how would we get our children who are stuck in the 4th dimension of their bedroom wall out of danger!