Untroubled good looks, faraway poise & self-control, with a satyric smile and brushed-aside sophistication – that’s Bradford Dillman
Bradford Dillman is one of those ubiquitous & versatile actors who you find popping up just about everywhere, and whenever I either see him in the credits or think about some of his performances, I am immediately happified by his presence in my mind and on screen. It’s this familiarity that signposts for me that whatever upcoming diversion I’m in store for will be something memorable indeed.
He’s been cast as a saint, a psychopath, an elite ivy league intellectual with an edge, an unconventional scientist, a military figure, a droll, and prickly individualist, a clueless bureaucrat, or drunken malcontents and he’s got a sort of cool that is wholly appealing.
Bradford Dillman was omnipresent starting out on the stage, and in major motion pictures at the end of the 50s, and by the 1960s he began his foray into popular episodic television series and appeared in a slew of unique made-for-television movies throughout the 1970s and 80s, with the addition of major motion picture releases through to the 90s. His work intersects many different genres from melodramas, historical dramas, thrillers, science fiction, and horror.
There are a few actors of the 1960s & 70s decades that cause that same sense of blissed-out flutters in my heart — that is of course if you’re as nostalgic about those days of classic cinema and television as I am. I get that feeling when I see actors like Stuart Whitman, Dean Stockwell, Roy Thinnes, Scott Marlow, Warren Oates, James Coburn, Lee Grant David Janssen, Michael Parks, Barbara Parkins, Joanna Pettet, Joan Hackett, Sheree North, Diana Sands, Piper Laurie, Susan Oliver, and Diane Baker. I have a fanciful worship for the actors who were busy working in those decades, who weren’t Hollywood starlets or male heartthrobs yet they possessed a realness, likability, a certain individual knack, and raw sex appeal.
Bradford Dillman was born in San Francisco in 1930 to a prominent local family. During the war, he was sent to The Hotchkiss School in Lakeville, Connecticut. At Hotchkiss, his senior year he played Hamlet. At Yale, he studied English Literature and performed in amateur theatrical productions, and worked at the Playhouse in Connecticut. Dillman served in the US Marines in Korea (1951-1953) and made a pact that he’d give himself five years to succeed as an actor before he called it quits. Lucky for us, he didn’t wind up in finance the way his father wanted him to.
Dillman enrolled and studied at the Actors Studio, he spent several seasons apprenticing with the Sharon Connecticut Playhouse before making his professional acting debut in an adaptation of Nathaniel Hawthorne’s “The Scarecrow” in 1953 with fellow Studio students Eli Wallach and James Dean. Dillman referred to Dean as ‘a wacky kid’ but ‘very gifted’.
He only appeared in two shows in October 1962 The Fun Couple in 1957 with Dyan Cannon and Jane Fonda before the play closed in New York only after two days.
We lost Bradford Dillman last year in January 2018. I was so saddened to hear the news. And I missed the chance to tribute to his work then, but now that his birthday is here, I feel like celebrating his life rather than mourning his death, so it’s just as well.
Bradford Dillman wrote an autobiography called Are You, Anybody? An Actor’s Life, published in 1997 with a (foreword by Suzy Parker) in which he downplays the prolific contribution he made to film and television and acting in general. Though Dillman didn’t always hold a high opinion of some of the work he was involved in, appearing in such a vast assortment of projects, he always came across as upbeat and invested in the role.
“Bradford Dillman sounded like a distinguished, phony, theatrical name, so I kept it.”
[about his career] “I’m not bitter, though. I’ve had a wonderful life. I married the most beautiful woman in the world. Together we raised six children, each remarkable in his or her own way and every one a responsible citizen. I was fortunate to work in a profession where I looked forward to going to work every day. I was rewarded with modest success. The work sent me to places all over the world I’d never been able to afford visiting otherwise. I keep busy and I’m happy. And there are a few good films out there that I might be remembered for.”
“I refuse to be stereotyped. Look at me. Never mind my color. Please look at me!”
WHY ISN’T THERE A BIOPIC OF DIANA SANDS’ LIFE?
I can’t help being drawn to Diana Sands’ startling equilibrium, her fire. Her complex and multi-layered performances. I see her as a Black Woman. I see her as a woman. I see her as ubiquitous. Diana Sands refused to be typecast in roles that were confining and dishonest. I can imagine that she forged an inroad that would later influence incredible dramatic Black actresses like Alfre Woodard or Angela Bassett, women who exude that similar fire and vibrancy from the depths of their souls.
I think of Diana Sands and I think of an inner strength that burns its way to the surface until it’s so bright you feel it pierce your skin. There is an essence of a powerfully self-possessed woman who broke ground with her captivating performances in the early 1960s to the mid-1970s. I don’t like the phrase “color blind” it evokes an irresponsibility not to see inequality. But that is not what Diana Sands is saying in her quote. That’s not what she is asking of us.
So I am using her own words but want to be clear about how I feel in this post honoring one of the great actresses of all time during Black History Month. We need to recognize each other. It’s essential not to try and erase any aspect of who we are and we need to be conscious of those differences in a positive way, while we embrace what we all have in common and can relate to universally.
Diana Sands had to fend off the offensive scrutiny, the “mysogynoir‘ of being referred to by some 70s critics -one whose name I refuse to even give a moment’s attention to here except to pluck out two terms from the ignorant context of his entire, misguided and disrespectful review. Who referred to her role as “cute” in terms of her being a Black woman trying to find herself and “Afrocentric” in her performance as Beneatha Younger (A Raisin in the Sun). She was a dynamic, courageous woman who aspired to become a doctor. That isn’t cute. That is the story of real passion and possibility and a God-given right.
Diana Sands as Beneatha Younger, seen here with Claudia McNeil, Ruby Dee, Sidney Poitier and Ivan Dixon.
As a white woman writing this post, I want to just say one more thing. We need to see our own privilege and not be afraid to acknowledge that racism exists. I hope I am a good ally and when I pay tribute to a person of color, I remain mindful to honor them fully and respectfully. I do see Diana Sands’s color. I see it as a strength and dignity in all her pioneering roles. I see her emerge from a sea of white faces. She will not be marginalized, stereotyped, and shut out of the conversation.
I began to follow Diana Sands’ career years ago, compelled by her dramatic, electrifying presence in film and in television. Growing up in New York, I wish my theatre mother would have taken me to see her on stage. She is remembered for her striking performance as Beneatha Younger in Lorraine Hansberry‘s play A Raisin in the Sun about the struggles of a poor black family from the side south of Chicago who have to decide about the direction their lives will take- “What Happens to a Dream Deferred?”
What happens to a dream deferred? by Langston Hughes
Does it dry up
like a raisin in the sun?
Or fester like a sore—
And then run?
Does it stink like rotten meat?
Or crust and sugar over—
like a syrupy sweet?
Maybe it just sags
like a heavy load.
Or does it explode?
The title A Raisin in the Sun was inspired by Langston Hughes’ powerful poem. The inspirational masterpiece that is A Raisin in the Sun is made all the more remarkable by the performances of the ensemble cast and standing out for me, though Poitier always grabs me by the guts and strums my heart strings, is his progressive sister Beneatha brought to life by Diana Sands with instinctual contemplation that was her acting style.
She was marvelous as sassy Fanny Johnson, married to a Black activist Copee (Louis Gossett Jr.) in Hal Ashby’s (Harold and Maude 1971, The Last Detail 1973, Being There 1979) The Landlord 1970. The story of Elgar Enders a young wealthy white New Yorker (Beau Bridges) who buys a tenement building in a low-income neighborhood afflicted by white flight and going through gentrification. Elgar Intends to evict the black residents so he can turn it into a luxury apartment building and live there all by himself. The cast is rich with superb performances by Pearl Baily, Mel Stewart, Lee Grant, Louis Gossett Jr, and Marki Bey as Lanie. In Ashby’s thought-provoking method, it’s an interesting meditation on race during the close of the 1960s.
Diana appeared in innovative television dramas, such as the innovative socially conscious series East Side/West Side 1963-1964 that dealt realistically with social problems. The gritty series starred Cicely Tyson, George C. Scott, and Elizabeth Wilson as social workers in 1960s New York City. Sands appeared on several episodes of the 1960s series The Doctors and the Nurses which I am desperately waiting for it to somehow be released on disc. The groundbreaking series surrounded the lives of nurses who in their daily lives confront socially relevant issues. Diana Sands even graced one of my favorite television series The Outer Limits in 1964 as Dr. Julie Harrison in the episode “The Mice”. She also played Dr. Marylou Neeley who went head to head with Chad Everett (who always wore clogs and his scrubs 2 sized too small, but who would mind!) in Medical Center’s episode “The Nowhere Child”. She appeared as Nurse Helen Straughn having an affair with Richard Crenna in George Schaefer’s pulpy Doctors’ Wives 1971 and as Cora in Willie Dynamite 1974 the title played by Roscoe Orman, a nasty piece of work who has a license plate that says Willie on the front and Dynamite on the back! As Cora, Diana Sands played a prostitute turned social worker who helps other prostitutes get out of jail and find a better life, while also trying to battle the badass pimp Willie who is smacking women around.
I am trying to track down a copy of An Affair of the Skin 1963 co-starring Viveca Lindfors and Lee Grant, LOVE them both, and Georgia, Georgia 1972 written by Maya Angelou. If anyone has a lead on where I can purchase either film please drop me a note here at The Last Drive In.
Diana Sands Broke Barriers In Theater and On The Big Screen
“If youre familiar with Sands work at all, its probably owing to her memorable portrayal of Beneatha, the Younger familys willful, progressive aspiring doctor, in the 1961 film adaptation of Lorraine Hansberry’s A Raisin in the Sun. But by then, she had already established herself as a living walking testament to the power of risk-taking. Sands grew up in the Bronx with working class parents, her father a carpenter, her mother hatmaker. After high school graduation, she toured with a carnival before returning to New York and joining Greenwich Mews, a multicultural theatre repertory. She worked night jobs to survive, before scoring her first theatre roles (one of the earliest was the stage production of A Raisin in the Sun). By 1964, her star was rapidly rising. She won an Obie for the play, Living Premise, and a Tony nomination for her role in James Baldwins Blues for Mr. Charlie.
This was also the year that Sands became a pioneer in colorblind casting as one of the first ever actresses to earn a role intended for a white actress, without any line rewriting to explain or accommodate her race. She played opposite Alan Alda as his love interest as a would-be actress to his would-be writer. When the film was adapted for screen, Barbra Streisand was cast in her role, but by that time, shed already garnered a great deal of positive press and audience notice. Television came a-courtin and she eventually earned two Emmy nominations. Sands acted through the sixties in various theatre and TV roles. In 1970, she scored her first costarring film role in Hal Ashbys The Landlord. But the early 70s would mark the end of a steady and promising rise toward superstardom.”
Diana Sands was born in New York City, the Bronx to be exact, on August 22, 1934. She was a student at the New York City High School for the Performing Arts and a member of the Actor’s Studio. Nominated twice for a Tony Award and twice for an Emmy. She took risks and challenged racial barriers taking on roles that traditionally would have been performed by white actresses. She also fought against a system that marginalized black actors and their roles, becoming a driving force that saw an integration of the cast members.
In 1953 Diana made her debut in the off-Broadway play “An Evening with Will Shakespeare” She went on to appear in George Bernard Shaw’s “Major Barbara” in 1954, also performing in the theatrical production of “The World of Sholem Aleichem.”
Her striking work is notable as she is the first Black actress to be cast in a major Broadway play. Cast in “Land Beyond the River” in 1957 and then appeared in “The Egg and I” in 1958.
It was in 1959 that Diana Sands made her memorable debut as the astonishingly nuanced Beneatha Younger in Raisin in the Sun, in which she won the Outer Circle Critics’ Award, eventually manifesting that magnetic performance in director Daniel Petrie’s (Resurrection 1980) film adaptation co-starring Sidney Poitier, Ruby Dee, Claudia McNeil, and Ivan Dixon.
And I want to give a shout-out to the incredible contribution of fine actress Claudia McNeil(Bernice Sadie Brown in Member of the Wedding 1958for The Dupont Show of the Month, Mrs. Quincy in The Last Angry Man 1959, Mrs. Hill in television series The Doctors and The Nurses 1963, Madam in There Was a Crooked Man 1970, Odessa Carter in Incident in San Francisco 1971 tv movie, Granny Marshall in Tv’s Mod Squad 1972, Sara in Moon of the Wolf 1972 tv movie, Mu’ Dear in Black Girl 1972, To Be Young, Gifted and Black 1972 tv movie, Ethel Hanson in Cry Panic 1974 tv movie, Big Ma in Roll of Thunder Hear My Cry 1978, Sister Will Ada Barnett in Roots: The Next Generation 1979) as the matriarch, Lena Younger in A Raisin in the Sun. An extraordinary actress herself who deserves the spotlight too. Partly what worked for Hansberry’s story is the chemistry and confluence of the entire cast.
Diana Sands returned to the stage in 1962 appearing in “Tiger Tiger Burning Bright.”
In 1964 she took on two outstanding roles onstage as Juanita in James Baldwin’s “Blues for Mr. Charlie” She was nominated for a Tony Award for Best Featured Actress in a Play. She co-starred with Alan Alda as Doris W. in The Owl and the Pussycat, originally offered to Kim Stanley another actress I find mesmerizing to watch, when Stanley was unavailable, with the script intentionally not re-written for a Black woman went to Diana Sands and once again she nominated for a Tony Award for Best Actress in a Leading Role.
In 1968, she was back on stage at the Vivien Beaumont Theater as the first Black woman to play Saint Joan of Arc in George Bernard Shaw’s play “St. Joan.”
In the beginning of the 1970s Diana Sands among other notable Black actors such as Ossie Davis and Brock Peters, wanted to feature more positive roles for African-Americans in films, and so they founded Third World Cinema. One of their first productions was the film Georgia, Georgia written by Maya Angelou. Diana Sands plays Georgia Martin a Black woman artist struggling to find herself.
From a New York Times article printed in Feb 1971, A.H. Weiler writes that Third World Cinema Corporation founder and President actor/director Ossie Davis planned on filming The Billie Holiday Story which would have starred Diana Sands. How incredible would that have been?
In hopes of creating an independent film corporation, Sands and her colleagues hoped to ensure that there would be better opportunities for positive portrayals of African-American and People of Color, that would ensure films that presented Black actors with outstanding roles that were versatile and representational rather than stereotypes and limiting. “A group of black and Puerto Rican actors, writers and directors, backed by union leaders and public officials, have joined to form the minority‐controlled Third World Cinema Corporation, an independent company that plans to produce feature films and train minority group members in the film and television fields.”
Above image from the movie, Georgia, Georgia 1972.
In 1974 Diana Sands was ready to take on the role of Claudine, tragically suffering at this point with pancreatic cancer she was too ill by this time, and the part went to friend Diahann Carroll.
As Beaneatha Younger in 1959 A Raisin in the Sun, as Adelaide Smith in Tiger, Tiger Burning Bright 1962 (Theatre World Award), The Living Premise 1963 (Obie Award Distinguished Performance), Doris W. The Owl and the Pussycat 1964, Juanita in Blues for Mr. Charlie 1964, The Premise 1965, Ruth in We Bombed in New Haven 1968, Cassandra in Tiger at the Gates 1968, as Joan in Saint Joan 1968, The Gingham Dog 1969.
As Dr. Julie Harrison in The Outer Limits “The Mice” 1964, in East Side/West Side 1963-1964 as Jane Foster’s “It’s War, Man and Ruth Goodwin in “Who Do You Kill?” As Sara Harris in Breaking Point 1964. As nurse Ollie Sutton in three episodes of The Doctors and The Nurses 1962-1964 and Andrea Jagger in the episode “Night Shift”. In four episodes as Irene Rush alongside James Earl Jones (whose wife she played in East Side/West Side episode Who Do You Kill?) In Dr. Kildare 1964, as Dr. Rachel Albert in I Spy 1966 “Turkish Delight”, Davala Unawa in The Fugitive 1967 “Dossier on a Diplomat” as Mrs. May Bishop in Bracken’s World 1970 “Will Freddie’s Real Father Please Stand Up” as Cousin Sara in 5 episodes of Julia 1970-1971, as Dr. Marylou Neeley in Medical Center 1971 “The Nowhere Child.”
As Nurse Ollie Sutton from the episode “Imperfect Prodigy” – The Doctors and The Nurses 1964 television series
As Ruth Goodwin in the episode “Who Do You Kill?” from the television series East Side/West Side 1963
As Davala Unawa in The Fugitive 1967 “Dossier on a Diplomat
As Dr. Julie Harrison in The Outer Limits episode “The Mice” 1964
As Irene Rush in Dr. Kildare “The Hand that Heals” 1966
As Dr. Marylou Neeley in Medical Center 1971 “The Nowhere Child.”
As Fanny in Hal Ashby’s The Landlord 1970
As Helen in Doctors’ Wives 1971
As Cora Williams in Willie Dynamite 1974
Appearing in two extraordinary films, Diana Sands still stood out…
Uncredited as a homeless woman in Elia Kazan’s A Face in the Crowd 1957, uncredited as a club hostess in Odds Against Tomorrow 1959, as Beneatha Younger in A Raisin in the Sun 1961, as Janice in An Affair of the Skin 1963, as Mila in Ensign Pulver 1964, as Fanny in The Landlord 1970, Helen Straughn in Doctors’ Wives 1971, as Georgia Martin in Georgia, Georgia1972, as Nancy Newman in The Living End (tv movie) 1972, as Cora Williams who co-stars with Thalmus Rasulala (Dr. Gordon Thomas in Blacula 1972) in Willie Dynamite 1974 and as Laura Lewis in Honeybaby, Honeybaby 1974.
Thank you, Diana Sands… You touch me with your powerful presence and I am deeply saddened that you left us at age 39, so young, too soon, and I wonder what might have been.
1 (of a person, action, or idea) showing an ability to take risks; confident and courageous: a bold attempt to solve the crisis | he was the only one bold enough to air his dislike.
• dated (of a person or manner) so confident as to suggest a lack of shame or modesty: she tossed him a bold look.
“I am my own woman” –Eva Perón
(source edited)- by Jürgen Müller‘s for TASCHEN’s Movies of the 60s- “Like no other decade before or since, the 60s embodied the struggle against a jaded, reactionary establishment. As the Vietnam War dragged on, the protests grew in scale and intensity. Revolution ran riot, in the streets and on the silver screen. The movies of the epoch tell tales of rebellion and sexual liberation, and above all they show how women began to emancipate from their traditional roles as housewives or sex bombs…”
Drew Casper writes, “Some films still styled along classic lines while others simultaneously embodied both the old and new approaches… Stirred the placid waters of the classical with grittier degrees of realism with their accompanying darker sensibilities.” –Postwar Hollywood 1946-1962
Women like Jane Fonda, Anna Magnani, Simone Signoret, Audrey Hepburn, Ann Bancroft, Piper Laurie, Angie Dickinson,Bette Davis, Joanne Woodward, Patricia Neal and so many more became iconic for breaking the old mold and grabbing a new kind of individualism without judgement and new kind of self expression.
Barry Keith Grant writes in American Cinema of the 1960s-“The decade was one of profound change and challenge for Hollywood, as it sought to adapt to both technological innovation and evolving cultural taste.”
And of course the films I’m covering here. These films began to recognize an audience that had a taste for less melodrama and more realistic themes, not to mention the adult-centric narratives with a veracious Mise-en-scène…
PS: I would have included Mia Farrow in Rosemary’s Baby but that is my favorite film and plan on doing a special post in honor of this brilliant timeless masterpiece… and Mia’s quintessential performance.
As a little glance into a portion of cinematic history over the decade of the burgeoning sixties -The following are particular favorites of mine… Bold & Beautiful ‘as is’ and Beyond need of Redemption!
Elmer Gantry is always chasing dreams and always telling dirty stories is the smooth-talking traveling salesman, brought to life by Burt Lancaster who portrays his character with a bit more sensuality than Sinclair Lewis‘ cold predatory con man. Gantry is a hard-drinking provocateur and a lady’s man. Raised by a father who quoted verses, he has a swift grasp of the Bible and uses it to insinuate himself into Sister Sharon’s hell-fire traveling road show. Though he is a skeptic, he sees a great light in Sister Sharon and the potential to fill the coffers with riches!
The sublimely beautiful Jean Simmons is as ethereally angelic as she is a pure sensuality. Sister Sharon Falconer is a young revivalist in the style of Aimee Semple McPherson. Sharon is at first righteous and unwavering in her convictions, she begins to awaken unto the spell of the charming and bigger-than-life Elmer Gantry. Elmer starts out poetically ruthless as he insinuates himself into Sharon’s life until she loses her firm grip on her faithful mission, and their attraction blossoms into a physical one.
One night he craftily sweet-talks Sharon’s virginity away from her, though she is a very willing participant ready to be freed from the confines of her stifling religious prison.
Sharon struggles with her identity as a pious figure and a sexually aroused woman. Simmons is an actress of fine distinction who can work with that duality bringing to the screen a role with great complexity. She is also stuck in the conflict that ensues between Elmer and her manager Bill Morgan (Dean Jagger) who doesn’t like nor trust Gantry’s influence over Sharon.
Sister Sharon created herself from nothing and is now pragmatic and independent with a vision to capture the world, by building a temple for the people so she can share the good word of God. No more traveling as a revival side show attraction. She is brave, dedicated, and faithful to the end. And I won’t spoil the ending– at least I will say that she is a true believer and a real woman filled with passion on both sides of the coin. She allows herself to be seduced by Gantry, yet still is fiercely dedicated to building her own tabernacle so she may offer comfort and inspiration to those in need.
Shirley Jones is fabulous as Lulu Banes who was first seduced by Gantry while she was the Deacon’s daughter now…. a call girl from Elmer’s tawdry past, who tries to rake up a little gossip and cash as payback for Mr. Gantry ditching her. Okay, there’s some blackmail involved when she sees the opportunity because there’s sour grapes as Gantry left Lulu in the lurch, with a broken heart. But in the end, Lulu’s got integrity. She’s plucky, and has some of the best lines in the film and hey she’s not only a call girl… she’s a nice girl…
She’s so lovable that Shirley Jones won the Oscar for Best Supporting Actress that year!
It’s interesting to hear that it took actor Author Kennedy to get Simmons potted on milk and gin before she felt comfortable enough to do the scene where the revival tent catches fire and flaming debris is falling around her head.
Both Jean Simmons and Shirley Jones caught the spirit in this film!
Elmer Gantry wound up being a very controversial film when it was released directed by Richard Brooks, adapted from the book by Sinclair Lewis with lush and pulpy cinematography by John Altonand a stirring score by the great André Previn.And terrific costume designed by the brilliant Dorothy Jeakins (The Sound of Music 1965, The Way We Were 1974).
“Let’s get this straight, you don’t interest me no more than the air you stand in.”-Lady Torrance to Val
Directed by Sidney Lumet, The Fugitive Kindis based on the play Orpheus Descending by Tennessee Williams who also penned the screenplay. At this point, there shouldn’t be any doubt about my passion for Mr. Williams or Anna Magnani.
Anna Magnaniis a primal force of sensuality winning an Academy Award for Best Actress for her portrayal of Serafina Delle Rose in the marvelous, The Rose Tattoo 1955. (“A clown with my husband’s body!”)
The Fugitive Kind has a gritty, allure not only due to the level of acting by Magnani and Brando or the evocative material it’s partly due to Boris Kaufman’s (12 Angry Men 1957, On the Waterfront 1954) edgy cinematography.
Anna Mangani delivers another impassioned performance as Lady an equally potent role as a shop owner in Louisiana who is chained to a brutal marriage by her vindictive and dying husband Jabe (Victor Jory) when along comes Marlon Brando as Valentine “Snakeskin’ Xavier a guitar playing roamer who takes a job in the shop until Lady’s jaded loneliness and Valentine’s raw animal magnetism combust…
Brando plays the solitary Val, a drifter whose presence is as commanding as a lion stalking. Val comes into the small town where Lady Torrance runs the shop, her husband Jabe is mostly bedridden, dying of cancer, but also eaten up with jealousy and hatred toward his wife, foreigners, and outliers. He’s vicious and controlling and Lady lives out her days caring for this angry and miserable man, until Val comes into her life, changing Lady’s stoicism awakening her heart releasing her desires.
Magnani gives a powerful performance of a woman starved from sexual pleasure, mentally abused by her husband, and bemoaning the days when the wine flowed like a river at her father’s vineyard that was suspiciously burned to the ground.
Magnani manifests an authenticity that comes from a battered past and present, yet she exudes an enduring sense of love and passion. Lady dreams of fixing up the outside part of the store as a confectionery festooned with white lights and delicate atmosphere and Val can sing and play his guitar.
At first interviewing for a job is an awkward exchange. Once Lady and Val have a very intense and thoughtful conversation, she decides that she likes this strange talking boy and hires him to work in the store. The tension is visible even in the darkly lit scene and through the diffuse patch of light you can see their chemistry brewing.
Lady is taken with this strange talking boy who begins to tell her about people. “there’s two kinds of people in this world, the buyers and the people who get bought.” Then he tells her about a type of bird that has no legs so it can never land. It’s a meditative moment, and Brando is magnificent. “…cause they don’t see ’em, they don’t see ’em way up in that high blue sky near the sunthey spread their wings out and go to sleep on the wind and they only alight on this world just one time, it’s when they die.”
Val is pursued by Carol Cutere, (Joanne Woodward) the quirky local tramp from a wealthy family, who worships his snakeskin jacket as well as his incredible ‘hot’ body. But, Val finds himself drawn to the evocative and more complex Lady. They begin an affair, fall in love and Lady gets pregnant. Will they be like the bird that can never land, only sleep on the wind and the day they land is the day they die…
If you care about love, you’ll talk about a teenage boy and a woman who is all allure, all tenderness… and too much experience! – tagline
“What’s more I don’t like to work in New York. I never have. I live here. I like it. I like this house. I like eating at home, I like living like a human being. Why should I knock myself out. this is my retreat you know.”
Directed by Alexander Singer with a slick burlesque/modern jazz score by Gerald Fried.
Lola Albright stirs the libido of a very classy ex-stripper Iris Hartford a very intoxicating woman who seduces a naive and inexperienced working-class boy, Vito Pellegrino (Scott Marlowe)who falls deeply in love with her. Soon Vito begins to feel the disparate reality of their relationship. Once his reality is shattered, discovering that she is a stripper, Vito ends the affair with Iris, seeking out a neighborhood girl who is of his own age.
Lola Albright has a very sophisticated way of coming across on screen with a reserved yet palpable dignity. But Iris generates an undercurrent of provocative and alluring intelligence. Marlowe has always been great as either a clever playboy or a whiny young man, who isn’t quite getting what he wants.
A Cold Day in August examines the authentic journey of a young boy who experiences his first sexual awakening with an older woman. And their socially unorthodox relationship not only serves the film’s exploitative narrative it comes across as quite genuine because of Albright’s very real sexual magnetism and the attraction by an impressionable boy.
Of course, the film works on the level of titillation & taboo because Iris is not only older than Vito, she is ALL woman and then some for any man. She would be considered a tramp because she used to take her clothes off for a living. Her ex-husband comes back into the picture and pleads with her to fill in for a week in NYC, but that life was far gone by now.
When Iris first seduces Vito she feeds him a dish of ice cream after he fixes her air conditioner. It’s as if she’s rewarding a little boy for doing a good job. In the midst of these queer moments where she desires him yet infantilizes him, they do carry on a sexual relationship. Iris is a free sexual being who makes no apologies for who she is. It doesn’t take too long before Vito realizes that he’s way out of his league, but Iris does initiate him into the world of sex.
I have come to adore Lola Albright this year. In A Cold Wind in August she manifests a kind of existential sensuality as she can offer a nurturing kiss and then go on to take what she needs. She yearns for pleasure which is literally illustrated by her stripper costume of a sort of Queen of Outer Space gold lamé number complete with eye mask, it’s alluring and vulturous at the same time.
Robert Rossen (The Strange Loves of Martha Ivers 1946, All the Kings Men 1949, Billy Budd 1962 & Lilith 1964) wrote of all his films, they “Share one characteristic: The hunt for success. Ambition is an essential quality in American society.”
The Hustler is the story of Fast Eddie Felson (Paul Newman) who has a penchant for self-punishment and self-destructiveness and in his cockiness likes to take on high-stakes pool games. He has a dream of bumping Minnesota Fats (Jackie Gleason) off the pedestal of fame. Eddie and Fats meet up and by the end of a very long marathon, Eddie is wiped out and whipped, which doesn’t help his enormous ego.
Eddie meets Sarah (Piper Laurie), a highly educated modern woman. She’s an independent loner, a bit morose, a bit jaded, but somehow she allows Eddie to work his charms on her until she is hooked. Still, no matter what happens in the end, Sarah Packard speaks her mind and lives life on her own terms…
Sarah has a physical disability as she walks with a limp, and is referred to as a cripple.
Finally, as the film progresses, whether Sarah feels that she is perverted and twisted because she sleeps with the repugnant opportunist Bert Gordon (George C. Scott) or drinks too much, or has the need to be loved because of her physical disability, Sarah Packard is such a real character that it breaks your heart.
Tensions arise when manager Bert Gordon signs on to promote Eddie. He’s a shady predator who tries to drive a wedge between Eddie and Sarah and takes advantage of her one night while Eddie’s away.
Sarah reads poetry and uses alcohol as a way to balm her loneliness, but there’s a strength in her honesty that is very endearing. Talking about guts, Piper Laurie wanted to get a feel of authenticity for her character and so she hung out at the Greyhound Bus Terminal at night.
IMDb fact: Piper Laurie didn’t make another film for the next 15 years, devoting the time to her marriage and raising her only daughter. She returned to the screen in 1976 in ‘Brian de Palma”s Carrie (1976), earning her second Oscar nomination.
And we all know how bold that performance was…. memorable & cringe-worthy!
At the party that Bert invites Sarah to come to, he whispers something in her ear that makes her toss her drink and run away in tears. The actress talked about this scene in her autobiography. She had met up with George C Scott many years later and “I finally asked him what he had whispered into my ear in the big party scene in The Hustler that elicits a violent response from me. We shot it perhaps three or four times and I could never figure out what he was saying… He told me he chose to use just gibberish, knowing he could never invent words or phrases as powerful as what my imagination could summon up. Probably true.”
That was a very cool approach to the scene which came off beautifully!
Roslyn: “If I’m going to be alone, I want to be by myself.”
The Misfits was initially written as a short story by Arthur Millerwho was actually waiting for his divorce in Reno to go through before he could marry Marilyn Monroe. Based on a short story in Esquire Magazine, he specifically wrote it for his then-wife Marilyn Monroe.
A beautiful divorcée Roslyn Tabor (Marilyn Monroe) who has been put through hell, takes up with a faded cowboy Gay Langland who is still strutting like a lady’s man in early-sixties Nevada. He’s a rugged individualist who wants nothing to do with earning wages. At first she meets up with Isabelle Steers played by the inimitable Thelma Ritter who can throw out a one-liner like no one else, anything out of her mouth is gold.
Roslyn is in Reno to divorce her husband Ray. She meets up with Guido (Eli Wallach) who is building his ‘unfinished’ dream house for a wife who died during childbirth years ago, yet he still holds a candle to her memory and suffers from WWII bombing raids He sets his sights on Roslyn but his friend Gay Langland (Clark Gable) a crusty old cowboy moves in first and the two start a tenuous relationship. Roslyn is kind and loves all animals, and still thinks kindness is always just around the corner.
Montgomery Clift plays an ambiguously sexual bachelor who drinks to try and take the pain away. All four are non-conformists who begin to form a type of family. Roslyn is thoughtful and sensitive and Gay is a typical male on the prowl. Along for the ride is Perce Howland (Montgomery Clift) who is the most trusting and kind. He is not committed to trapping the horses for pet food, and wishes to stop it too. The horses that roam free are symbolic of the beautiful spirit that Roslyn possesses. A bit sad but tender and kind. Roslyn tags along on a trip up in the mountains with Gable, Eli Wallach, and Monty Clift much to Roslyn’s horror that they are capturing horses in order to sell them for dog food.
Marilyn Monroe later said that she had hated both the film and her own performance. I feel like she is selling herself short. She managed to navigate around the incredible testosterone on screen and off. Perhaps it was her innate sadness that shone through, but she brought a tremendous sensitivity that was an inner sort of beautiful… The Misfits is probably one of my favorite performances by Monroe, it seems like a close look into her sad yet dreamy soul.
A RAISIN IN THE SUN with RUBY DEE as Ruth Younger, CLAUDIA MCNEILL as Mother Lena Younger, and DIANA SANDS as Beneatha Younger
Lena Younger crying “Oh God, please, look down and give me strength! “
Written by Lorraine Hansberry for the stage then adapted to film and directed by Daniel Petrie
Sometimes there are films and stories that I just immediately have to say “It’s some powerful good.” Maybe it comes from watching a lot of The Andy Griffith Show has rubbed off on my conversational style. But regardless, A Raisin in the Sun is some powerful good! That’s what happens when an ensemble of incredible actors get together and tell a poignant story about family struggles, in particular, a Black family struggling in a privileged world that works very hard to keep Black people on the ‘outside’ of success, making them continually grasp at that mythical American Dream that just doesn’t exist, at least for most people.
Directed by Daniel Petriea story about racial oppression and assumptions. Illustrated vividly in the scene with the marvelous character actor John Fiedler who plays Mark Linder. from the Clybourne Park un- “welcoming committee.”
The woman forms a strong wheel that keeps the family moving even when Walter Lee Younger (Sidney Poitier) takes his time coming to terms with his pride.
Mama Lena lived in a time where Black folk had fought so hard during the Civil Rights movement to witness a generation of young Black people demand and obtain their rights. But there exists in the home a generation gap between her and her children. Walter Lee is a very proud young man who is frustrated with just being a chauffeur. When Lena’s husband’s insurance policy comes to the family, they each have ideas of how to spend it. Three very strong female characters satellite around one man whose identity rests on false notions of success reflected back at him through the lens of a white social class. But Walter Lee is continuously grounded by the strength of the women around him.
Beneatha is a progressive woman who railed against being a traditional wife and mother. She was way too independent and a strong female figure for 1962.
Cléo is a famous French Chanteuse awaiting the results of a biopsy. She is afraid that she will be told that she has cancer. We as spectators watch Cléo spend two hours in her day until she finds out whether she is going to die. Sounds morbid, but director Agnès Varda (Varda herself was Bold & Beautiful– trained as a master photographer… and at the core or the soul of the French New Wave Cinema) weaves a whimsical visual dance as Cléo walks through the hours of her possibly tenuous life. The film is marvelous and Corinne Marchand as Cléo is a very captivating figure. In France, it is said that the hours between five to seven are when lovers gather. Cléo wants to just keep moving in hopes of avoiding the results of her test. Throughout Cléo’s journey, she is subtly restrained by the knowledge that she may be dying. Even as she sings torch songs, shops for hats, and walks through the streets of Paris.
At 5 pm she even visits a Tarot Reader. And just from experience, pulling The Hanged Man in a tarot reading is never really a good thing. And of course, Death shows up as well. And the Death card should never be regarded as literal, but under the circumstances, it would be frightening to a woman waiting for test results. She asks the woman to read her palm but she refuses, and so Cléo leaves frustrated.
Throughout Cléo wanderings, there are few interactions that lay on the periphery. Knowing that death could be looming overhead, Cléo seems to develop a heightened sense of awareness, even if the actions of unessential characters are truly incidental surrounding Cléo while she is walking through her two hours.
Cléo wanders throughout the streets of Paris with her maid in tow or her friend the nude model. The next stop is at the hat shop, where she proceeds to try on many fashionable hats. Several mirror shots showcase the use of iconography of the female image as seen reflecting back. Cléo looks magnificent in even the most outrageous of hats.
Cléo and her maid come back to her apartment, which has a nice vast playful quality to it, with a piano, a wonderful swing, and of course an opulent bed. Cléo reposes in her bed like royalty, as two fluffy kittens toss each other around. José Luis de Vilallonga credited as The Lover comes to see her. There doesn’t seem to be much passion between the two.
“You’ll EAT and DRINK what I SAY until you lose five pounds IN THE PLACES WHERE I SAY!” -Pepe
I couldn’t resist paying homage to at least one exploitation film seeing this is about the 60s! With the flavor and atmosphere of nightclub noir surrounded by decadence and the sordid lives of its inhabitants it comes across with a low-budget appeal, Satan in High Heels was filmed in New York’s old La Martinique cabaret. This isn’t a film about immorality, it’s plainly just some high-art sleaze that is so fun to watch, mainly because of Grayson Hall. Hall has a languid graveled voice that is almost intoxicating to listen to. Putting aside the other two leading ladies voluptuous Sabrina who plays herself, and Meg Myles as Stacy Kane a second-rate stripper whose wardrobe consists of various leather outfits and riding crops, it’s Grayson Hall (of Dark Shadows fame) that brings the story to a boil as the ultra domineering Pepe– as cool as the center seed of a cucumber.
She’s jaded and cynical and is a New York City kind of Marlene Dietrich with her quick asides and Sapphic strut. Even when she’s taking long drags of her cigarette she can deliver a curt line that cuts to the point, “Bear up, Darling, I love your eyelashes.”
After Stacy working the carnival circuit discovers her ex-husband hanging around the dressing room with a load of cash, she grabs the doe and heads to New York City. Once she arrives she auditions at a nightclub as a singer and is hired by the libidinous Pepe who wants to do a Pygmalion on the Tramp. Belting out torch songs like “I’ll beat you mistreat you til you quiver and quail, the female of the species is more deadly than the male.” Neither Stacy (Meg Myles) nor Sabrina (Norma Ann Sykes) Yikes get points for being buxom.
It’s Pepe who is sophisticated and wicked that makes you quiver & quail? Hmmm, I need to look that up!
“Everybody can’t wait to help me get rid of it!”-Jane
When it’s Bryan Forbes (Seance on a Wet Afternoon 1964, The Stepford Wives 1975) directing you know to expect something deeper and quietly intense. In The L-Shaped RoomLeslie Caron plays Jane Fosset a melancholy unmarried woman who is pregnant and on her own. She takes a room in a boarding house in London. While there Jane meets all the inhabitants of the decadent house where there dwells a collection of various misfits and outliers of society. Two working girls of the night persuasion, Pat Phoenix as Sonia, the man-eating Landlady who isn’t quite friendly, and the lovely old lesbian Mavis (Cicely Courtneidge).
And then there’s the struggling on-edge Toby (Tom Bell) who is a writer living on the first floor. The two strike up a relationship, as Jane decides whether to get an abortion or keep the baby. There’s also Johnny a black Jazz Musician ( Brock Peters) who gets upset when Jane and Toby start a sexual relationship. The story is human and moving and as deeply whimsical as the tenants who come and go. Leslie Caron is superb as a solitary girl with a serious dilemma, so much so that she was nominated for Best Actress. Caron is splendid as Jane who manifests courage and striking dignity to live life on her own…
Alfred Hitchcock’s cautionary tale is based on Daphne du Maurier’s best-selling novel. The Birdswas Hitchcock’s film, that not only demonstrated the precarious security of everyday life by contrasting a quaint California seaside town inexplicably besieged by angry birds. One of Hitchcock’s most frequent themes is the precariousness of social order and morality. And the introduction of Tippi Hedren as Melanie Daniels definitely shakes things up. There’s almost a supernatural connection, if not the mere symbolic one.
I couldn’t resist Tippi Hedren as Melanie Daniels who is no shrinking violet. She may be a relatively straightforward central protagonist – the rich spoiled girl from the big city whose complacency is then severely shattered. Melanie is still an independent woman who mostly keeps it together right up to the end. Okay, once she’s trapped in the attic she sort of goes a bit fetal but come on people the natural world is attacking! –with beaks and claws!
Behind the scenes, she might have had a mini panic thanks to Hitchcock’s maneuvering to have her attacked for real. Melanie Daniels ascends into Bodega Bay like the birds, she is a warning of the dangers of strong, and non-conformist women, especially strong willed sexually free women. Are the people being attacked by just the birdsor is the strength of Melanie Daniels’s presence to tear apart the claustrophobic relationship between son and mother and the quiet conventional community?
From Carol Clovers Men, Women and Chainsaws -Her Body, Himself.
in Poe’s famous formulation , the death of a beautiful woman is the “most poetic topic in the world.”
Hitchcock during the filming of The Birds said: “I’ve always believed in following the advice of the playwright Sardou”. He said ‘Torture the women.’
Clover comments that what the directors don’t reveal out loud about the women in peril theme is that “women in peril are at there most effective when they are in a state of undress” and assailed by a totally phallic enemy.
Melanie Daniels while trapped in the attic and justifiably shaken from the ordeal does not lose her ability to protect herself and give up and die.
One of the most vivid and unforgettable scenes in film history (I would wager my one-of-a-kind Columbo doll that other people agree) is when Melanie is waiting outside the schoolhouse sitting on the park bench with the jungle gym behind her. She sees a few birds gathering on it. As Hitchcock is known to do, he drags out the suspense until we are at the very edge. She sees a few more birds join in. She lights up a cigarette, which extends the scene further. There isn’t the composed style of filming a scene where it would go right to the fright factor. Hitchcock manipulates Melanie and us the spectator. Once more she follows the movement of another crow heading toward the jungle gym which now is revealed to have hundreds of birds waiting to attack…!
“Boy… somebody in this car smells of Chanel No. 5, It isn’t me, I can’t afford it!”
Directed by Martin Ritt and based on Larry McMurtry’s novel. From -Drew Casper Postwar Hollywood from 1946-1962 “Ritt Caught the parched, circumspect, empty quality of a middle-class WASP life in a Texan cattle community.”
The raspy attractiveness of Patricia Neal can make any film worth watching. In Hud, she conveys a weary yet wise housekeeper/mother figure for the elderly widower Rancher and the Bannon men Hud and Lonnie. She has to deflect all the lustful advances by Hud, but she has grown comfortable with the blueness of her isolation and has made peace with her troubling past. She handles the volatile Hud (Paul Newman) and nurtures the impressionable Lonnie (Brandon deWilde)
Patricia Neal won an Academy Award for playing the housekeeper Alma in Martin Ritt’s Hud, although she only appears in the film for 22 minutes! James Wong Howe creates a desolate, moody sense of Americana with his cinematography and Elmer Bernstein contributes his magnificent score.
Patricia Nealwas particularly proud of one unscripted moment that made it into the film. While talking to Hud about her failed marriage, a huge horsefly flew onto the set. Just as she says she’s “done with that cold-blooded bastard,” she zaps the fly with a dish towel. Martin Ritt loved it and printed the take.
Paul Newman is the cold-blooded Hud Bannon. He’s a ruthless reckless cowboy and a heartless uncaring miscreant who hurts everyone in his life. He’s self-confident, drives a pink Cadillac and when he’s not swaggering slow like he’s a meandering playboy, who still lives on the isolated farm with his elderly father and his nephew Lonnie (Brandon deWilde) who worships him, he’s sleeping around.
Melvyn Douglas plays Homer Bannon, his father whom he clashes with. His father is a righteous man, filled with principles but his son is a self-indulgent outlier of society who cares for nothing and no one. Life is just about having ‘kicks’ It was that time in film history when the youth archetype was all looking for those ‘kicks’
Hud’s amoral lifestyle and the struggle between the good people who satellite around him create a dismal world for everyone. Alma and Hud develop a sexual banter between them. She’s attracted to his prowess and his good looks, but Hud only sees her as the help. He wants what he can’t have, so she is a challenge to him that’s all. But Hud is abusive to Alma, he even parks his Cadillac in her flower bed.
Alma has a hearty strength and takes all the masculine posturing with stride. She’s as laid back as a cat taking a nap in the sun. Alma too has a sensuality that lies open, on the surface as she flirts with Lonnie and is aroused by Hud’s beautiful torso. The theme that is underlying throughout Hud or I should say Alma’s part in the narrative is that women like to be around dangerous men. Alma doesn’t expect anything from Hud, understanding his nature all too well. He possesses a merciless kind of sexual desire that cannot be satisfied. But Alma does create a conflict for him…
In his cynical exchanges with Alma, he is contemptuous toward women and boasts a sexual confidence, that makes him one cocky bastard. But Alma is not a child nor is she an inexperienced woman. she is equally world-weary and is titillated by his sexual innuendos.
Directed by John Huston based on the story by Tennessee Williams, Night of the Iguana.
John Huston loved placing a group of interesting people in a landscape that was inhospitable and sweltering.
Ava Gardner as Maxine Faulk is a sultry beauty that inhabits the tropical night like a panther moving through the brush.
A defrocked Episcopal clergyman the Rev. T Lawrence Shannon (Richard Burton) working as a tout guide in Mexico leads a bus-load of middle-aged Baptist women and a teenage girl on a tour of the Mexican coast. It is there that he wrestles with the failure and doubts that haunt his wasted life. While temporarily stranded he takes respite with Maxine who runs the small out of the way hotel. Ava Garner wields heavy dose of sensuality as she burns up the screen with her raw and unbound sexuality. Surrounded by young men whom she swims with at night. And not taking any crap from the busload of repressed Baptists and Sue Lyon as a young Nymphomaniac.
Shannon was kicked out of his church when he was caught with one of his parishioners, and now Charlotte Goodall (Sue Lyon) is a troublesome nymph chasing after him provocatively. Her guardian is Judith Fellowes (Grayson Hall) an uptight lesbian who seems to hate all men, bus rides and humid weather besides. When Fellowes catches Charlotte in Shannon’s room she threatens to get him in trouble, so he enlists the help of his friend Maxine Faulk, and leaves the group stranded at her remote hotel.
Once Hannah Jelkes (Deborah Kerr) and her elderly grandfather arrive, the atmosphere seems to shift and Shannon is confronted with questions of life and love. Everyone at the hotel has demons and the rich and languid air seems to effect everyone… Ava Gardner as Maxine waits patiently for Shannon to realize that they could have a passionate life together if he’d stop torturing himself..
From Ava Gardner: “Love is Nothing” by Lee Server Ava Gardner loved the chance to work with director John Huston.
The play had opened on Dec 28th 1961 at Broadway’s Royale Theatre with Bette Davis, Margaret Leighton and Patrick O’Neal.
“A typical Williamsian study of desire, dysfunction and emotional crisis. set in a frowzy Acapulco Hotel where defrocked alcoholic horny minister now tour guide The Rev T Lawrence Shannon haphazardly battles for his salvation aided and abetted by lusty innkeeper Maxine Faulk and wandering spinster Hannah Jelkes.”
Producer Ray Stark regarded the film’s formula should be a “mix of soul-searching, melodrama and lowlife exotica”which would capture Huston’s imagination.
Ava was cast to play the ‘earthy widow’ Maxine- Huston considered Gardner perfect as she was a Southern actress with ‘feline sexuality’. perfect to play one of Tennessee Williams’ ‘hot-blooded ladies!’
Ava Gardner wanted the role to be really meaningful. She did have several volatile scenes, for instance when she is exasperated by Shannon, to spite him Maxine impulsively rushes into the ocean to frolic with her two personal beach boys.
According to the book, “Ava had become sick with fear— of the physicality of the scene (how could she not look bad falling around in the water with her hair all soaked?), the sexuality of it (the two boys roaming all over her body as the surf rolled across them). and the physical exposure (the scene called for her to be wearing a skimpy bikini) Huston told her in that case, kid they would rewrite and shoot the scene at night and with minimal lighting. As she got more uncomfortable Huston suggested that she simply go in the water in her clothes (Maxine’s ubiquitous poncho too and toreador pants). ‘It’ll look more natural like that anyway’- Huston said.”
Houston even waded into the water with her, they had a few drinks, he held her hand and waited til she was ready to shoot the scene. And it came out beautifully with one take!.
Johnny -“Pretty Cool aren’t you Miss Farr” Sheila “Only when there’s nothing to be excited about”
Directed by Don Siegel This remake of Ernest Hemingway’s taut thriller has been given a 60s sheen of vibrantly slick color. In contrast to Robert Siodmak’s masterpiece in 1946. The femme fatale in this Post-Noir film is Angie Dickinson as opposed to Ava Gardner.
Don Siegel’s 1964 adaptation of Ernest Hemingway’s short story The Killers is quite a horse of a different colour. first off the obvious is that it is not in haunting B&W… The double – crosses are still in the picture. the big heist and the hidden doe…
And we don’t have Ava Gardner, but we do get Angie Dickinson. Cassavetes is a race car driver Lancaster was a mechanic… we don’t have the primal sexuality of Burt Lancaster we have the pensive arrogance of John Cassavetes.
The viewpoint of the story is not seen through the eyes of the victim, but the Kiilers who want to understand why the protagonist just stands there and lets himself be gunned down in cold blood “just stood there and took it.”
While Siodmak’s version is drenched in shadow and nuance, Siegel’s version is gorgeously played out like a taut violin string in the brightly mod colors of a 60s world. It was no longer the year of the dark and dangerous femme fatale that hinted at promises of a sexual joyride alluded to with suggestive dialogue and visual iconography. Now we have Angie Dickinson’s character Sheila Farr a modern sexually liberated woman who struts her stuff in the light of day.
The two hit men Lee Marvin and Clu Gulager walk into a school for the blind and shoot down John Cassavetes. On the way back to Chicago Marvin’s character wants to know why he didn’t try to run when he had the chance. Also told in flashback, it pieces together the reason for him wanting to die. After Cassavetes is washed up as a race car driver when he has a near-fatal crash- he takes up with crime boss Ronald Reagan and tries to steal his woman- Sheila.
DEAD RINGER with BETTE DAVIS as Margaret DeLorca & Edith Phillips
Margaret: “Oh Edie I wanted to marry Frank so desperately” Edie “But you never loved him, you never made him happy… you ruined both our lives.” Margaret “I’ll make it up to you. Remember, remember when we were children? You were the one person I really loved.”
Edie–“LOVED!!!!! You never loved anybody but yourself. Margaret “You have all the time in the world to find happiness. You can get rid of this place. You can get rid of it and take a trip.” Edie-“To outer space!” Margaret- “Money’s no object. How much would you like?- “YOU haven’t got that much!” ( Edie smacks the money out of Margaret’s hand.)
I simply couldn’t choose the 60s and not include a little psycho-melodrama, a bit of Grande Dame Guignol–without including my favorite of all… Bette Davis. Directed by actor/director Paul Henreid this extremely taut suspense thriller starring Bette Davis in two roles is a captivating story that grips you in the guts from beginning to end.
It’s 1964 Los Angeles and Bette plays twin sisters Margaret de Lorca and Edith Phillips. The film opens at Margaret’s husband’s funeral. The two sisters haven’t seen each other in twenty years.
Margaret has married a very rich, man that Edith had planned on marrying. Edith lives a modest life and is dating a very fine police officer Sgt Jim Hobbson played by the wonderful Karl Malden. He loves his Edie who has a little jazz bar, is kind and simple, and doesn’t share the arrogance and ruthless nature of Margaret. Margaret tricked Frank into marrying her, claiming she was pregnant.
One night Margaret comes to visit Edie and insults her by offering her some cheap clothes as a hand off plus Edie learns from the chauffeur that the pregnancy was all a lie. Margaret ruined her chances of happiness. Adding to Edie’s troubles the property agent has given her the boot since she’s 3 months late with the rent.
In a moment of rage with several ounces of premeditation -Edie shoots Margaret, assuming her identity, hopping into her sister’s chauffeured limo and moving into the great house with servants and wealthy snobbish friends. Unfortunately, it’s only a matter of time before Margaret’s smarmy lover Tony (Peter Lawford) shows up and discovers right away about the masquerade. Of course, he blackmails Edie for his silence. Also, Detective Jim Hobbson starts coming around thinking that Edith’s death was suspicious and not a suicide. What makes the film interesting is how Jim is the one person who could recognize Edie behind the elegant clothing, and at times there is a spark of awareness, but it just might be too late for Edie playing Margaret to turn things around. One particular exchange that is wonderful is the unspoken sympathetic relationship between Edie and Henry the quintessential Butler played by Cyril Delevanti who has the most marvelously time-worn face.