“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 as B.A. in a scene from the film ‘The Kremlin Letter’, 1970. (Photo by 20th Century-Fox/Getty)
It is so easy to look upon Barbara Parkins’ exquisite beauty and make that the initial distinction you recall about her as an actress before recounting the roles she’s contributed to, the iconic roles that have heightened the dream factory of our cultural consciousness that is — film and television. As Betty Anderson of Peyton Place and Anne Welles in Valley of the Dolls. But beyond the glamour and the pulp and the melodrama and the camp, there is an actress who not only possessed an otherworldly beauty but a depth of character and quality. Who touched our hearts but was one of the earliest women to kick ass too! As Betty Anderson, she broke ground in a role that discussed women who began to reflect on their bodies being used as negotiable product for men, even in good clean small moralistic New England towns. And through a lot of painful, solitary self discovery learned to rely on her own self-reliance and newly mined self respect. Barbara Parkins was leading the way three years before Jane Fonda was flyin’ free up in space in 1968’s Barbarella.
I have always been drawn to Barbara Parkins, her inherent sensuality, sophistication, her dreamy voice. There’s a deep well of desire and poetry simmering below that obvious beauty. She brings that sensuality with her to every versatile role as an actress. And that is why I’ve been in love with her since the very first time I saw her.
Bradford Dillman in a scene from the film ‘Circle Of Deception’, 1960. (Photo by 20th Century-Fox/Getty Images)
Untroubled good looks, faraway poise & self-control, with a sartyrial smile and brushed-aside sophistication – that’s Bradford Dillman
Bradford Dillman is one of those ubiquitous & versatile actors who you find popping up just about everywhere, and whenever I either see him in the credits or think about some of his performances, I am immediately happified by his presence in my mind and on screen. It’s this familiarity that signposts for me whatever upcoming diversion I’m in store for, will be something memorable indeed.
He’s been cast as a saint, a psychopath, elite ivy league intellectuals with an edge, unconventional scientists, military figures, droll and prickly individualists, clueless bureaucrats, or drunken malcontents and he’s got a sort of cool that is wholly appealing.
Bradford Dillman was omni-present starting out on the stage, and major motion pictures at the end of the 50s and by the 1960s he began his foray into popular episodic television series and appeared in a slew of unique made for television movies throughout the 1970s and 80s, with the addition of major motion picture releases through to the 90s. His work, intersecting many different genres from melodramas,historical dramas, thrillers, science fiction and horror.
There are a few actors of the 1960s & 70s decades that cause that same sense of blissed out flutters in my heart — that is of course if you’re as nostalgic about those days of classic cinema and television as I am. I get that feeling when I see actors like Stuart Whitman, Dean Stockwell, Roy Thinnes, Scott Marlow, Warren Oates, James Coburn, Lee Grant David Janssen, Michael Parks, Barbara Parkins, Joanna Pettet ,Joan Hackett , Sheree North, Diana Sands, Piper Laurie, Susan Oliver and Diane Baker. I have a fanciful worship for the actors who were busy working in those decades, who weren’t Hollywood starlets or male heart throbs yet they possessed a realness, likability, a certain individual knack and raw sex-appeal.
Bradford Dillman was born in San Francisco in 1930 to a prominent local family. During the war he was sent to The Hotchkiss School in Lakeville, Connecticut. At Hotchkiss, senior year he played Hamlet. At Yale he studied English Literature and performed in amateur theatrical productions and worked at the Playhouse in Connecticut. Dillman served in the US Marines in Korea (1951-1953) and made a pact that he’d give himself five years to succeed as an actor before he called it quits. Lucky for us, he didn’t wind up in finance the way he father wanted him to.
Actor Bradford Dillman (Photo by John Springer Collection/CORBIS/Corbis via Getty Images)
Dillman enrolled and studied at the Actors Studio, he spent several seasons apprenticing with the Sharon Connecticut Playhouse before making his professional acting debut in an adaptation of Nathaniel Hawthorne’s “The Scarecrow” in 1953 with fellow Studio students Eli Wallach and James Dean. Dillman referred to Dean as ‘a wacky kid’ but ‘very gifted’.
He only appeared in two shows in October 1962 of The Fun Couple in 1957 with Dyan Cannon and Jane Fonda before the play closed in New York only after two days.
We lost Bradford Dillman last year in January 2018. I was so saddened to hear the news. And I missed the chance to tribute his work then, but now that his birthday is here, I feel like celebrating his life rather than mourning his death, so it’s just as well.
Bradford Dillman wrote an autobiography called Are You Anybody? An Actor’s Life, published in 1997 with a (foreword by Suzy Parker) in which he downplays the prolific contribution he made to film and television and acting in general. Though Dillman didn’t always hold a high opinion of some of the work he was involved in, appearing in such a vast assortment of projects, he always came across as upbeat and invested in the role.
“Bradford Dillman sounded like a distinguished, phony, theatrical name, so I kept it.”
[about his career] “I’m not bitter, though. I’ve had a wonderful life. I married the most beautiful woman in the world. Together we raised six children, each remarkable in his or her own way and every one a responsible citizen. I was fortunate to work in a profession where I looked forward to going to work every day. I was rewarded with modest success. The work sent me to places all over the world I’d never been able to afford visiting otherwise. I keep busy and I’m happy. And there are a few good films out there that I might be remembered for.”
“Unexpressed emotions will never die. They are buried alive and will come forth later in uglier ways.”
― Sigmund Freud
“Ladies and gentlemen- welcome to violence; the word and the act. While violence cloaks itself in a plethora of disguises, its favorite mantle still remains sex.” — Narrator from Faster, Pussycat! Kill! Kill! (1965)
Tura Satana,Haji, and Lori Williams in Russ Meyer’s Faster, Pussycat! Kill! Kill! 1965Françoise Dorléac and Donald Pleasence in Roman Polanski’s Cul-de-sac 1966Constance Towers kicks the crap out of her pimp for shaving off her hair in Sam Fuller’s provocative The Naked Kiss 1964Peter Breck plays a journalist hungry for a story and gets more than a jolt of reality when he goes undercover in a Mental Institution in Sam Fuller’s Shock Corridor 1963Bobby Darin is a psychotic racist in Hubert Cornfield and Stanley Kramer’s explosive Pressure Point 1962 starring Sidney Poitier and Peter Falk.
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Patricia Morán as Rita Ugalde: The Exterminating Angel 1962:“I believe the common people, the lower class people, are less sensitive to pain. Haven’t you ever seen a wounded bull? Not a trace of pain.”
Ann Baxter as Teresina Vidaverri Walk on the Wild Side 1962—“When People are Kind to each other why do they have to find a dirty word for it.”
The Naked Venus 1959–“I repeat she is a gold digger! Europe’s full of them, they’re tramps… they’ll do anything to get a man. They even pose in the NUDE!!!!”
Baby Boy Franky Buono-Blast of Silence (1961)“The targets names is Troiano, you know the type, second string syndicate boss with too much ambition and a mustache to hide the facts he’s got lips like a woman… the kind of face you hate!”
Lorna (1964)-“Thy form is fair to look upon, but thy heart is filled with carcasses and dead man’s bones”
Glen or Glenda (1953)– “Give this man satin undies, a dress, a sweater and a skirt, or even a lounging outfit and he’s the happiest individual in the world.”
Ed Wood’s Glen or Glenda 1953
Johnny Cash as Johnny Cabot in Five Minutes to Live (1961):“I like a messy bed.”
Dr. Moreau (Charles Laughton) Island of Lost Souls:“Do you know what it means to feel like God?”
The Snake Pit (1948): Jacqueline deWit as Celia Sommerville “And we’re so crowded already. I just don’t know where it’s all gonna end!” Olivia de Havilland as Virginia Stuart Cunningham“I’ll tell you where it’s gonna end, Miss Somerville… When there are more sick ones than well ones, the sick ones will lock the well ones up.”
Delphine Seyrig as Countess Bathoryin Daughters of Darkness (1971)– “Aren’t those crimes horrifying. And yet -so fascinating!”
Julien Gulomar as Bishop Daisy to the Barber (Michel Serrault) King of Hearts (1966)–“I was so young. I already knew that to love the world you have to get away from it.”
Susannah York (right) with Beryl Reid in The Killing of Sister George Susannah York and Beryl Reid in Robert Aldrich’s The Killing of Sister George 1960
The Lickerish Quartet (1970)–“You can’t get blood out of an illusion.”
THE SWEET SOUND OF DEATH (1965)– Dominique-“I’m attracted” Pablo-” To Bullfights?” Dominique-” No, I meant to death. I’ve always thought it… The state of perfection for all men.”
Peter O’Toole asSir Charles Ferguson Brotherly Love (1970): “Remember the nice things. Reared in exile by a card-cheating, scandal ruined daddy. A mummy who gave us gin for milk. Ours was such a beautifully disgusting childhood.”
Euripides 425 B.C.–“Whom God wishes to destroy… he first makes mad.”
Bette Davis and Joan Crawford bring to life two of the most outrageously memorable characters in Robert Aldrich’s What Ever Happened to Baby Jane? 1962
WHAT DOES PSYCHOTRONIC MEAN?
psychotronic|ˌsīkəˈtränik| adjective denoting or relating to a genre of movies, typically with a science fiction, horror, or fantasy theme, that were made on a low budget or poorly received by critics. [1980s: coined in this sense by Michael Weldon, who edited a weekly New York guide to the best and worst films on local television.] Source: Wikipedia
In the scope of these transitioning often radical films, where once, men and women aspired for the moon and the stars and the whole ball of wax. in the newer scheme of things they aspired for you know… “kicks” yes that word comes up in every film from the 50s and 60s… I’d like to have a buck for every time a character opines that collective craving… from juvenile delinquent to smarmy jet setter!
FILM NOIR HAD AN INEVITABLE TRAJECTORY…
THE ECCENTRIC & OFTEN GUTSY STYLE OF FILM NOIR HAD NO WHERE ELSE TO GO… BUT TO REACH FOR EVEN MORE OFF-BEAT, DEVIANT– ENDLESSLY RISKY & TABOO ORIENTED SET OF NARRATIVES FOUND IN THE SUBVERSIVE AND EXPLOITATIVE CULT FILMS OF THE MID TO LATE 50s through the 60s and into the early 70s!
I just got myself this collection of goodies from Something Weird!
There’s even this dvd that points to the connection between the two genres – Here it’s labeled WEIRD. I like transgressive… They all sort of have a whiff of noir.Grayson Hall -Satan in High Heels 1962Gerd Oswald adapts Fredrick Brown’s titillating novel — bringing to the screen the gorgeous Anita Ekberg, Phillip Carey and Gypsy Rose Lee and Harry Townes in the sensational, obscure and psycho-sexual thriller Screaming Mimi 1958Victor Buono is a deranged mama’s boy in Burt Topper’s fabulous The Strangler 1964Catherine Deneuve is extraordinary as the unhinged nymph in Roman Polanski’s psycho-sexual tale of growing madness in Repulsion 1965
Just like Alice falling down the rabbit hole, Noir took a journey through an even darker lens… Out of the shadows of 40s Noir cinema, European New Wave, fringe directors, and Hollywood auteurs, brought more violent, sexual, transgressive, and socially transformative narratives into the cold light of day with a creeping sense of verité. WhileFilm Noir pushed the boundaries of taboo subject matter and familiar Hollywood archetypes it wasn’t until later that we are able to visualize the advancement of transgressive topics.
