Stuart Whitman dies at 92 — March 16th, 2020

Stuart Whitman with his full throttled eye brows and suede raspy voice is one of my favorites. One of the great underrated & sexiest actors of the 1960s and 70s. Stuart Whitman was a staple who appeared on the big screen and television. I will be doing a special feature on him soon to tribute his extensive body of work …

From the Vault: Cry Wolf (1947) Next time you hear some odd noise in the night, just follow the memorable custom of your sex and stick your head under the bedclothes.

Cry Wolf (1947)

The howl in the night is the voice of danger.

Directed by Peter Godfrey (Hotel Berlin 1945, Christmas in Connecticut 1945, The Two Mrs. Carrolls 1946, The Woman in White 1948, Please Murder Me! 1956) With a screenplay by Catherine Turney based on the novel by Marjorie Carleton.

Cry Wolf stars Barbara Stanwyck in an atmospheric woman in peril film with co-star Errol Flynn who steps outside of his swashbuckling persona to play a pretentious misogynist who exudes a most sinister scowl throughout the film.

Though the film has been cast in the dark light as film noir — to me it is more of a straight forward suspense chamber piece. The trope of the dysfunctional family set in a landscape of ominous shadows does lean towards the labeling, also given to the theme of a woman in jeopardy and the ripples of paranoia throughout.

Sandra Marshall (Stanwyck) shows up at the estate overseen by Mark Caldwell (Flynn) claiming to be the widow of his nephew James Demarest (Richard Basehart). The funeral is to be the following day. Sandra tells Mark that James had paid her money to marry him in order to claim his inheritance, but only if he took a wife before he turned thirty. James had warned Sandra that his uncle Mark was planning on stealing his fortune. Mark is a suave yet brooding gentleman who is a scientist and has a secret laboratory in the house that no one is allowed access to. At night, there are torturous screams heard coming from the lab, yet Mark denies that there is anyone in that room. Sandra begins to suspect that James is not dead but being held captive in the lab and that Mark is some kind of mad scientist experimenting on his nephew.

Geraldine Brooks plays Julie Demarest, James’ neurotic sister who seeks out support and clings to Sandra. Julie fears for her life as well, suspecting that her uncle is also out to get her. He keeps a tight reign on her, locking her in her bedroom at night and standing in the way of her engagement. Helene Thimig as Marta plays a very sinister role as the obedient harridan,  bringing the food trays to Julie and making sure she stays in her room at night. The device of using the menacing servant in league with the mansion’s master works well in adding elements of terror and persistent tension.

I tried to find a word that would sum how I feel about this often insipid little suspense play with it’s embedded ‘psychology of false alarms’, and the one thing that kept popping into my mind was ‘nifty’. Though Cry Wolf lacks any of the complex dialogue that you might find in a Siodmak thriller, with measured sequences that flow like shadowy poetic milk, Cry Wolf does convey enough dread and the presence of Barbara Stanwyck sneaking about the mansion seeking answers, slinking up dumbwaiters, exhibiting her skill as a horse woman and basically confronting Flynn at every turn.

I also enjoyed seeing a very young Patricia Barry show up as Angela the maid. Jerome Cowan plays Mark’s brother Senator Caldwell who seems to keep his distance from his dysfunctional relatives as not to harm his political career.

I’ll leave the basic plot devices there and hope you’ll watch this ‘nifty’ little suspense thriller just to fill out your experience of some of the lesser recognized 1940s mysteries. And say, there’s nothing wasted by just watching Barbara Stanwyck hold her own!

Mark Caldwell: “I don’t know what plans you have in that devious feminine mind of yours, but if you’re trying to enlist Julie’s sympathy, don’t do it.”

Sandra Marshall: “And if i ignore your advice?”

Mark Caldwell: “I shall kick you out!”

This is your EverLovin’ Joey saying we never ever cry wolf here at The Last Drive In!

 

 

 

From the Vault: Ace in the Hole (1951) It’s a good story today. Tomorrow, they’ll wrap a fish in it.

Rough, tough Chuck Tatum, who battered his way to the top … trampling everything in his path – men, women and morals!

Directed by Billy Wilder, and written by Billy Wilder, Lesser Samuels, and Walter Newman. Ace in the Hole stars Kirk Douglas as journalist Chuck Tatum, who Molly Haskell points out gives a “ferociously determined–over the top, sadomasochistic performance.” Jan Sterling is brilliant as she pulls off disdain and and a bitter indifference to her dying husband, with “tremendous, nervy gusto” and a quite witty toss-out of funny one liners. The cast also includes Robert Arthur, Porter Hall, Frank Cady as Al Federber, Richard Benedict as Leo Minosa, Lewis Martin, Ray Teal, and Gene Evans. The film has a eye piercing grasp of realist cinematography by Charles Lang (The Ghost and Mrs Muir 1947,  Some Like it Hot 1959, Charade 1963, Wait Until Dark 1967), and a stirring score by Hugo Friedhofer and costume design by Edith Head.

Ace in the Hole can be categorized as a socio-noir film, not unlike the films of Elia Kazan. Writer Molly Haskell puts it this way:

Noir in Broad Daylight By Molly Haskell Billy Wilder’s Ace in the Hole “almost requires an honorary expansion of the term film noir. There are no private eyes in seedy offices or femmes fatales lurking in the shadows of neon-lit doorways, no forces of evil arrayed against a relatively honorable hero. This emotional snake pit, the darkest of Wilder’s dark meditations on American folkways, takes place under the relentless sun of a flat New Mexican desert. The noir is the interior inside a mountain tunnel where a man is trapped and suffocating, and inside the mind of a reporter rotting from accumulated layer of self-induced moral grime.”

Andrew Dickos says in Street With No Name that “Wilder’s film noirs are problematic cases because their visions are steeped in cruel and corrosive humor, distinctive in its own right and in its ability to function apart from the noir universe.”

Film Noir The Directors edited by Alain Silver and James Ursini–“Wilder’s sunlit visual style set outdoors in rural New Mexico daylight shows a brighter noir look while his bleak worldview slams media, reporters, TV, radio, even the American public. Wilder constructed a huge set near ancient ruins with chiaroscuro tunnels where Tatum shines a flashlight for eerie demon lighting. His antihero reporter is a failed writer in an extraordinary cold hearted performance by Kirk Douglas who is caustic and unsympathetic toying with a philandering married blonde femme.”

An unethical crackerjack journalist Charles Tatum –recently fired from his job in New York rolls into town– is literally towed in without a cent in his pocket, and is virtually stranded in the sleepy New Mexican town of Escudero. He boldly walks into the small newspaper office and offers himself up for sixty dollars a week to the editor Jacob Boot (Porter Hall) who wears suspenders and a belt, both. After a year of dull reporting, Boot sends Charles Tatum to cover a rattlesnake hunt. Charles takes photographer Herbie (Robert Arthur) along with him, looking for a real story that he can grab hold of. On their way to cover the rattlesnake hunt they stumble onto a local tourist attraction right off the main highway. There has been a cave in and Leo Menosa is trapped. Leo was sacrilegiously poaching burial possessions from the ancient Indian cave dwelling, and that perhaps sealed his fate. He sells the pots at his family’s general store/diner run by his wife Lorraine (Jan Sterling). Lorraine is a sassy and icy bleached blond who’s fed up with her life with Leo. Leo finds his legs pinned beneath heavy rocks with dirt and dust snowing all over his unshaven face. The sense of claustrophobia can make your own chest heave with the lack of oxygen each frame draws you inside the buried hole in the cave. 

Tatum hasn’t any morals and delays the rescue to develop a ‘human interest’ story — a real front page shocker!– that will probably get his job back at his cushy desk in New York City. He has his eyes on the Pulitzer Prize and not on the safety of the poor schnook who is buried alive in the cave. Tatum brazenly begins to manipulate the players around him so that he is in control of the story. He first arranges for the rescue operation to be diverted to the engineer going in through the top of the mountain which will prolong his recovery by a week instead of the 12 hours it could take to get poor Leo out. He ingratiates himself with the crooked sheriff angling for re-elecation and promises big time publicity. This puts him in a position to keep out other journalists from getting access to the story.

Charles Tatum: “I don’t belong in your office. Not with that embroidered sign on the wall; it gets in my way.”

Jacob Q. Boot : “Then it does bother you a little.”

Charles Tatum: “Not enough to stop me. I’m on my way back to the top, and if it takes a deal with a crooked sheriff, that’s alright with me! And if I have to fancy it up with an Indian curse and a broken-hearted wife for Leo, then that’s alright too!”

 

Herbie Cook: “The old man sure looked bad. Did you see his face?”

Charles Tatum: “Yeah.”

Herbie Cook: “Like the faces of those folks you see outside a coal mine with maybe 84 men trapped inside.”

Charles Tatum: “One man’s better than 84. Didn’t they teach you that?”

Herbie Cook: “Teach me what?”

Charles Tatum: “Human interest. You pick up the paper, you read about 84 men or 284, or a million men, like in a Chinese famine. You read it, but it doesn’t stay with you. One man’s different, you want to know all about him. That’s human interest.”

Jan Sterling wants to just take her suitcase and leave the poor slob in the literal dust and get out of there. But Tatum, after a hard two slaps to the face raising welts (I swear those slaps were real!) tells her that she is going to play the grieving wife for the public face of the story. She decides to stay around when spectators from all over begin showing up and the money starts flowing in. They renamed the film The Big Carnival, as the entire site becomes a voyeuristic masturbatory orgy of onlookers and parasites who want to see Leo in the midst of his predicament. The unsavory hawkers sell their goods, Carnivals set up a ferris wheel and rides, and pushing cotton candy and hot dogs, balladeers making up hero songs about Leo and swarming like ants all over the tragedy to feed off the situation for their own curiosity. The human interest story in the film is more about the way human nature is geared toward our tendency to be social piranha, than about caring individuals who want to reach out a hand and help.

Tatum and Sheriff Gus Kretzer (Teal) strong arm the construction contractor (Lewis Martin ) to taking a longer route to the the waning Leo to drag the story out for the week it will take for Tatum to make the headlines nationally. Drawing out the tragedy, Leo becomes a victim twice. The whole mood of the piece is claustrophobic and unsettling.

Lorraine throws herself at Tatum who treats her like garbage all the while Leo is daydreaming about getting out of the hole and celebrating their fifth wedding anniversary, for which he’s bought her a garish fur wrap.

From the beginning Tatum has pretended to be Leo’s advocate to get himself out of the hole. Bringing him the newspaper and cigars, offering him a chance to come with him to New York City once he gets out. Even as Leo is slipping away, Tatum keeps trying to suck more life out of the guy just to prolong the story. He’s like a man who has made a deal with devil and sold his soul for the story. He’s made it so he is the only one authorized to go into the cave and visit with Leo. Leo trusts him and considers him his friend, and doesn’t realize that he is exploiting him as a bargaining tool to get his NYC boss to rehire him back to the newspaper at $1000 a day.

The film is bold, in-your-face,and starkly grim. The frenetic outside “carnival” is offset by the closing in of the hole in the cave that is quickly closing in on Leo.

The film was a hit outside of the United States but did not do well in the U.S. Douglas and Starling were phenomenal in their roles. It was  hard to decide who was the worse human being, though, Tatum comes in first as the conundrum of the self-effacing self aggrandizing provocateur who laughs at the sampler in the office that boasts TELL THE TRUTH, and who then causes Leo to lose his life. “Bad news sells best. Cause good news is no news.”

Sterling had some of the best lines in the film.  “I met a lot of hard-boiled eggs in my life, But you, You’re twenty minutes!”

When Tatum suggests that she get some rosaries and go with the ladies to pray for Leo she tells him–

“I don’t go to church, kneeling bags my nylons.” – Lorraine

 

In the end the devil catches up with Charles Tatum…

He says to editor Boot–“How’d you like to make yourself a thousand dollars a day, Mr. Boot? I’m a thousand-dollar-a-day newspaperman. You can have me for nothing.

The film possesses intense moments while Douglas stares into the abyss, his eyes on fire, his face locked in a monomaniacal grimace as Leo slowly takes his last breathes. There is not one atonement in Chuck Tatum’s character to iron out the cynicism of Wilder’s dark vision. There are few players who exhibit a scrap of humanity.

From Film Noir Reader 3 Billy WIlder interview by Robert Porfirio:

RB: Critics still haven’t written a great deal about it, but it was deeply affecting…{…}…being a depiction of how some people exploit others’ tragedies.

BW:   Our man, the reporter, was played by Mr. Kirk Douglas. Now, he was on the skids and he thought that a great story would get him back into the big time, big leagues. He remembered the Floyd Collins story.  Now, I looked up the Floyd Collins story. They composed a song, they were selling hot dogs, there was a circus up there, literally a circus, people came. I was attacked by every paper because of that movie. They loathed it. It was cynical, my ass. I tell you, you read about a plane crash somewhere nearby and you want to check out the scene, you can’t get to it because ten thousand people are already there: They’re picking up little scraps, ghoulish souvenir hunters. After I read those horrifying reviews about Ace in the Hole, I remember I was going down Wilshire Boulevard and there was an automobile accident. Somebody was run over. I stopped my car. I wanted to help that guy who was run over. Then another guy jumps out of his car and photographs the thing. “You’d better call an ambulance” I said. “Call a doctor my ass. I’ve got to get to the L.A. Times I’ve got a picture. I’ve got to move. I just took a picture here. I’ve got to deliver it.” But you say that in a movie, and the critics think you’re exaggerating.”

This is your EverLovin’ Joey saying just give me a shout if you’re ever stuck in a hole and I’ll come running!

Piper Laurie: The Girl Who Ate Flowers

Part of what mesmerizes me about the actresses I love is their distinctive voices. Piper Laurie’s indelible talent is, of course, what attracted me to her initially. But part of what grabs me in the gut is her uniquely soft, velveteen whispery voice that seems to come from a deep and delicate place. Such voices are capable of moving mountains. Piper Laurie may have started out as Universal’s young ingénue but what she manifested after breaking her chains from the studio that held her back, is a monumental ability to express herself with a depth of emotion. She is evocative, calm, almost solitary, and always remarkable in each of her performances.

Universal might have locked her into formulaic romantic comedies and hyperbolic adventures, something Piper Laurie herself felt restricted by, but even those films are still delightful viewing and she shines in each role. Unfortunately the label stuck to her name and made it impossible for the actress to get serious scripts. Universal forced her to turn down potential break out dramatic roles with their constrictive servitude. It wasn’t until she took to the stage once again — as she has when first starting out in drama class– and acted in 1950s television shows featuring extraordinary writing and directing, that she was able to shed the stigma of some of Hollywood’s insipid labeling. There were directors and producers who saw something more in Piper Laurie. It is infuriating that she was not given the role director Vittorio DeSica had chosen for her because of Universal’s narrow-mindedness and strangling contract. And it is frustrating that there are remarkable performances from 1950s dramatic teleplays and series that are just not available for viewing. The only performance that I can find is Piper Laurie as Kirsten Arnesen Clay in Playhouse 90’s Days of Wine and Roses directed by John Frankenheimer.

In April 2019 I had the incredible opportunity to sit down and talk with the great actress while at the Chiller Theater Convention here in New Jersey. There, in the midst of enthusiastic fans buzzing around like drones in a spectacle hive excited to see Carrie White’s sinister mother, sat Piper Laurie as beautiful as always. She exudes a gentleness and presence –an aura– that emanates from her smile beneath one of her signature hats. I stood there struck silent for a moment, nervously. I think I might have even trembled a bit, about to meet one of the great actresses I’ve revered for years. Amidst signing autographs and Carrie bobble heads, her smile greeted me peacefully. She was gracious and welcoming. After I told her that I thought she should have won the Academy Award for her nuanced and provocative performance as the damaged Sarah Packard in Director Robert Rossen’s The Hustler, she invited me to come and sit down and chat with her for a while. I found her to be extremely kind, witty, and in particular, quite feisty and honest.

Just like her incredible life story and eloquently written autobiography Learning to Live Out Loud: A Memoir (which she proudly informed me was written completely in her own words without the aide of a ghost writer). While I’ll give some snippets of what you’ll find in Piper Laurie’s captivating autobiography, I’d rather leave you to obtain the book and take the journey with her yourself.

The book details brutally raw and honest expository remembrances of her intense journey as a child, through her early experiences as the reluctant and lovely starlet in 1950’s Hollywood to finally finding the voice that she struggled to manifest for so many years because of pathological anxiety. She tells how Universal shackled her to a contract while she slowly grew more courageous wanting to only take good scripts and shatter the image of the vapid Hollywood starlet. The book includes wonderful anecdotes about the days of great actors and directors, the experiences of working in the Hollywood system, and the friendships she established while discovering her creative voice through it all. The book deals with her exploration into love from her first unfortunate encounter with Ronald Reagan to the tumultuous life long love affair with director John Frankenheimer.

I told Piper Laurie that I understand why so many people bring up the movie Carrie at these conventions– it stands to reason that there’s a thrill in the mythos of characterizations like that. But it was when I told her how much I loved her work beyond that famous iconic role, she held my hand looked into my eyes and told me with great and stately sincerity how much that meant to her. This is a piece of time in my life I will always remember with great affection and awe.

Throughout our conversation her soft eyes look straight into mine and her effervescent smile summoned a validation in me and we were having such a real and candid conversation. We talked about her performance in Until They Sail (1957), Robert Wises superior underrated film about four sisters during the war. She was thrilled to talk about it, that it was a good film but no one ever mentions it. Piper Laurie’s performance as Delia Leslie is extraordinary filled with layers of self preservation and boldness. Piper remarked about the wonderful actresses she got to work with in the film as it also starred Jean Simmons, Joan Fontaine, and Sandra Dee. She told me it was how sweet Sandra Dee was and that it was her first film role. They had to build her up with a body suit to make her look older and more developed as her character aged. She was very appreciative to talk about the work she had done that she was proud of. [SPOILER ALERT] I told her how upset I was that they killed her off in the end of the film. In her humorous, feisty manner she responded, “They always seem to be killing me off in these things!”

Of course we talked a little about the phenomena that is her comeback role in Carrie (1976). She appreciated hearing that it was her performance as Mrs. White that was the true horror narrative of that film, and not the supernatural subplot. Even her orgasmic death scene where being crucified brought her a certain ecstasy emblematic of iconic death scenes on screen for generations.

Piper Laurie as Ruby Claire in Curtis Harrington’s Ruby (1977)

While fans were mimicking “they’re all gonna laugh at you” from Carrie (1976), I asked her about working with director Curtis Harrington and her work in his extremely atmospheric horror film Ruby (1977) where she plays the sensual torch singer Ruby Claire who ran with gangsters during prohibition and owns a drive in theater haunted by an angry ghost. She got such a kick out of me bringing that film up and told me she herself loves the film! In Ruby, Piper Laurie’s sultry performance is haunting, sexy, and the film is an off-beat gem. She said working with Harrington was a great experience and that he was wonderful to work with. She also agreed with me that Harrington has a particular sensitivity and sympathetic eye for the vulnerability in women much like Tennessee Williams. His characterizations of women in each of his films are very complex, for example Simone Signoret in Games 1967, Shelley Winters and Debby Reynolds in What’s The Matter with Helen, Julie Harris in So Awful About Alan, Ann Southern and Ruth Roman in The Killing Kind and of course Piper as Ruby Claire. “He was a gentle and lovely man during and after.”

I told her how much I loved her performance as Dolly Talbot in The Grass Harp (1995). After reading her autobiography I can see how she manifested the gentle quality of Capote’s ethereal character. In contrast, it’s ironic that a good many people remember the monstrous mother from De Palma’s Carrie –she still frightens horror fans to this day– when Piper Laurie can only think of how funny it was for her to be so mean. Who at first thought the film was supposed to be a comedy and how the director was deadly serious about her playing it utterly satanic right down to getting crucified by kitchen implements. She had to stop herself from laughing during the shooting of that scene.

To be honest, Piper Laurie as Toni Collette’s (Arden’s) mother in The Dead Girl 2006 is far more frightening than Carrie White’s mother could ever be. One is macabre and Grand Guignol, and the other too real and tragic to cause a shudder in your psyche. Having met her it’s even more of a revelation that she is an incredible actor to be able to manifest such horror when she is quite the opposite in true life.

I also mentioned her performance as Mary Highmark in Naked City Howard Running Bear is a Turtle (1963). Naked City is an Emmy Award-winning dramatic television series from the 1960s. It’s well scripted episodes, cinematography, and casting of the finest actors from stage and film was groundbreaking. And while this particular  episode is problematic in that actors who were not Native American were miscast in those roles, and they whacked a really awful black wig on Piper, her performance was the one illuminating aspect of the episode. When I reminded her of the show, she remarked, “Didn’t I dance on the table in that?” while she laughed with that distinctive voice of hers. I had to laugh as well, and tell her that she was very good in the role, but the wig was frightful. We had a good laugh about it. I joked that perhaps it was the same one they stuck on William Shatner when he played a Balinese man in the other disappointing episode from all the 4 seasons. Aside from her dancing –which was really painful to watch as she mimics a Native American dance the party goers are insensitively asking her to do an offensive impression of– her performance was poignant and powerful. She was surprised that I got that much out of it, in her words, “it didn’t age well” — the wig and the episode.

When I told her that I would be very respectful in the feature about her personal life, she joked about it saying that she would be disappointed if it wasn’t racy! That gentle beaming smile with that sassy sense of humor. I love Piper Laurie even more than I possibly could have before!

As time has moved on her talent has not only diminished she continues to recreate herself and grow even more beautiful with age.

Piper Laurie is a three-time Oscar nominee, nominated by BAFTA as well as the Academy of Motion Picture Arts and Sciences for best performance by an actress in ‘The Hustler’ with Paul Newman. Her career has spanned 7 decades. Piper Laurie earned three Oscar nominations for her portrayal as the tragic Sarah Packard in director Robert Rossen’s The Hustler (1961).

PIPER LAURIE INTERVIEW FROM 2012 TALKING ABOUT ROBERT ROSSEN’S THE HUSTLER (1961)

The character of Sarah Packard (The Hustler) is immortalized on the screen by an arresting performance by Piper Laurie (Kim Novak had turned down the role) who should have won the Oscar for Best Actress with her nuanced, and heart wrenching interpretation of the vulnerable loner and self-loathing Sarah. Director Robert Rossen has often dealt with the intricacies within the psychological landscape of his films. (The Strange Love of Martha Ivers 1946, All the King’s Men 1949, Lilith 1964, Billy Budd 1962).

Sarah Packard is a complicated woman who has a tenuous connection to the world but allows herself to fall in love with Eddie who is driven to succeed and land at the top as the greatest pool hustler. Sarah is a lost soul longing for someone who will love her. She’s receives a stipend from her wealthy father, but there is no sign of affection or acceptance from him, his is non-existent. Eddie awakens desire in her, but he cannot deliver anything but his hunger and ambition to beat Minnesota Fats and attain the title. Fast Eddie destroys everything he touches. In order to really throw herself into the role of Sarah Packard Piper Laurie actually hung out at the Greyhound terminal at night.

Piper Laurie was also nominated for her portrayal as Sarah’s mother Mrs. Norman in Children of a Lesser God (1986) and quite notably as the fanatical nightmarish mother Mrs. White in Brian De Palma’s Carrie (1976) But those who remember her best from that role may be surprised to learn that she overcame an equally turbulent childhood, including an anxiety disorder that left her unable to communicate as a child.

Once free of Universal’s iron grip she was able to take on roles in dramatic teleplays, performances in the theater and in films that would lead her to her signature artistry. Some of her most memorable performances were the stage production of The Glass Menagerie on Broadway, the original Days of Wine and Roses, in the film The Hustler for which she was nominated for the Academy Award.

After a hiatus from acting she reemerged in the iconic horror film Carrie in 1976 and had a major role in David Lynch’s cult television show Twin Peaks, Children of a Lesser God, Tim, and The Grass Harp. Piper Laurie is also skilled sculptor and director, and one of the industries most brave and talented originals.

“I’ve had a tough life sometimes, and a very rewarding one,” Piper exclusively shared with Closer Weekly in 2018. Who is “not frightened often by anything. Either I’ve been through it before, or I just know I will survive!”

Cheesecake pin up model Piper Laurie posing in hay. (Photo By Ed Clark/The LIFE Picture Collection via Getty Images)

There are so many intricate details of Piper Laurie journey that it would be impossible to sum it all up in one tribute. Besides I’d like to leave plenty of the morsels and insights that are so well written in her book. I can’t think of a better way to tribute the great actress by allowing her to tell the full story in her own words. I cannot stress again the importance of getting this amazing autobiography and delving into the weeds with this brilliant woman who has a compelling story to share with us.

Piper Laurie was born Rosetta Jacobs on January 22nd, 1932 in Detroit, Michigan. Her parents, Charlotte Sadie and Alfred Jacobs, who were of Russian Jewish and Polish Jewish descent. It wasn’t easy for her parents to raise two little girls in the middle of the Depression. After years of struggling to survive Rosy’s weary mother took her sister Sherrye,who suffered from a terrible case of Asthma, and Rosy to a Sanitarium in the Mountains called Reslocks a home for children in the northeastern part of the San Fernando Valley. Grandmother and mother dropped the two little girls off without goodbyes as Rosy felt everything go black, she had fainted. She was left their to keep her sister company for 3 years in the cold dormitory style home where there was no nurturing presence just steel handed guidance from unemotional guardians who inflicted more harm than good on the children in their care. With no contact with her mother except for a visit or two, otherwise the girl were left at the mercy of Reslocks.

“As for me, my exile had cultivated an imagination that grew like a giant sheltering flower. It was a lifetime gift.“

Though Rosy, then called Sissy returned home, the desperate love that she originally felt for her mother turned into something dark, and the years away drove a wedge between mother and daughter. “During the long years in the sanitarium I had felt like a motherless child. Three years after leaving it, my mother consume my lief. For better or worse, my life had become hers, and I didn’t know any other way to live it.”

As a child Rosy desperately loved her mother and suffered from an acute anxiety disorder that often left her in a fugue state when attentions were upon her. “People’s patient expectation caused me to panic.” The family moved to Los Angeles, California in 1938 where Piper attended Hebrew School and the shy Piper was enrolled in elocution and then acting lessons.

Piper’s passion for performing started as early as 2 years old when she heard a full orchestra play for the first time. Taken by the magnitude of the instrumentation, so moved she climbed onto her mother’s lap, frightened by the shear vibrations of it, but moved by it at the same time. Another time she saw Jane Withers perform “Out of what cloud had she come? Fantastic How did this happen? It was unfathomable to me that a child could get that kind of attention and adulation.”

Rosy’s first play at age 11 was in Guest in the House. It was her mother that suggested she be in the movies. She would devour the Technicolor musicals with Betty Grable and Alice Faye and the black and white comedies starring Charlie Chaplin and the Marx Brothers. When she was 14 she brought by her agent to Howard Hughes office as an offering but the two sat quietly, as he decided not to elect to add her to his list of conquest. Through both their silence, she began to realize her own isolation. She won a screen test with Warner Bros. took elocution lessons and eventually studied with German actress Hermine Sterler who taught her to lose her ‘tricks’ and find her sense memory to “be ‘specific’ about subtext and to be honest in every moment.”

Piper talks about going to see Judith Anderson in the production of Euripides’ Medea at the Biltmore Theater. “My eyes were opened that night and have yet to close… What moved me was her inner nakedness. I could hear her and feel her power. The whole experience of the play was life-changing for me. It was so clear-the beauty, creativity and epically the courage of the theater and the actors were what I wanted. My dreams were now being transformed into another vision, completely my own.”

She studied acting with Benno and Betomi Schnider at the Actor’s Lab “My concentration and imagination out of necessity and opportunity had developed so fully during my childhood. It was one of the gifts from those years.” She took classes with these great teachers for almost 3 years. Tony Curtis was the newest member of the acting class. He was under contract at Universal but had only done some bit parts. It was there she met classmate and friend Bob Richards. He directed her in a class in the Tennessee William’s one act play This Property Condemned. The play seem so “organic’ to her spirit.

She was offered a test option at Warner Bros after they saw her performance in the Schneider’s class. It was 1949 when they were ending all their contracts with their big stars. Shortly after she turned 17 her agent Herb Brenner showed the test to Universal. She was called in for an interview and did a performance from This Property Condemned. She came back and did a second performance in front of a crowded class of new actors. The handsome Richard Long was one of them who said “That’s the best piece of work I’ve ever seen in this room”

After, she signed a long term contract with Universal Studios and changed her name to Piper Laurie. It was her first manager Ted Raden who came up with the name. Her breakout role was in Louise with Ronald Reagan. With Universal, she made over 20 films starring opposite actors like Rock Hudson, Tyrone Power, and Tony Curtis. To build up mystique around the young actress, Universal Studios claimed she bathed in milk and ate flower petals. But failing to get serious roles, she broke her contract with Universal and moved to New York City. Two years there working in theatre and live television turned her career around. During this time she appeared in live television performances of Twelfth Night, Days of Wine and Roses, and Winterset, both presented by Playhouse 90.

The Prince Who Was a Thief (1951) Tony Curtis, Everette Sloane and Piper Laurie

Piper Laurie in The Mississippi Gambler

American actor Rory Calhoun (1922 – 1999) with actresses Piper Laurie (right) and Mamie Van Doren (left) in a publicity still for the 1955 comedy romance ‘Ain’t Misbehavin”. (Photo by Keystone/Hulton Archive/Getty Images)

Universal thrust their brightest new star into a regime with stylists and chaperones and cast in leading roles, sent on dates with some of the most handsome Hollywood actors for publicity. Her popularity and fresh allure attracted a myriad of fans and and men like Ronald Reagan Howard Hughes, Paul Newman, Tony Curtis and Roddy MacDowall including dozens of significant directors. Piper Laurie’s name appeared on movie marquees across America starring in hit Hollywood films of the 1950s like The Prince Who Was s a Thief, The Mississippi Gambler and Ain’t Misbehavin’ (1955).

She started to feel her confidence growing inside. Kirk Douglas was preparing to produce a movie and was looking for a young girl to co-star opposite him. Piper would be under contract with Kirk Douglas. Being an inexperience seventeen year old she was advised to wait for Universal. Perhaps this was a missed opportunity. But Piper Laurie says she regrets very little in her life, even her mistakes.

She was locked inside a prison away from her creativity, not realizing that Universal made low budget B westerns and programmers. She was given gems of advice like this beauty from the judge who witnessed her signing her contract. “Don’t ever let men know that you are smart.” She was thrown into a ‘boot camp’ of training to become their latest ingenue. Changing her clothes, hairstyles and makeup.

From the young dreams of a silent little girl Piper Laurie struggled to break free of the oppressive culture of the studio system with it’s inherent objectification of their female stars and holding them back from more substantive roles. She was uncomfortable and embarrassed by the shallowness of the quality of the scripts she was given and finally The courageous actress found her voice and sought out the artistic vision she had longed for since she was a child.

Her first picture Louisa, the entire cast embraced Piper warmly it was a charming part to play Spring Byington’s granddaughter who acted more like a teenager than she did. Edmund Gwenn would visit her in her dressing room to sing little songs with her. Charles Coburn would sit out on the soundstage puffing on his cigars and coaching Piper on her role.

About the film Louisa… “I couldn’t find any reality in what my character did in the script or in the words she used. Every line and moment for the girl seemed like a cartoon. It seemed to me that a real girl would be amused and appreciate her grandmother’s behavior. Perhaps in a more clearly stylized screenplay, I could have found a way to make this caricature of a teenager live. I kept trying to think of ways to make her real for myself, but it was a constant struggle on the set.”

The relentless publicity campaign. Fred Banker was the publicity man for Louisa. He had this idea based on one of the scenes in the film where Edmund Gwenn prepares a salad for the family. He tosses marigold petals from a centerpiece on the table into the salad. When Fred studied the scene he got the flash and called the wire services. “Universal’s new contract player-Piper Laurie-eats nothing but flowers,” and arranged exclusive interviews with the flower eating girl. She had to play along. At the commissary there she sat eating a meal that was an assortment of edible flowers prepared artistically on a plate. Piper said it was more interesting than her role in the movie! “Oh yes, they’re really delicious.” Ultimately she would go home dejected about pushing this lie every day. “My expectations to make art were beginning to crumble.”

Tony Curtis and Piper Laurie in No Room for the Groom (1952)

In the 1950s universal paired newcomers Piper Laurie and Tony Curtis old classmates from Benno and Bertomis acting classes they were in four movies together. Make Room For the Groom, The Prince Who Was a Thief and Johnny Dark 1954. Curtis had been very unkind publicly about his co-stars performances saying that he was the real draw. This was very hurtful to Piper Laurie and the two actors never became friends after that. 1950 Louisa is a delightful romantic comedy starring Spring Byington in the lead role as the Grandmother Louisa Norton who allows herself to be wooed by two gentlemen Edmund Gwenn and Charles Coburn. In Piper Laurie’s first role she plays Louisa’s granddaughter Cathy with a feisty spirit bringing plucky charm to her film debut.

American actress Piper Laurie, circa 1958. (Photo by Frederic Lewis/Archive Photos/Getty Images)

1950 The Milkman, 1951 Francis Goes to the Races as Frances Travers, 1951 The Prince Who Was a Thief as Tina, 1952 No Room for the Groom as Lee Kingshead, 1952 Has Anybody Seen My Gal as Millicent Blaisdell, 1952 Son of Ali Baba as Princess Azura of Fez / Kiki, 1953 The Golden Blade as Khairuzan- she has a wonderful chemistry with Rock Hudson, the two are quite funny together, it showcases Piper Laurie’s comedic sensibilities and IMO the affinity between Hudson and Laurie is far more cohesive than all her pairings with Tony Curtis together, Dawn at Socorro (1954) as Rannah Hayes, Johnny Dark (1954) As Liz Fielding, 1954 Dangerous Mission as Louise Graham. Again the chemistry between Rory Calhoun and Victor Mature is tenable in both Dangerous Mission and the surprising good western Dawn at Socorro and the romantic comedy Ain’t Misbehavin’. Both male stars make a great pairing with Piper Laurie.

Rock Hudson and Piper Laurie in Has Anybody Seen My Gal

Piper Laurie and Rory Calhoun in Dawn at Socorro (1954)

Victor Mature and Piper Laurie in Dangerous Mission (1954)

Piper Laurie in The Golden Blade (1953) with Rock Hudson

In 1953 The Mississippi Gambler Piper Laurie plays the beautiful Angelique ‘Leia’ Dureau She possesses have a great vitality a driving hunger to live life. In 1854, Mississippi riverboat honest card gambler Mark Fallon (Tyrone Power) wins young Laurent Dureau’s (John Baer) diamond necklace family heirloom. Fallon pairs up with Kansas John Polly (John McIntire) who go on a mission to clean up gambling and push an honest game on the river boats. At first he hires Angelique whose brother loses her diamond necklace in a poker game but she cannot deny the fiery chemistry between them.

Angelique: “May I ask you one question before I leave you abruptly , knowing how I feel about you why did you humiliate yourself by asking me to dance?”
Mark: “Oh a matter of courtesy If a man is going to ask a woman to humiliate herself then he should be willing to accept it first.”
Angelique: “I don’t understand”
Mark: “You and I are in love with each other. We always will be. We’ve known it since that first moment we met in St. Louis. I want you and your happiness. But you’re not ready for marriage yet and I won’t be until you can truly be happy with a man.

The Mississippi Gambler ended Tyrone Power’s marriage to Linda Christian. The film was originally a vehicle to pair the couple, but Universal Pictures pushed for their starlet Piper Laurie to be cast in the role as Angelique.

Piper Laurie plays a good time gal who marries the wealthy Rory Calhoun. This puts high society onlookers enraged that he should marry a showgirl. She should be a lady of quality. So she tries to stop causing scandals for her wonderful husband and get some culture. Piper Laurie is witty and does a great job fending off the old hens set on putting her down. Rowdy Club  girl including Mamie Van Doren crashes high society when wealthy older man falls for her (1955) Ain’t Misbehavin‘ as Sarah Bernhardt Hatfield. Piper was very proud of her singing and dancing. Her character shined and Piper was a natural at being very humorous, and graceful with the quick comebacks.

I’ve seen people ask her about Tony Curtis, and Rock Hudson but I think that her chemistry with Rory Calhoun is romantic sweet, sharp witty and a sexy delight to watch. They were able to shift gears in Dawn in Socorro and bring out a more serious deeper emotional connection in that picture. I for one enjoy seeing them act together. in Ain’t Misbehavin’ (1955). Rory Calhoun plays Kenneth Post who loves Sarah for who she is, but she tries to fit into the role of high society girl. Painting to understand the old masters etc. Reginald Gardiner as Anatole Piermont Rogers is hilarious. And Jack Carson is obsessed with protecting his friend from bad publicity is at his polished gruff best for this romantic comedy.

Kenneth Post- “Have you ever been to a psychiatrist?”
Sarah- “Just once, he gave me fifty dollars not to come back.”

During this time Piper Laurie met director John Frankenheimer in Los Angeles. She was dating Gene Nelson they had dinner with John and his wife Carolyn. He was a new director at that point, but he was up and coming right out of New York. She was told by Millie Gussie to go and observe John in action. She sneaked into a booth and watched John Frankenheimer direct with an “incredible display of an artist’s intelligence, combined with the speed and power of a tornado. Watching him was like seeing a thunder and lighting storm conducted by a musician.” He winds up directing her in The Ninth Day for Playhouse 90. It was one of Pipers favorite live shows. Written by Dorothy and Howard Baker, with a beautiful script, ‘lots of humor and humanity’ The cast was Mary Astor, James Dunn, Victor Jory, John Kerr, Elizabeth Patterson and Nehemiah Persoff. This was the first time John and Piper worked together.

In 1955 she was in Robert Montgomery Presents (TV Series)
 Stacey Spender
- Quality Town (1955).

All the exciting dramatic performances were happening on live television now. She then got a script for Robert Montgomery Presents it was an hour long dramatic broadcast from New York. It was a great script called Quality Town This would be a substantial and challenging role for Piper Laurie. Rehearsing for the live television show was a lot like preparing for a play.

Joseph Mankiewicz had seen the performance and deemed it some of the best acting he had seen on television. The two had a little memorable tryst back in those early days of Piper’s budding dramatic television career. Scripts for live television were coming in.

(1955) The Best of Broadway (TV Series) 
Billie Moore- Broadway (1955) … Billie Moore, 1956 The Ninth Day (TV Movie), 1956 Kelly and Me as Mina Van Runkel, (1956) The Road that Led Afar G.E. Theater, (1956) Front Row Center (TV Series) as Judy Jones, (1957-1958) Playhouse 90 (TV Series)
 Kirsten Arnesen Clay / Ruth McAdam – Days of Wine and Roses (1958) … Kirsten Arnesen Clay – The Ninth Day (1957) … Ruth McAdam, (1957) The Seven Lively Arts (TV Series)- The Changing Ways of Love (1957) 
(1957) Studio One in Hollywood (TV Series) as Ruth Cornelius- The Deaf Heart (1957). Director Robert Wise’s film (1957) Until They Sail
 as Delia Leslie Friskett, (1959) Winterset (TV Movie) as Miriamne, (1959) Westinghouse Desilu Playhouse (TV Series) as Eileen Gorman- The Innocent Assassin. (1959).

Piper Laurie goes to New York. “We can’t afford to have a Piper Laurie and what she stands for in the play.” Humiliated she flew back to L.A.

She appeared in Studio One’s The Deaf Heart (1957) directed by Sidney Lumet, a poignantly beautiful one hour play centered around psychosomatic illness written by Mayo Simon about a woman who is the sole caregiver in a family of non hearing people. The play co-starred Vivian Nathan, William Shatner, Richard Shepard the great Ruth White and Fritz Weaver.

The next show directed once again by Sidney Lumet was challenging in that Piper Laurie would be playing three different roles in one play. The show was called —The Changing Way of Love. The first was Awake and Sing! By Clifford Odets co-starring Jason Robards Jr. The next vignette would co-star Rip Torn in F. Scott Fitzgerald’s “Winter Dreams.” The third act was called Three Empty Rooms by Reginald Rose co-starring Dick York.

By that time Piper was working on simultaneous projects including her role as Viola in Maurice Evan’s production of Shakespeare’s Twelfth Night.

With all of Piper’s extraordinary anxiety around performing “Sometimes my anxiety was eased when I was bold. I found my greatest strength and power when things were tough.”

“I had finally shed my life as a harem cutie and didn’t think twice when I expressed my outrage for the love of art.”

During the late 50s and early 60s Piper worked on Studio One in Hollywood’s The Deaf Heart 1957, The Seven Lively Arts’ The Changing Ways of Love (1957), Playhouse 90 The Ninth Day 1957 and Days of Wine and Roses (1958), Westinghouse Desilu Playhouse The Innocent Assassin (1959), , Play of the Week’s Legend of Lovers (1960), as Phoebe Durkin in G.E. Theater’s The Road That Led Afar (1956), Caesar and Cleopatra (1959), A Musket for Jessica (1961), Westinghouse Presents Come Again to Carthage, The United Stated Steel Hour Mission of Fear (1963), You Can’t Have Everything (1960).

Actress Piper Laurie acting in a scene from Caesar and Cleopatra with actor Maurice Evans. (Photo by Allan Grant/The LIFE Picture Collection via Getty Images)

Despite her growing reputation for being difficult she was still receiving offers for challenging roles. Director Mitch Leisen offered her the part in George Bernard Shaw’s Caesar and Cleopatra for G.E. Theater. She had another encounter with Maurice Evans who had referred to Piper as a pariah the year before. Evans didn’t remember the debacle with Twelfth Night and was fine working with Piper again. “He was like a charming kitten.” Piper was gracious and made the effort to be open to working opposite him for a 30 minute straight run through.

After being complacent at Universal Piper started to swing out at anything that didn’t feel right to her, even if it was not seemingly important, it was the principal. She regrets having given director Ralph Nelson such a hard time on his Play of the Week show called Legend of Lovers Piper playing Eurydice starring Robert Loggia and Sam Jaffe. Piper Laurie was now empowered to speak her mind. She might have been earning a reputation in the industry as a difficult actress to work with but she had years of being compliant to make up for. Universal had unleashed a woman whose voice would not be silence. As Piper says in the title of her brutally honest autobiography, to speak out loud.

Frustrated, wanting to meet directors and producers who would take her seriously. Their perceptions came from the publicity, never even having seen her films. Finally her agent gave her a script, one he had to steal because the producers just thought she was a ‘glamorous bimbo’ It was a drama for G.E. Theater. The Road That Led Afar (1956) written by Hagar Wilde. And adapted from an original story by Lula Vollmer. She had to keep pushing her agent to fight with the producer who did not want to even consider her for the part of a young rural girl. She showed up for the reading wearing old jeans and no makeup. That night the producers called and said they were mistaken about her and she got the part. The show was directed by Herschel Daugherty. She co-starred with Dan Duryea who would play the older man who takes her for his bride and to live with his motherless children. The preacher is played by Edgar Buchanan who marries them. The role would be an entirely different role than anything from her past career, it would be a break from being her past. She felt blessed to have this role. She received her first Emmy nomination as Best Actress for The Road that Led Afar.

Then came a version of F. Scott Fitzgerald’s “Winter Dreams” (1956) directed by Ralph Nelson and co-starring Anthony Perkins filmed for CBS studios in Los Angeles. She was playing real people not contrived shallow characters.

Participating in the USO in Korea opened her heart and her eyes. “My empty person was stating to be filled. The Korean trip had opened my heart and my eyes. But when I go home and returned to the business of show business, it seemed I was wasting my life. The efforts made by my agent to get me some freedom to work at other studios, or on television or on the stage, were rejected. Even my requests for time off to work in Betomi’s class were denied. Universal kept refusing to loan Piper out to other studios though the press was unkind to her, she felt like she had ‘signed her life away’

Upon finishing Ain’t Misbehaving Piper Laurie was sent a new script for a low budget Western starring Audie Murphy. This was the last straw! She felt so unappreciated at this point that she had finally hit the wall. She had endured enough. She told her agent Mike Zimring that she’d rather go to prison than work for Universal any further. Even though the studio offered her more money she wanted out. Universal finally released her from the contract but imposed a penalty of $25,000 per movie, and she’d have to do one a year for three years. But now how was she going to put the image that Universal imposed on her, behind her and recreate her public identity.

Piper was asked to do a screen-test for The Goddess (1958) but she turned down the part it wasn’t the right timing for her as she was now pregnant, of course the part went to the inimitable Kim Stanley.

STAGE WORK:

Pat Hingle, Maureen Stapleton, George Grizzard and Piper Laurie in The Glass Menagerie

After that Piper Laurie became extremely selective about her work. After arriving in New York Piper’s first experience in Theater was two, one act plays written by Molly Kazan called Rosemary and The Alligators (1960) at the York Playhouse . Then she did The Glass Menagerie (1965). Tennessee Williams considered Piper to be one of the greatest actresses of all time. Piper was accepted into Sanford Meisner’s Neighborhood Playhouse. She appeared in The Destiny of Me at The Lucille Lortel Theatre (1992), Biography at Stage 73 (1980), Mornings at Seven (2002) and Zero Hour 2009/2010.

CLASSIC FILM & TV CAFE 2014 by Rick

Café:  You starred in several live TV dramas like the Playhouse 90 production of The Days of Wine and Roses with Cliff Robertson. How did live television compare to being on the stage?

PL:  It’s similar, but live television is much more extreme. It’s really walking on the high wire. I don’t think people today understand that when you did the show, not only could you not do it again, but it was going out on the air at that moment to everyone in the country. And whatever mistakes you made, that was it. You would live with it for the rest of your career. It was really chancy. It was a daredevil act. I was terrified and forced myself to do it, because I thought I should and thought I could. And it was very rewarding.

Frankenheimer was the ideal director for her new found sensibilities, brutally honest but sensitive and utmost he was imaginative. He then directed her in The Days of Wine and Roses (1958).

“On broadcast day we had a late call so I drove several hours away, through the rolling hills of the Valley, almost to the ocean. I was trying to deal with the terror that threatened to overwhelm me. I drove so far that I could not go farther without being late for the dress rehearsal. I was tempted to keep driving and miss the whole thing, this thing we’d been rehearsing and dreaming about for so many weeks. I looked around at the hills, breathless at the beauty of the world, and prayed for strength and guidance that my work could be part of it. The broadcast was that night. The countdown to air for a live show never gets easier. This was the time actors clung to whatever spiritual belief they had. I looked at Cliff across the room, in position for the first scene, and, with all the intensity I possessed, sent my energy across to him and asked him silently to play with me And I answered. The miracles of this show: Cliff opened himself so beautifully to me and on air we played together for the first time.”

New York Times review by Jack Gould-

“It was brilliant and compelling work…Miss Laurie’s performance was enough to make the flesh crawl, yet it always elicited deep sympathy. Her interpretation of the young wife just a shade this side of delirium tremens–the flighty dancing around the room, her weakness of character and moments of anxiety and her moments of charm when she was sober–was a superlative accomplishment. Miss Laurie is moving into the forefront of our most gifted young actresses.”

Piper Laurie was cast in stage play Handful of Fire (1958) opposite good friend Roddy MacDowall produced by Bob Lewis. Piper was eventually replaced which was devastating to her. Her good friend Roddy came over to comfort her. John Frankenheimer had worked well with Piper on The Ninth Day, he asked her to do Days of Wine and Roses (1958). She had never played a drunk scene in all of her acting classes. She visited AA meetings to research the mindset of being an alcoholic. Her performance in Frankenheimer’s teleplay is nothing short of raw and astounding.

Emmy TV Legends interview Piper Laurie about Days of Wine and Roses

When John’s marriage to Carolyn was over, he asked Rosie (Piper) to marry him. “Rosie I want to marry you! I’ve been in love with you for such a long time. I want us to be together.” Piper-“Slowly at first, and then completely, John became the love of my life.”

Though Montgomery Clift was one of the actors she would have most liked to perform with she turned down the film Miss Lonelyhearts filmed as Lonelyhearts (1958) a story by Nathaniel West. Monty Clift was friends with Roddy MacDowall whom Piper also knew at the time. Monty sought out Piper for the role even coming to her home. He tried to convince her to take the romantic lead opposite him in the movie. Piper wasn’t interested in the script, and Monty agreed but he was counting on both their performances to lift the script and elevate it to a high level. The film was considered a failure, she does often wonder if it was a missed opportunity. But there was no more compromising for Piper Laurie.

Continue reading “Piper Laurie: The Girl Who Ate Flowers”

The Little Foxes that Spoil the Vines:

THE LITTLE FOXES (1941)

At the turn of the century the ruthless Hubbard clan has spread their greed and opportunistic fervor all throughout the South. Bette Davis commands the screen once again playing the hard-hearted Matriarch Regina who keeps an iron hold on her lovely daughter Alexandra (Teresa Wright). Regina is separated from her husband Horace (Herbert Marshall) who suffers from a serious heart ailment and is living in a sanitarium being treated by doctors in Baltimore. Regina summons her husband after her two conniving brothers Charles Dingle as Ben Hubbard and Carl Benton Reid as Oscar Hubbard conspire to make a killing by forging a lucrative merger with a Chicago cotton magnet. In order to come up with their part of the investment they must rely on Horace’s part of the money. Horace has been estranged from the family and his bitter wife, and has no intention of releasing any part of his money to the cunning Hubbard siblings.

Oscar is married to Birdie whom he only married for her money and the her family’s plantation which once he owned both begins to abuse her psychologically and verbally to the point that she takes to talking incessantly to anyone who will listen and quietly drinking away her sadness. Trapped in a loveless marriage, and receiving the brunt of such distasteful ire by her husband. She is like a sweet flower that has been trampled upon by the brutal ugly want of greed. Birdie is brought to life by one of the great character actors I can imagine, the wonderful Patricia Collinge who manages to make her pain seem so palpable it’s almost unbearable to watch.

Birdie doesn’t even like her own son with Oscar who is already showing signs of the father’s avarice. Leo is played by another favorite of mine, the versatile Dan Duryea, who manages to play a smarmy noodlehead. One of the lighter characters of the film are Jessie Grayson as the unflappable and sagacious Addie the maid who is the true person who keeps the household going smoothly. Richard Carlson plays David Hewitt who encourages Zanda to break away from under her mother’s thumb. The music by Max Steiner has his signature emotional washes of grand mood and the cinematographer Gregg Toland creates a claustrophobic chamber piece for the incredible ensemble cast to work their magic.

Here is one of the most powerfully consequential scenes of the film:

The beautiful heart that pulses within the rotten venomous soul of this old Southern Hubbard family, are those who in this one scene sum up all the love and compassion that director William Wyler presents to us with the help of Lillian Hellman.

This is your EverLovin’ Joey saying The Last Drive In has Tender Grapes!

Quote of the Day! (1952) if you want to play with matches that’s your business

SCANDAL SHEET (1952)

Directed by Phil Karlson with a screenplay by Ted Sherdeman, Eugene Ling and James Poe. Based on the novel by Sam Fuller. With a score by the prolific George Dunning and gritty cinematography by Burnett Guffey (All the Kings Men 1949, From Here to Eternity 1953, Birdman of Alcatraz 1962, Bonnie and Clyde 1967).

Broderick Crawford is the new editor Mark Chapman of a New York newspaper who manages to grow the circulation of the ailing paper. But he sacrifices morality when it comes to increasing the range of his audience. He winds up turning the newspaper into a trashy tabloid rag, “pandering to the passions of the base moron.” John Derek plays top reporter Steve McCleary and Harry Morgan is wonderful as a wise cracking photographer Biddle, both who are chasing down a sensational front page grabber about a lurid murder. At the center is a Lonely Hearts Club dance sponsored by Chapman’s wife (Rosemary DeCamp) whom he deserted years ago. When Charlotte Grant (DeCamp) threatens to cause Chapman trouble in a fit of rage he accidentally kills her. He stages her death to look like she slipped in the bathtub, hitting her head on the faucet. McCleary senses something isn’t right and convinces the cops that it’s a case of murder. In order to avoid getting caught Chapman must plan to kill again to cover his tracks, so he enlists McCleary hoping to divert his attentions away from the truth. The film also co-stars Donna Reed as McCleary’s more traditional colleague, Henry O’Neill, and a cast of great character actors.

Biddle: “You know that wasn’t a bad looking dame. Too bad the guy used an axe on her head. Spoiled some pretty pictures for me.”

Steve McCleary “Very rare items. Pictures of a dame with her mouth shut.”

CLASH BY NIGHT (1952)

Directed by Fritz Lang with a screenplay by Alfred Hayes based on the play by Clifford Odet. The film stars Barbara Stanwyck as Mae Doyle D’Amato, Paul Douglas as Jerry D’Amato Robert Ryan as the volcanic Earl Pfeiffer, Marilyn Monroe as Peggy, J. Carrol Naish as Uncle Vince.

Clash By Night is a moody piece of noir with Barbara Stanwyck playing the world weary and cynical Mae Doyle, who returns home to her fishing community after her disillusionment living in the city. “Home is where you come when you run out of places.” Fisherman Paul Douglas is the kindhearted lug who winds up falling for Mae though he knows she’s filled with a fiery discontentment. Once Jerry introduces Mae to his friend Earl, an alienated woman-hater, the sexual tension develops. Earl spends his time getting drunk and obsessing about his stripper wife. At first Mae feels an instant aversion toward the gruff misogynist. Escaping the gravitational pull by the sexual attraction she feels with the dangerous Earl pushes her closer to marrying the clueless Jerry who is confounded by his sudden good fortune. Unfortunately this does not keep Earl away from Mae as he pursues her, who is by now disenchanted with playing the dutiful housewife and mother. Stanwyck is powerful as the unfaithful but guilt-ridden Mae. The film co-stars Marilyn Monroe as Peggy who idolizes Mae’s independent streak. J. Carrol Naish plays Paul Douglas’ no good Uncle Vince who mooches off his nephew. More of a dark Soap Opera than noir for it’s lack of crime, the film’s moodiness and gloomy edginess holds for me a place for Clash By Night in the noir cannon.

Mae Doyle D’Amato: “What do you want,Joe, my life’s history? Here is is in four words: Big ideas, small results.”

Peggy: “Weren’t you ever in love, Mae?”

Mae Doyle: “Once.”

Peggy: “Where?”

Mae Doyle: “Saint Paul. He was big too, like Jerry. I’ll say one thing. He knew how to handle women.”

Peggy: “Is that what you want from a man?”

Mae Doyle: “Confidence! I want a man to give me confidence. Somebody to fight off the blizzards and floods! Somebody to beat off the world when it tries to swallow you up! Me and my ideas.”

DON’T BOTHER TO KNOCK (1952)

Directed by British horror maestro Roy Ward Baker he brings a taut psychological spring waiting to be uncoiled. With a screen play by Daniel Taradash based on the novel by Charlotte Armstrong. Cinematography by Lucien Ballard (The Killing 1956, The Wild Bunch 1969, The Getaway 1972) who creates closed in frames and a sense of paranoia and claustrophobic dread.

Marilyn Monroe is quite revelatory as Nell Forbes a very disturbed young woman who lives in a fantasy world and is a dangerous psychotic staying in a New York City hotel. Elisha Cook Jr. is the hotel elevator operator who is keeping an eye on his mental patient sister and tries to keep her out of trouble. He recommends that she babysit Jim Backus and Lurene Tuttle’s daughter. This turns out to be a very very bad idea!

In the mean time Richard Widmark is Jed Towers the hard-hearted airline pilot who has just been dumped by his torch singer girlfriend (Anne Bancroft). Towers sees Nell through the window and gets the idea that the two can get together and share a drink. When Nell starts having delusions that Jed is her dead boyfriend, he realizes that something is wrong with this beautiful waif.

Jed Towers: “Are you the girl in 809?”

Nell Forbes: “Why, yes. Who’s this?”

Jed Towers: “I’m the guy in 821. Across the court. Can I ask you a question?”

Nell Forbes: “I don’t know. I suppose so. Are you sure you want me?”

Jed Towers: “Yeah. You’re the one I want, alright. Are you doing anything you couldn’t be doing better with somebody else?”

Nell Forbes: “I guess I’ll have to hang up!”

Jed Towers: “Why? You cant get hurt on the telephone.”

Nell Forbes: “Who are you?”

Jed Towers: “I told you. The man across the way. A lonely soul”

Nell Forbes: “You sound peculiar.”

Jed Towers: “I’m not peculiar. I’m just frustrated. I got a bottle of rye. And as I was saying, what are you doing?”

 

Jed Towers: “You and your wife fight, argue all the time?”

Joe the Bartender: “Some of the time she sleeps.”

THE NARROW MARGIN (1952)

Directed by Richard Fleischer with a screenplay by Earl Felton from a story by Martin Goldsmith and Jack Leonard. With the polished, compelling and claustrophobic cinematography by George E. Diskant. (They Live By Night 1948, On Dangerous Ground 1951).

Charles McGraw plays the tough Det. Sgt. Walter Brown who is assigned to protect a mobster’s widow Marie Windsor as Mrs. Frankie Neall, who is traveling by train from Chicago to Los Angeles, while the vicious assassins try with fervor to take Frankie Neall’s wife out of commission so she can’t testify. Aboard the train is Jacqueline White as Ann Sinclair who Detective Brown fears will be mistaken for mobster’s widow.

The sarcastic Windsor and rough edged McGraw possess there usual grit and there’s a memorable scene where the corpulent actor Paul Maxey is blocking the train’s passageway he comments amiably that “Nobody loves a fat man except his grocer and his tailor.”

Det Sgt Gus Forbes: “What kind of a dish?”

Det Sgt Walter Brown: “Sixty-cent special. Cheap. Flashy. Strictly poison under the gravy.”

Walter Brown: “Sister, I’ve known some pretty hard cases in my time; you make ’em all look like putty. You’re not talking about a sack of gumdrops that’s gonna be smashed – you’re talking about a dame’s life! You may think it’s a funny idea for a woman with a kid to stop a bullet for you, only I’m not laughing!”

Mrs Neall: “Where do you get off, being so superior? Why shouldn’t I take advantage of her – I want to live! If you had to step on someone to get something you wanted real bad, would you think twice about it?”

Walter Brown: “Shut up!”

Mrs Neall:  “In a pig’s eye you would! You’re no different from me.”

Walter Brown: “Shut up!”

Mrs Neall: “Not till I tell you something, you cheap badge-pusher! When we started on this safari, you made it plenty clear I was just a job, and no joy in it, remember?”

Walter Brown: “Yeah, and it still goes, double!”

Mrs Neall: “Okay, keep it that way. I don’t care whether you dreamed up this gag or not; you’re going right along with it, so don’t go soft on me. And once you handed out a line about poor Forbes getting killed, ’cause it was his duty. Well, it’s your duty too! Even if this dame gets murdered.”

Walter Brown: “You make me sick to my stomach.”

Mrs Neall: “Well, use your own sink. And let me know when the target practice starts! “

This is your EverLovin’ Joey, just sayin’ in a noir world– if you play with matches you’re liable to get burned!

Quote of the Day! Holiday Affair (1949)

HOLIDAY AFFAIR (1949)

Connie“It’s an awfully little train to carry enough dynamite to change a person’s life.”

Carl ” Anything can change a life that’s ready to be changed.”

Holiday Affair is a delightful romantic comedy with great dialogue and more than just a few humorous scenes to make you feel good this holiday season. directed by Don Hartman, with a screenplay by Isobel Lennert based on the story Christmas Gift by John D. Weaver.

It’s a few days before Christmas. Janet Leigh plays Connie Ennis, a secret shopper who gets the philosophical and straight talking Steve Mason (Robert Mitchum) fired when he neglects to turn her in after she tries to return the train set she purchases for her employer. Connie is a single mom, who is raising a wonderful little boy named Timmy (Gordon Gebert) but living in the shadows of her dead husband who was killed in the war. She is being romanced by Carl Davis (Wendell Corey) but once Steve enters Connie’s life, her whole world is thrown upside down.

This is your EverLovin Joey wishing you a wonderful Holiday Affair!

From the Vault: Christmas Holiday (1944) “You can let go now Abigail”

Love…was her crime! Love…was her punishment!

CHRISTMAS HOLIDAY is Based on the screenplay by W. Somerset Maugham and the novel by Herman J. Mankiewicz and directed by the underrated Robert Siodmak who directed two of the most powerful film noirs of the 1940s- Phantom Lady 1944, The Strange Affair of Uncle Harry 1945, The Spiral Staircase 1946, The Dark Mirror 1946 and The Killers 1946.

Starring Deanna Durbin, Gene Kelly, Dean Harens, Gail Sondergaard who brings that signature  artfully subdued menace (The Letter 1940, The Spider Woman Strikes Back 1946) , Gladys George and Richard Whorf.

It’s Christmas Eve and Army Lt. Charles Mason’s (Dean Harens) flight to San Francisco is forced to land in New Orleans. He is forced to spend a lonely Christmas there after receiving a telegram from his fiancée Mona that she has married another guy. Lt. Mason is heartbroken after being dumped and stranded by the bad weather. He winds up at a nightclub/brothel run by the amiable Valerie De Merode (Gladys George) where he meets sultry singer Deanna Durbin, named Jackie Lamont. Richard Whorf plays reporter Simon Fenimore who first introduces Jackie to Lt. Mason. Simon tells Jackie- “Isn’t that the way things always seem to happen. You’re getting along alight and suddenly boom! you have to make a forced landing.”

Jackie asks Lt. Mason if he’ll take her to midnight Mass, where she begins to break down. Jackie begins to to relate her story told in flashback of how she wound up feeling so despondent. Her real name is Abigail Martin/Mannette from Vermont. She tells him how she fell in love and married Robert Mannette a charming but troubled gambler with an Oedipal complex who is ruled over by his domineering and overly protective mother (Gail Sondergaard).

Jackie/Abigail tells Lt. Mason “He was so gay, so charming, so different.”

The newlyweds spend six months in bliss until Robert’s weakness and violent tendencies lead him to be arrested for the murder of his bookie.

Overnight their life changes. Robert comes home with an unexplained wad of cash and blood on his trousers, which his mother quickly burns in the incinerator out back, telling Abigail it’s her old dress she’s tired of. Lying to protect her son, all the time knowing he’s done something horrible, she even sews the cash inside the seams of the curtains. But Abigail burns the money before the police come with their search warrant.

Abigail calmly- “I burnt the money mother.” Mrs. Mannette-“Abigail I swear to you by all my love for him and for you that Robert did not kill Teddy Jordan.” Abigail-“You know, and I know mother… that he did.” Mrs. Mannette turns on Abigail maniacally –“Are you going to turn against him too. From the day you married him, I think now from the day you met him, you closed your eyes to what it was all about, to what he was all about. Selfishly just so you could be happy. He needed your strength that’s why I let him marry you. And all you gave him back was his own weakness!” 

“I love Robert” Mrs. Mannette- “No you don’t. It’s I who love him and keep on loving him.”

The film has a creeping sinister Siodmak atmosphere with it’s dark spaces and psychological narrative. Sondergaard hovers over the house like a lurking spider knitting a web of preservation for her son.

In a telling scene she gives her blessing to Abigail to marry her son thinking that she will be his strength and keep him out of trouble and make him, “stronger”.

Mrs. Mannette-“Just one last thing. I want to be completely honest with you. There are certain traits in Robert that you may not… they’re nothing really evil. Believe me. He just sometimes forgets his sense of responsibility, that’s all. And that’s why I’m so glad that you’re the kind of person you are. Between us, we will make him strong.”

As the the story unwinds, and Robert winds up in prison doing a life sentence, Mrs. Mannette blames her daughter in law for making Robert weak. Mrs. Mannette, “You killed him!!!”

Abigail feeling guilty about failing her husband, throws herself into self imposed exile by taking up at the bordello filled with self hatred and longing for Robert.

Jackie/Abigail tells Lt. Mason as he walks up and down the hotel room, thinking about Mona in San Fransisco,- “What is there about pacing back and forth like a caged lion that makes a man feel better? I tried it myself once didn’t do me any good.”

Once Jackie/Abigail finishes her story to Lt. Mason, the two part wishing each other luck. But the story does not end there. The beauty of the film is partly the lead actors being cast as doomed lovers both doing a fabulous job at playing against type. The music throughout the film is wonderful, in particular Durbin’s moving rendition of Irving Berlin’s Always, and the simply beautiful song I’ll Remember April performed as background music by the nightclub band.

Here it is December 17th and a perfect time to publish a tribute to this taut little noir gem that was originally performed on “Lux Radio Theater” broadcast a 60 minute radio adaptation of the movie on September 17, 1945 with Loretta Young as Jackie/Abigail, William Holden as Lt. Mason, and David Bruce as Robert Manette.

Screenwriter Herman J. Mankiewicz changed the setting from a Paris brothel to a nightclub in New Orleans and the main character was changed from a prostitute to a more ambiguous nightclub singer and hostess, when adapting the 1939 novel of the same name by W. Somerset Maugham, due to the Hays Code.

This is your everlovin’ Joey saying have a lovely!, flaming!, brilliant!, dramatic! Christmas Holiday!

Enduring Grace: Barbara Rush

Tribute to the great Barbara Rush — saraismyname

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

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

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

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

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

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

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

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

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

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

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

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

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

Barbara Rush in When Worlds Collide (1951)

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

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

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

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

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

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

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

Barbara Rush in The Black Shield of Falworth (1955)

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

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

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

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

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

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

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

Bigger Than Life (1956)

Oh, Men! Oh, Women! (1957)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

BARBARA RUSH ACTRESS 01 May 1980 CTC4589 Allstar/Cinetext/

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

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

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

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

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

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

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

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

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

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

Continue reading “Enduring Grace: Barbara Rush”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CLIPS

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

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

City Across the River (1950) Mrs. Katie Cusack

Perfect Strangers (1950) Lena Fassier

All About Eve 1951

I’ll Get By 1951 Miss Murphy

The Mating Season 1951

The Model and the Marriage Broker 1951 as Mae Swayse

As Young as You feel 1952 as Della Hodges

Titanic 1953

Pickup on South Street 1954

The Farmer Takes a Wife 1954 as Lucy Cashdollar

Rear Window 1955 as Stella

Daddy Long Legs 1955

Alfred Hitchcock Presents 1956 The Baby Sitter Lottie Slocum

The Proud and Profane 1956 as Kate Connors

A Hole in the Head 1959 as Sophie Manetta

Pillow Talk 1959 as Alma

The Misfits 1961

Birdman of Alcatraz 1962 as Elizabeth Stroud

Move Over, Darling 1963

The Incident 1967 as Bertha Beckerman

FILMOGRAPHY & AWARDS

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

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

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