Forgotten Faces of Hollywood's Golden Era

darkshadows38

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some of these don't think are forgotten because i was hearing about Thelma Todd when i was younger, Bess Flowers though an extra she was rumored to have done like 1200 or 1500 movies during her lifetime from the early 1920's until her last film in (1964) when she retired, but she was Queen of the Extra's. your hard core movie geeks such as myself have heard of her but most people haven't i don't think. she did so many movies that even she didn't know the number when asked before she died in (1983) at age 85. but IMDB her and she's got only 950 or so on it which is still a lot of movies but not nearly the number as she is suppose to have done which means that fans haven't spotted her in quite a lot of films or some of them she shot scenes for but they got deleted for whatever reason
 

ClassyCo

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some of these don't think are forgotten because i was hearing about Thelma Todd when i was younger, Bess Flowers though an extra she was rumored to have done like 1200 or 1500 movies during her lifetime from the early 1920's until her last film in (1964) when she retired, but she was Queen of the Extra's. your hard core movie geeks such as myself have heard of her but most people haven't i don't think. she did so many movies that even she didn't know the number when asked before she died in (1983) at age 85. but IMDB her and she's got only 950 or so on it which is still a lot of movies but not nearly the number as she is suppose to have done which means that fans haven't spotted her in quite a lot of films or some of them she shot scenes for but they got deleted for whatever reason
I think Thelma Todd is mostly forgotten in 2021, however, even among avid classic movie fans. Even though I "know" about her, I've never seen anything terribly significant of her work; just pieces here and there in different documentaries or online clips. I use to watch WHITE HOT: THE MYSTERIOUS MURDER OF THELMA TODD a lot. It was a early nineties television movie about Todd's life and death in which she was portrayed by actress Loni Anderson. I had it together in combo set with THE JAYNE MANSFIELD STORY, where Anderson played fifties blonde Jayne Mansfield.

It's interesting that you mention someone like Bess Flowers. I had never, ever heard of her until your post yesterday. I started doing a Google search and found out she's appeared in many films I have seen and a few that I hold in high regard. She had an interesting career it seems, and I'm quite stunned I had never come across her anywhere before. Thanks for the tidbit.
 

ClassyCo

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Out of curiosity, @Crimson , where would you place these ladies?

Lucille Ball
Gracie Allen
Eve Arden
Imogene Coca
Joan Davis
Ann Sothern
Gale Storm

You said in an earlier post that poor Joan Davis had slid to sixth place when you remembered Gracie Allen, but with that numbering, I assumed you were not including Gale Storm.

Just for fun. How would you rank these seven funny ladies?
 

ClassyCo

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Gale Sondergaard was an American actress, known for her supporting roles in a host of popular films during the 1930s and 1940s.

She began her career in the early 1930s as a theatre actress. She studied at the Minneapolis School of Dramatic Arts before joining the John Keller Shakespeare Company. Sondergaard toured in productions of HAMLET, JULIUS CAESAR, THE MERCHANT OF VENICE, and MACBETH. After she became a member of the Theatre Guild, she began to find work on the New York legitimate stage.

Sondergaard made her film debut in ANTHONY ADVERSE (1936) as Faith Paleologus and became the first recipient of the Academy Award for Best Supporting Actress for her performance. As a result, her career as an actress flourished in the late thirties. She appeared in many big-budget successes, such as THE LIFE OF EMILE ZOLA, the 1937 film starring Paul Muni, and she supported two-time Oscar winner Luise Rainier in DRAMATIC SCHOOL in 1938. Sondergaard had been the original choice to play the Wicked Witch of the West during the pre-production stages of MGM's THE WIZARD OF OZ in 1938. The original intent was for the character to be slinky and seductive, an inspiration drawn from the evil queen in SNOW WHITE AND THE SEVEN DWARFS. This idea was ultimately scrapped, however, and Sondergaard was replaced with character actress Margaret Hamilton.

Sondergaard's career continued successfully into the 1940s. She kicked off that decade by appearing in THE LETTER (1940), a stylish drama starring Bette Davis. She also had a role in THE BLUE BIRD (1940), a critical and commercial failure, which had been Fox's imitation of THE WIZARD OF OZ. One of her few leading roles came in THE SPIDER WOMAN in 1943, a story in the Sherlock Holmes franchise. It was a popular success. She also headlined THE SPIDER WOMAN STRIKES BACK three years later. Her beauty and Danish ethnicity made her ideal for smaller, seductive roles in melodramas. She was quite often typecast in these kinds of roles. In 1946, she received another Oscar nominated for playing Lady Thiang in the big-budget dramatization of ANNA AND THE KING OF SIAM.

Even still, her career was all but over in the late 1940s. After appearing in EAST SIDE, WEST SIDE in 1949, she stayed away from acting for twenty years. She began acting on television in the late 1960s, appearing on shows such as IT TAKES A THIEF and GET SMART. She also had a role on the daytime soap opera THE BEST OF EVERYTHING in 1970. She later appeared on RYAN'S HOPE in 1976. Her final on-screen role was in ECHOES, a 1983 low-budget film.

Following several strokes, Gale Sondergaard died in 1985, aged eighty-six.

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DallasFanForever

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@Caproni I wasn’t too familiar with Bess Flowers either. I had heard of her but I can’t say I knew much about her myself. Like you I googled her and now I feel really stupid. 350 films? Wow!! It looks like her nickname was The Queen of the Hollywood Extras. I guess she just never got to play the leading lady in anything, at least not in any major films. She certainly had a long career though!
 

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I’m also glad that you mentioned Gale Sondergaard. I feel she definitely falls into that class of being under appreciated. I did not know about her being the original choice for the Wicked Witch of the West in Wizard of Oz. It’s hard for me to see anyone other than Margaret Hamilton in that role but I can definitely see Gale pulling that off.
 

Crimson

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where would you place these ladies?

Lucille Ball
Gracie Allen
Eve Arden
Imogene Coca
Joan Davis
Ann Sothern
Gale Storm

Hmm. If you're asking about my personal opinions of them, I would have to exclude Gale Storm. I have never seen even a snippet of her work.

Lucille Ball
Ann Sothern
Eve Arden
Gracie Allen
Imogene Coca
Joan Davis

Looking at it more objectively and how I would rank them in stature as 1950s TV comediennes:

Lucille Ball
Gracie Allen
Ann Southern
Eve Arden
Imogene Coca
Joan Davis
Gale Storm
 

ClassyCo

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Hmm. If you're asking about my personal opinions of them, I would have to exclude Gale Storm. I have never seen even a snippet of her work.

Lucille Ball
Ann Sothern
Eve Arden
Gracie Allen
Imogene Coca
Joan Davis

Looking at it more objectively and how I would rank them in stature as 1950s TV comediennes:

Lucille Ball
Gracie Allen
Ann Southern
Eve Arden
Imogene Coca
Joan Davis
Gale Storm
I like your list. I assumed you hadn't too much familiarity with Gale Storm, otherwise you would have included her in other posts.

My personal opinion list would be a little rearranged from ours:
Lucille Ball
Eve Arden
Ann Sothern
Gracie Allen
Gale Storm
Joan Davis
Imogene Coca

And for their popularity as 1950s television comediennes, I'd probably switch around Ann Sothern and Eve Arden. Maybe I just think of Eve Arden being more popular than she was during her prime, but switching Eve and Ann just feels better to me.
 

ClassyCo

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Here's some more Forgotten Faces. I don't hear too much about them, not even on here.

Some more forgotten than others, naturally.

Veronica Lake
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Virginia Mayo

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Esther Williams
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Cyd Charisse
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Barbara Payton
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Crimson

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And for their popularity as 1950s television comediennes, I'd probably switch around Ann Sothern and Eve Arden. Maybe I just think of Eve Arden being more popular than she was during her prime, but switching Eve and Ann just feels better to me.

For personal preference, I favor Ann over Eve simply because I have seen far more of Ann's work. I have seen both PRIVATE SECRETARY and THE ANN SOTHERN SHOW, plus her work with Lucy. I've seen virtually none of Eve's TV work; an episode or two of OUR MISS BROOKS and none of THE EVE ARDEN SHOW.

As for their stature as 1950s comediennes, I think their style and success was about on par. I edged Ann over Eve because her TV career in that decade was more robust: her two 50s sitcoms lasted 8 years versus 5 for Eve.
 

ClassyCo

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For personal preference, I favor Ann over Eve simply because I have seen far more of Ann's work. I have seen both PRIVATE SECRETARY and THE ANN SOTHERN SHOW, plus her work with Lucy. I've seen virtually none of Eve's TV work; an episode or two of OUR MISS BROOKS and none of THE EVE ARDEN SHOW.

As for their stature as 1950s comediennes, I think their style and success was about on par. I edged Ann over Eve because her TV career in that decade was more robust: her two 50s sitcoms lasted 8 years versus 5 for Eve.
Your reasoning is certainly understandable, and it is even clearer now that you have clarified.

I would certainly agree that Ann Sothern is a gifted and charming comedienne. I especially like her in the MAISIE films, a B-comedy series of films producers by MGM during the forties. Those movies play like longer, big-screen versions of sitcom episodes. Ann's beautiful and very funny. I've seen tidbits of PRIVATE SECRETARY and THE ANN SOTHER SHOW via YouTube, but nothing too exclusive. The prints I've seen are usually pretty bad ones that have been roughed up a lot over the years. I am most familiar with Ann as a guest star on THE LUCY SHOW in the sixties, a time when she came in as Lucy Carmichael's old friend The Countess. She was hilarious on that show, and no wonder the producers thought Ann would have been a good replacement for Vivian Vance as Lucy's co-star after Vance decided to leave the show. Apparently, there was some squabble over Ann receiving equal billing with Lucy (which she did really deserve), and Ann never became a regular on the program.

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I think I hover towards Eve Arden because of her role in WE'RE NOT MARRIED, the 1952 anthology comedy about several couples finding out they are not legally wed. It featured her as a the wife of Paul Douglas in a vignette about a man and his wife that had ran of things to talk to one another about long ago. She was funny in the little bit, and I always remember her in that movie. I also think of Eve in MILDRED PIERCE, the 1945 noirish melodrama that won Joan Crawford her only Oscar, where she played Crawford's sarcastic friend that runs one of her diners. Eve was nominated for a Best Supporting Actress Oscar for that performance. Of course, I like how Eve Arden turned up in the 1978 movie version of GREASE, where she plays Principal McGee, which kind of reads like a spin on her Miss Brooks role.

On the surface, I think I just prefer Eve Arden's voice over Ann Sothern's. I know that is sort of shallow, but it's the truth. And I always laugh out loud at Lucy and Ethel's discovery of Eve Arden on that funny I LOVE LUCY episode. Lucy and Eve had co-starred together in STAGE DOOR, the 1937 drama when they were both under contract to RKO.

"Neither, that's Eve Arden."
"You touched her!"

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ClassyCo

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Barbara Payton was an American actress whose career spanned the late forties into the mid-fifties.

She was born and raised by Norwegian immigrant parents in Minnesota. The family moved to Texas in 1938. Her father was hard-working, but quick-tempered. Her mother was more loving, but both her parents struggled with alcohol dependency. She moved to Los Angeles in 1945, aged eighteen, when she married her second husband, William Hodge. The marriage quickly dissolved and was annulled. Even still, Barbara's good looks garnered her attention and she began a semi-successful career as a model.

Payton made her feature film debut in 1949, having a small, uncredited role ONCE MORE, MY DARLING. That same year, she received good notices for playing the female lead in TRAPPED, co-starring Lloyd Bridges. In 1950, she screen-tested for the small role in John Huston's crime drama THE ASPHALT JUNGLE, but lost the part of Louis Calhern's young mistress to newcomer Marilyn Monroe. Her developing friendship with film star James Cagney and his producer brother, William, secured her a top role in KISS TOMORROW GOODBYE, a 1950 film noir. The film was a popular success and Payton was signed to an exclusive contract at Warner Brothers, starting at $5,000 a week, which was a large sum for a relative newcomer who had yet to prove her star-power.

KISS TOMORROW GOODBYE was the highlight of Barbara's career. She followed this career-defining role with supporting roles in DALLAS (1950), co-starring Gary Cooper, and ONLY THE VALIANT (1951), co-starring Gregory Peck, two lackluster Westerns that failed to progress her acting career. Payton's career began a downward spiral after she starred in BRIDE OF THE GORILLA in 1951, a B-movie horror film that failed to attract an audience, but has since achieved a cult status.

Her career never recovered. Her third husband was classically trained actor Franchot Tone (who had been married to Joan Crawford in the thirties), but she later boasted of affairs with Howard Hughes, Bob Hope, Woody Strode, Guy Madison, George Raft, John Ireland, Steve Cochran, and Texas oilman Bob Neal. During her marriage to Franchot Tone, she also publicly dated B-movie actor Tom Neal. Payton publicly went back and forth between her husband and lover in the press. The Payton-Tone marriage ended after Neal had physically assaulted Tone in his home.

Barbara's relationship with Tom Neal essentially ended her Hollywood career. They capitalized on their tabloid publicity by touring in roadshow-style productions of THE POSTMAN ALWAYS RINGS TWICE, based on the 1946 film adaption, and by starring together in THE GREAT JESSE JAMES RAID, a 1953 low-budget Western that flopped. Payton herself found some work in England, where she appeared in to Hammer Studios productions, namely FOUR SIDED TRIANGLE and BAD BLONDE (both 1953), but neither film was successful.

Payton's hard drinking and erotic personal life destroyed her emotionally and physically. It effectively ended her career as an actress. She drifted into obscurity, and spent years in poverty. In 1963, she was paid $1,000 to write her autobiography called I AM NOT ASHAMED. It was ghostwritten by Leo Guild, and was reissued in 2016. The book featured unflattering photos of Barbara, and admissions that she had been forced to sleep in bus stations and suffered regular beatings as a prostitute.

In 1967, Payton fell ill and sought refuge from her turbulent circumstances when she moved to San Diego to live with her parents. On May 8, 1967, Barbara Payton died at age thirty-nine after suffering heart and liver failure. Her remains were cremated.

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DallasFanForever

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Such a shame that with so many of these stars we keep seeing the same sad ending. Such talented and beautiful people that struggled with either alcohol, drugs, depression, a fading career, etc. I feel so sorry for them.
 

Crimson

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Veronica Lake
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Of all the major (or, major-ish) leading ladies of the 40s, I find Veronica Lake the least interesting. I've seen a number of her films and didn't find her to be more than competent, with no real energy or charisma. The only interesting thing about her was her hair style. Among the noir dames, I would put her far behind Lauren Bacall and even Lizbeth Scott.
 

DallasFanForever

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I’ve only seen very little of Veronica Lake and from what I’ve seen I would call her talented, but I agree @Crimson that she does fall a little bit short of some of the great actresses of her time. Definitely not in the same class as Lauren Bacall or Lizbeth Scott.
 

ClassyCo

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Of all the major (or, major-ish) leading ladies of the 40s, I find Veronica Lake the least interesting. I've seen a number of her films and didn't find her to be more than competent, with no real energy or charisma. The only interesting thing about her was her hair style. Among the noir dames, I would put her far behind Lauren Bacall and even Lizbeth Scott.
I’ve only seen very little of Veronica Lake and from what I’ve seen I would call her talented, but I agree @Crimson that she does fall a little bit short of some of the great actresses of her time. Definitely not in the same class as Lauren Bacall or Lizbeth Scott.
I am not terribly well-versed on Veronica Lake, her career, or personal life. She was definitely beautiful in her prime, but what little I do know about her has not left me longing to know more about her. I've only seen pieces of her films, like I MARRIED A WITCH, and I think SULLIVAN'S TRAVELS, but she is quite bland. A product of the era, I guess, but not necessarily legendary.
 

ClassyCo

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I found a little bit of trivia yesterday that I thought was neat. @Crimson and I (and a few more of you) had a few posts going about Lucille Ball, Joan Davis, and other ladies popular as 1950s TV comediennes.

Television director Marc Daniels directed both I LOVE LUCY and I MARRIED JOAN during their first seasons. I thought that was interesting, and it even makes sense on other levels, especially considering I MARRIED JOAN was originated in response to I LOVE LUCY and its phenomenal success in the ratings.
 

Crimson

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Marc Daniels was a key figure in the development of I LOVE LUCY. Although the three-camera system in front a live audience was Desi's idea, it was Daniels and Karl Freund who worked out the technical details. Daniels also found Vivian Vance; Lucy had wanted Bea Benedarat or Mary Wickes to play Ethel. He left after the first season for a better paying job. I presume that was I MARRIED JOAN and it makes sense that he was lured away to direct a show that was a LUCY clone.

I don't think he worked with Lucy again until he directed some episodes of her ill-fated final sitcom in '86.
 
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