Mamie Van Doren: The Pretender to the Throne

[ClassyCo]

I know Mamie, Marilyn, and Mansfield were apparently "The Three M's" during the 1950s, and I've heard them referenced as such by people that were in and around Hollywood at the time. But Mamie never came close to dethroning Marilyn, and she never had the splashy mainstream career that Jayne had, even if Jayne's A-list era was relatively brief.

It is well documented that Jayne thought of Mamie as "the drive-in's answer to Marilyn Monroe". Jayne didn't want to share any scenes with Mamie when they made LAS VEGAS HILLBILLYS together in 1966. Their one small scene together was obviously shot at different times and then put together in post-production.

I've tried to enjoy Mamie's "bad girl" movies on a cheapie, B-movie level, but even with that mindset, they end up falling short. In terms of popularity, I'd argue Mamie was just a step above someone like Cleo Moore, even though I'd say Cleo was a better actress than Mamie. Even Beverly Michaels was a better actress. Cleo and Beverly belong to that low-grade, gritty, almost exploitative-type of B-level crime drama, but Mamie makes it sleazy and she can't act for nothing. She doesn't even have much on-screen charisma.

 

[Snarky Oracle!]

I know Mamie, Marilyn, and Mansfield were apparently "The Three M's" during the 1950s, and I've heard them referenced as such by people that were in and around Hollywood at the time. But Mamie never came close to dethroning Marilyn, and she never had the splashy mainstream career that Jayne had, even if Jayne's A-list era was relatively brief.

It is well documented that Jayne thought of Mamie as "the drive-in's answer to Marilyn Monroe". Jayne didn't want to share any scenes with Mamie when they made LAS VEGAS HILLBILLYS together in 1966. Their one small scene together was obviously shot at different times and then put together in post-production.

I've tried to enjoy Mamie's "bad girl" movies on a cheapie, B-movie level, but even with that mindset, they end up falling short. In terms of popularity, I'd argue Mamie was just a step above someone like Cleo Moore, even though I'd say Cleo was a better actress than Mamie. Even Beverly Michaels was a better actress. Cleo and Beverly belong to that low-grade, gritty, almost exploitative-type of B-level crime drama, but Mamie makes it sleazy and she can't act for nothing. She doesn't even have much on-screen charisma.

Marilyn was a star. Mansfield was a wannabe. Mamie was a never-was.

None of them were taken seriously at the time -- not even Marilyn, by many. Mansfield was a mildly-vulgar imitation. And Mamie was a minor celebrity at best.

But '60s doom had Monroe and Mansfield in its headlights, never to escape its unforgiving beam. While Van Dooren survived like a cockroach long after the A-bomb went off... Apparently, even after six decades, she's still determined to write herself into some historical narrative because she realizes her films just won't do it.

Maybe Mamie Van Doren can unearth an old 8mm lesbian porn she did with Jeanne Carmen (even if contemporary A.I. is required to do it).

 

[ClassyCo]

Marilyn was a star. Mansfield was a wannabe. Mamie was a never-was.

The A&E biography on Mansfield says Monroe was "the undisputed queen of glamour", Mamie was called "the pretender to the throne", and Mansfield was called "the lady-in-waiting".

None of them reached the height of Marilyn, but Jayne was a legitimate star. She had success -- at least for a time -- on stage, on screen, on television, and even in Las Vegas. Of course, her splash of mainstream stardom was short-lived, and she contributed to her own decline by her over-publicity, which led to overexposure.

Mamie, on the other hand, never made out of B-movies. She was signed with Universal in 1953, but they appeared to have zero interest in promoting her as anything other than a pin-up girl that played supporting roles in second-run movies.

By comparison, in 1956, when Marilyn made her big comeback-of-sorts with BUS STOP and Jayne made a splashy debut in THE GIRL CAN'T HELP IT, Mamie had like eight minutes of screen-time in her sole release that year, the mid-tier Western STAR IN THE DUST.

Oh, but, apparently, Mamie and Marilyn both studied with drama coach Natasha Lytess in the late 1940s. Mamie and Marilyn allegedly met several times while studying with Lytess. But, as it's told, Mamie bailed on the lessons because she didn't learn anything (and I guess Natasha made advances towards Mamie), but Marilyn needed the training, so she stayed.

Yeah.

 

[Snarky Oracle!]

Jayne was a legitimate star. She had success -- at least for a time -- on stage, on screen, on television, and even in Las Vegas.

Yes, she was. She even made a couple of good movies. (Like WILL SUCCESS SPOIL ROCK HUNTER?)

 

[ClassyCo]

Yes, she was. She even made a couple of good movies. (Like WILL SUCCESS SPOIL ROCK HUNTER?)

WILL SUCCESS SPOIL ROCK HUNTER? (1957) is perhaps Jayne's best film, and with good reason. It is a very funny satire on the TV advertisment game and the thought of instant celebrity.

THE GIRL CAN'T HELP IT (1956) is also quite good, even if it's basically a rock-n-roll rendition of BORN YESTERDAY.

Frank Tashlin (the director of those two movies) was the director who used Jayne to her best potential. As one biographer writes, "Tashlin used his past experience as a Warner Brothers animator to turn Jayne Mansfield into an over-the-top human cartoon."

Beyond that, Jayne's good in THE WAYWARD BUS (1957), sharing good chemistry with Dan Dailey, and providing us with a subtle performance as an ex-burlesque dancer trying to start a new life. (It's Joan Collins that's miscast in this one.)

I've even come around to enjoying THE SHERIFF OF FRACTURED JAW (1958), where Jayne plays a saloon owner who falls in love with the new sheriff in town, played by English actor Kenneth More.

Outside of these, good movies for Jayne are rare, even though I like TOO HOT TO HANDLE (1960) and DOG EAT DOG (1964). Neither of these are great, but they're both solid, entertaining films, and they actually give Jayne something to besides giggle and twist across the screen.

Anyway, Jayne had potential, but it was short-lived. Once Fox ironed its differences for Marilyn, there really wasn't any room left for Jayne. She probably could've done better at another studio, or if she had moved into supporting roles and a sexy comedic relief (which has been theorized in Jayne's own forum here).

 

[Crimson]

Apparently, even after six decades, she's still determined to write herself into some historical narrative because she realizes her films just won't do it.

And it's all so trivial and mundane. "I took acting lessons with Marilyn." Even if true, who cares? Jeanne Carmen's scurrilous tales were preposterous but at least colorful. Mamie's tales are vaguely plausible but inconsequential. Even her self-inserts are minor league.

 

[Snarky Oracle!]

And it's all so trivial and mundane. "I took acting lessons with Marilyn." Even if true, who cares? Jeanne Carmen's scurrilous tales were preposterous but at least colorful. Mamie's tales are vaguely plausible but inconsequential. Even her self-inserts are minor league.

Well, I saw Tony Randall once (speaking of ROCK HUNTER) and he looked right at me. And American history was irrevocably altered.

 

[ClassyCo]

And it's all so trivial and mundane. "I took acting lessons with Marilyn." Even if true, who cares? Jeanne Carmen's scurrilous tales were preposterous but at least colorful. Mamie's tales are vaguely plausible but inconsequential. Even her self-inserts are minor league.

This right here made me laugh. But it's soooooo true.

 

[ClassyCo]

But '60s doom had Monroe and Mansfield in its headlights, never to escape its unforgiving beam. While Van Dooren survived like a cockroach long after the A-bomb went off... Apparently, even after six decades, she's still determined to write herself into some historical narrative because she realizes her films just won't do it.

"If Marilyn Monroe was the Broadway of the blonde bombshells, then Jayne Mansfield was the roadshow." Jayne was a cheaper, second-tier, working man alternative to Marilyn. And she ended up embracing that, but Jayne has her own fans and her own place in celebrity popular culture.

Mamie, on the other hand, never made it out of the B-movie realm. And that's fine. I like B-movies from the 1950s (I've already mentioned how I like Cleo Moore and Beverly Michaels), but Mamie made crummy movies. The ones I've seen are junk. I've tried to like her movies, but I just don't.

As we've said, Mamie pulled herself out of obscurity in the 1980s, her career long over, her image long forgotten. But she attached herself to Marilyn, to Jayne, to the 1950s decade of glamour and nostalgia. She even tried to claim the "Queen of the B-Movie Bad Girls" title movie fans bestowed on Cleo Moore.

 

[Crimson]

It was inevitable -- Mamie has discovered AI.

 

[ginnyfan]

Marilyn was a star. Mansfield was a wannabe. Mamie was a never-was.

None of them were taken seriously at the time -- not even Marilyn, by many. Mansfield was a mildly-vulgar imitation. And Mamie was a minor celebrity at best.

But '60s doom had Monroe and Mansfield in its headlights, never to escape its unforgiving beam. While Van Dooren survived like a cockroach long after the A-bomb went off... Apparently, even after six decades, she's still determined to write herself into some historical narrative because she realizes her films just won't do it.

Maybe Mamie Van Doren can unearth an old 8mm lesbian porn she did with Jeanne Carmen (even if contemporary A.I. is required to do it).

Poor Mamie was so insignificant she couldn't even get a tragic ending and actually had to live a long life. Stardom just eluded her in every way and form.