Eck lived twenty minutes from me and I never heard anything about him being a Baltimore native. I guess I wasn't paying attention.
At least there is a cemetary I could get to. He lies in the same location as John Wilkes Booth.
In The Spotlight Redux
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movieman1957
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Movieman, Johnny Eck remained a devoted Baltimore native from birth until his death.
The house at 622 N. Milton Ave, like most other homes, would serve as a place of fun and laughter with Johnny usually holding court on the steps, countless family gatherings, happy times and sad times. They almost lost the house several times to back taxes. But with all the ups and downs and unusual amount of loss they experienced, 622 would be the only address that Johnny and Robert ever knew.
Except when they were sleeping under tents, the night sky or the occasional motel while on the road, it was home for their entire lives. Johnny died in the living room in 1990 while taking a nap on the couch. Robert remained in the house alone until his death in 1995
The house at 622 N. Milton Ave, like most other homes, would serve as a place of fun and laughter with Johnny usually holding court on the steps, countless family gatherings, happy times and sad times. They almost lost the house several times to back taxes. But with all the ups and downs and unusual amount of loss they experienced, 622 would be the only address that Johnny and Robert ever knew.
Except when they were sleeping under tents, the night sky or the occasional motel while on the road, it was home for their entire lives. Johnny died in the living room in 1990 while taking a nap on the couch. Robert remained in the house alone until his death in 1995
Joseph Goodheart
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movieman1957
- Administrator
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- Location: MD
In the Spotlight: ALEXIS SMITH
The tall, graceful, striking redhead was Born Gladys Smith on June 8, 1921 in Penticton, British Columbia, Canada, she was the second Canadian with the name (following Mary Pickford) to achieve New York City and Hollywood stardom.
Bitten by the acting bug while in her teens, Smith briefly worked in Canadian summer stock before heading south to Los Angeles where, spotted in a local stage production, she inked a contract with Warners before reaching her twentieth birthday.
Her earliest film roles were uncredited bit parts and it took several years for her career to gain momentum. She was subsequently billed as "The Dynamite Girl" and "The Flame Girl" in promotional articles.
Alexis with Lloyd Nolan (left) and future husband Craig Stevens (1941)
She won the female lead in an A picture "Dive Bomber" and a year later was working opposite Errol Flynn in "Gentleman Jim" (1942). She was set from that point on, though Warners alternated leading-lady parts with those of the "other woman," at which she excelled.
Alexis with William Frawley and Errol Flynn as "Gentleman Jim" (1942)
She was quite tall, standing at least 5'9", and to fit her, the long, stylish dresses that former Warners' star Kay Francis had worn were allotted to her.
Alexis as the unhappy wife of Charles Boyer in "The Constant Nymph"
Alexis with Jack Benny (center) in "The Horn Blows at Midnight" (1945)
Errol Flynn and Alexis Smith in "San Antonio"
A sultry Alexis Smith
Her Warner's films include "Thank Your Lucky Stars", "The Constant Nymph", "The Adventures of Mark Twain" (as Twain's wife), "Hollywood Canteen", "The Doughgirls", "The Horn Blows at Midnight", "Conflict", "Rhapsody in Blue", "San Antonio" in which she sang the Oscar nominated song "Some Sunday Morning", "Night and Day" (as the wife of songwriter Cole Porter), "Of Human Bondage", "Stallion Road", "The Two Mrs. Carrolls" with Bogart, "The Woman in White", "The Decision of Christopher Blake", "Whiplash", "South of St. Louis", "Any Number Can Play" with Gable (on loan to MGM), and "Montana".
Alexis with Cary Grant as Cole Porter in "Night and Day"
As the other woman in the noir, "Conflict", with Humphrey Bogart
Tempting Bogart to infidelity in "The Two Mrs. Carrolls"
Director Mervyn LeRoy, Alexis & Gable "Any Number Can Play" (1949) and below, with Audrey Totter
A glamorous Alexis Smith
Alexis with Punkins in "One Last Fling" (1949)
Her favorite experience was playing the other woman for Frank Capra in "Here Comes the Groom" and indeed, she seemed looser, more natural than in almost any of her previous films.
But such opportunities were rare; her freelance credits include "Undercover Girl" (1950), "The Turning Point" (1952), "Split Second" (1953), "The Sleeping Tiger" (1954), "The Eternal Sea" (1955), "Beau James" with Bob Hope (1957), "This Happy Feeling" (1958), and "The Young Philadelphians" (1959), in which she fell during a horse riding sequence and broke her back.
Later in life she would say she preferred New York, while her husband, actor Craig Stevens ("Peter Gunn"), favored California.
Rumors about her sexuality were prompted by lesbian author Rita Mae Brown's dedication of her book, 'Rubyfruit Jungle', to Smith.
Alexis with Deborah Raffin in "Once Is Not Enough" (1975)
Alexis with Robert Young & hubby Craig Stevens on TVs "Marcus Welby, M.D."
In 1971 Smith astonished fans when she kicked up her heels (literally) as the vivacious and seemingly ageless singing star in Stephen Sondheim's Broadway musical "Follies" (for which she won a Tony Award.) It led to new offers for films, TV appearances, and stage work including the ill-fated 1978 musical "Platinum", for which she was nominated for another Tony Award.
Alexis in her Tony Award winning part in "Follies"
Also had her own night club act in the 70s which she took to Los Angeles and Canada.
Her later movies include "Once Is Not Enough" as a lesbian (1975), "The Little Girl Who Lives Down the Lane" (1976), "Casey's Shadow" (1978), "The Trout" (1982), and "Tough Guys" (1986).
Smith had a recurring role on the TV series "Dallas" as Clayton Farlow's sister in the seventh season.
She was nominated for an Emmy Award for a guest appearance in the television sitcom "Cheers" in 1990.
Alexis Smith died in Los Angeles, California from brain cancer on the day after her 72nd birthday. Ashes scattered over the Pacific - 3 miles off San Pedro, CA.
She had no children and her husband of 49 years was her sole survivor.
Her final film, "The Age of Innocence" (1993) in which she played an influential New York society matron, was released shortly after her death.
Quoted: "There are so many more interesting things to think about than whether Ida Lupino or Jane Wyman got the roles I should have gotten."
The lady does not have a star on the Hollywood Walk of Fame.
The tall, graceful, striking redhead was Born Gladys Smith on June 8, 1921 in Penticton, British Columbia, Canada, she was the second Canadian with the name (following Mary Pickford) to achieve New York City and Hollywood stardom.
Bitten by the acting bug while in her teens, Smith briefly worked in Canadian summer stock before heading south to Los Angeles where, spotted in a local stage production, she inked a contract with Warners before reaching her twentieth birthday.
Her earliest film roles were uncredited bit parts and it took several years for her career to gain momentum. She was subsequently billed as "The Dynamite Girl" and "The Flame Girl" in promotional articles.
Alexis with Lloyd Nolan (left) and future husband Craig Stevens (1941)
She won the female lead in an A picture "Dive Bomber" and a year later was working opposite Errol Flynn in "Gentleman Jim" (1942). She was set from that point on, though Warners alternated leading-lady parts with those of the "other woman," at which she excelled.
Alexis with William Frawley and Errol Flynn as "Gentleman Jim" (1942)
She was quite tall, standing at least 5'9", and to fit her, the long, stylish dresses that former Warners' star Kay Francis had worn were allotted to her.
Alexis as the unhappy wife of Charles Boyer in "The Constant Nymph"
Alexis with Jack Benny (center) in "The Horn Blows at Midnight" (1945)
Errol Flynn and Alexis Smith in "San Antonio"
A sultry Alexis Smith
Her Warner's films include "Thank Your Lucky Stars", "The Constant Nymph", "The Adventures of Mark Twain" (as Twain's wife), "Hollywood Canteen", "The Doughgirls", "The Horn Blows at Midnight", "Conflict", "Rhapsody in Blue", "San Antonio" in which she sang the Oscar nominated song "Some Sunday Morning", "Night and Day" (as the wife of songwriter Cole Porter), "Of Human Bondage", "Stallion Road", "The Two Mrs. Carrolls" with Bogart, "The Woman in White", "The Decision of Christopher Blake", "Whiplash", "South of St. Louis", "Any Number Can Play" with Gable (on loan to MGM), and "Montana".
Alexis with Cary Grant as Cole Porter in "Night and Day"
As the other woman in the noir, "Conflict", with Humphrey Bogart
Tempting Bogart to infidelity in "The Two Mrs. Carrolls"
Director Mervyn LeRoy, Alexis & Gable "Any Number Can Play" (1949) and below, with Audrey Totter
A glamorous Alexis Smith
Alexis with Punkins in "One Last Fling" (1949)
Her favorite experience was playing the other woman for Frank Capra in "Here Comes the Groom" and indeed, she seemed looser, more natural than in almost any of her previous films.
But such opportunities were rare; her freelance credits include "Undercover Girl" (1950), "The Turning Point" (1952), "Split Second" (1953), "The Sleeping Tiger" (1954), "The Eternal Sea" (1955), "Beau James" with Bob Hope (1957), "This Happy Feeling" (1958), and "The Young Philadelphians" (1959), in which she fell during a horse riding sequence and broke her back.
Later in life she would say she preferred New York, while her husband, actor Craig Stevens ("Peter Gunn"), favored California.
Rumors about her sexuality were prompted by lesbian author Rita Mae Brown's dedication of her book, 'Rubyfruit Jungle', to Smith.
Alexis with Deborah Raffin in "Once Is Not Enough" (1975)
Alexis with Robert Young & hubby Craig Stevens on TVs "Marcus Welby, M.D."
In 1971 Smith astonished fans when she kicked up her heels (literally) as the vivacious and seemingly ageless singing star in Stephen Sondheim's Broadway musical "Follies" (for which she won a Tony Award.) It led to new offers for films, TV appearances, and stage work including the ill-fated 1978 musical "Platinum", for which she was nominated for another Tony Award.
Alexis in her Tony Award winning part in "Follies"
Also had her own night club act in the 70s which she took to Los Angeles and Canada.
Her later movies include "Once Is Not Enough" as a lesbian (1975), "The Little Girl Who Lives Down the Lane" (1976), "Casey's Shadow" (1978), "The Trout" (1982), and "Tough Guys" (1986).
Smith had a recurring role on the TV series "Dallas" as Clayton Farlow's sister in the seventh season.
She was nominated for an Emmy Award for a guest appearance in the television sitcom "Cheers" in 1990.
Alexis Smith died in Los Angeles, California from brain cancer on the day after her 72nd birthday. Ashes scattered over the Pacific - 3 miles off San Pedro, CA.
She had no children and her husband of 49 years was her sole survivor.
Her final film, "The Age of Innocence" (1993) in which she played an influential New York society matron, was released shortly after her death.
Quoted: "There are so many more interesting things to think about than whether Ida Lupino or Jane Wyman got the roles I should have gotten."
The lady does not have a star on the Hollywood Walk of Fame.
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moira finnie
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Hi Mongo,
Thanks so much for shedding more light on Alexis Smith. I must admit that until about a year ago, I thought that she was a very lovely but rather empty presence on screen. Then I finally caught up with her remarkably good dramatic performance in The Constant Nymph and her delightful change of pace in Here Comes the Groom. If only she'd had a few more chances at these roles instead of the rather bland but decorative upper class ice maidens she usually played!
Based on that great quote that you ended your piece with, it's good to know that she found more in life than brooding about roles lost to her competitors at Warners. Though I haven't heard the cast album in some time, Stephen Sondheim's Follies gave a mature Ms. Smith, Yvonne de Carlo, John McMartin & Dorothy Collins some great moments. You make me want to track that recording down again. Thanks for the great profile. Speaking of great profiles, here's another:
Thanks so much for shedding more light on Alexis Smith. I must admit that until about a year ago, I thought that she was a very lovely but rather empty presence on screen. Then I finally caught up with her remarkably good dramatic performance in The Constant Nymph and her delightful change of pace in Here Comes the Groom. If only she'd had a few more chances at these roles instead of the rather bland but decorative upper class ice maidens she usually played!
Based on that great quote that you ended your piece with, it's good to know that she found more in life than brooding about roles lost to her competitors at Warners. Though I haven't heard the cast album in some time, Stephen Sondheim's Follies gave a mature Ms. Smith, Yvonne de Carlo, John McMartin & Dorothy Collins some great moments. You make me want to track that recording down again. Thanks for the great profile. Speaking of great profiles, here's another:
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jdb1
I remember Smith as a guest on a talk show (probably Merv) talking about doing a dance number in a film, and the choreographer giving her two male dancers to work with. When the director asked why she needed two dancers, the choreographer said "Well, one dancer alone can't lift her!" She didn't seem to mind - she was a tall and robust woman and wasn't embarrassed by it.
In the Spotlight: HERBERT MARSHALL
The distinguished actor was born Herbert Brough Falcon Marshall, in London, England, on May 23, 1890.
His parents were Percy F. Marshall and Ethel May Turner. He graduated from St. Mary's College in Harrow and worked for a time as an accounting clerk.
Marshall overcame the loss of a leg during the Great War (World War I), where he served in the London Scottish Regiment. He was rehabilitated with a wooden leg. This did not stop him making good the stage vocation. He used a very deliberate square-shouldered and guided walk, largely unnoticeable, to cover up the limp, which was kept a secret to the public for most of his career.
His stage debut took place in 1911, and spent 20 years in distinguished stage work in London before motion pictures, which he entered with "Mumsie" in 1927.
A dashing Herbert Marshall
He had a wonderful mellow baritone British accent which he rolled out with a minimum of mouth movement and a nonchalant ease that stood out as unique.
Initially he played romantic leads and later character roles. The suave actor spent many years playing romantic leads opposite such stars as Greta Garbo, Marlene Dietrich and Bette Davis.
He was almost 40 when he appeared in his first Hollywood sound picture "The Letter" (1929), a worthwhile comparison (but for the primitive sound recording) with the more famous second version in 1940 with Bette Davis. Marshall is the murder victim in 1929 and the betrayed husband in 1940.
He was heavily in demand in the 1930s, sometimes in five or six pictures a year. Perhaps his best suave comedic role was in "Trouble in Paradise" (1932), the first non-musical sound comedy by producer/director Ernst Lubitsch.
Marshall with Kay Francis (1932)
That same year Marshall did one of his most warmly human romantic roles in the marvelously erotic "Blonde Venus" with the captivating Marlene Dietrich.
"BLONDE VENUS" (1932)
Marshall with Greta Garbo in "The Painted Veil" (1934)
Marshall with Ann Harding in "The Flame Within" (1935)
Marshall with Margaret Sullavan in "The Good Fairy" (1935)
Marshall with Sylvia Sidney in "Accent on Youth" (1935)
Marshall with Jeanne Eagels in "The Letter" (1929)
And Marshall in the Bette Davis remake of "The Letter" directed by William Wyler in 1940.
Other films included, "The Painted Veil" with Garbo, "The Good Fairy" with Margaret Sullavan, "Angel" with Dietrich, Hitchcock's "Foreign Correspondent", "The Little Foxes" with Davis, "Crack-Up", "The Enchanted Cottage", "Duel In the Sun" in which Marshall's small but standout performance as Scott Chavez, with his nonchalance, calmly shoots his cantina entertainer Indian wife for her cheating ways.
Marshall with Bette Davis in "The Little Foxes" (1941)
Marshall as the blind Major Hillgrove (1945)
Marshall with cheating wife Tilly Losch in "Duel in the Sun"(1946)
Marshall with Claire Trevor in "Crack-Up" (1946)
Marshall with Tyrone Power & Clifton Webb (in bed) in "The Razor's Edge" (1946)
Also in "The Razor's Edge" as Somerset Maugham, "The Secret Garden", and His voice was perfect to lend credence to some early sci-fi classics: "Riders to the Stars" and "Gog" and the "The Fly".
He also fitted comfortably into episodic TV into the 1960s.
Marshall was married five times, including marriages to the actress Edna Best, with whom he appeared in a few films. Their daughter Sarah Marshall is an actress. Also wed to actress Boots Mallory to whom he was married from 1947 until her death in 1958. He was the father of two other children. His mistresses included Kay Francis, Miriam Hopkins, and Gloria Swanson.
Herbert Marshall died of a heart attack on January 22, 1966 (aged 75). Burial took place at
Chapel Of The Pines Crematory in Los Angeles.
Although the gent never received an Oscar nomination, he has a star on the Hollywood Walk of Fame.
The distinguished actor was born Herbert Brough Falcon Marshall, in London, England, on May 23, 1890.
His parents were Percy F. Marshall and Ethel May Turner. He graduated from St. Mary's College in Harrow and worked for a time as an accounting clerk.
Marshall overcame the loss of a leg during the Great War (World War I), where he served in the London Scottish Regiment. He was rehabilitated with a wooden leg. This did not stop him making good the stage vocation. He used a very deliberate square-shouldered and guided walk, largely unnoticeable, to cover up the limp, which was kept a secret to the public for most of his career.
His stage debut took place in 1911, and spent 20 years in distinguished stage work in London before motion pictures, which he entered with "Mumsie" in 1927.
A dashing Herbert Marshall
He had a wonderful mellow baritone British accent which he rolled out with a minimum of mouth movement and a nonchalant ease that stood out as unique.
Initially he played romantic leads and later character roles. The suave actor spent many years playing romantic leads opposite such stars as Greta Garbo, Marlene Dietrich and Bette Davis.
He was almost 40 when he appeared in his first Hollywood sound picture "The Letter" (1929), a worthwhile comparison (but for the primitive sound recording) with the more famous second version in 1940 with Bette Davis. Marshall is the murder victim in 1929 and the betrayed husband in 1940.
He was heavily in demand in the 1930s, sometimes in five or six pictures a year. Perhaps his best suave comedic role was in "Trouble in Paradise" (1932), the first non-musical sound comedy by producer/director Ernst Lubitsch.
Marshall with Kay Francis (1932)
That same year Marshall did one of his most warmly human romantic roles in the marvelously erotic "Blonde Venus" with the captivating Marlene Dietrich.
"BLONDE VENUS" (1932)
Marshall with Greta Garbo in "The Painted Veil" (1934)
Marshall with Ann Harding in "The Flame Within" (1935)
Marshall with Margaret Sullavan in "The Good Fairy" (1935)
Marshall with Sylvia Sidney in "Accent on Youth" (1935)
Marshall with Jeanne Eagels in "The Letter" (1929)
And Marshall in the Bette Davis remake of "The Letter" directed by William Wyler in 1940.
Other films included, "The Painted Veil" with Garbo, "The Good Fairy" with Margaret Sullavan, "Angel" with Dietrich, Hitchcock's "Foreign Correspondent", "The Little Foxes" with Davis, "Crack-Up", "The Enchanted Cottage", "Duel In the Sun" in which Marshall's small but standout performance as Scott Chavez, with his nonchalance, calmly shoots his cantina entertainer Indian wife for her cheating ways.
Marshall with Bette Davis in "The Little Foxes" (1941)
Marshall as the blind Major Hillgrove (1945)
Marshall with cheating wife Tilly Losch in "Duel in the Sun"(1946)
Marshall with Claire Trevor in "Crack-Up" (1946)
Marshall with Tyrone Power & Clifton Webb (in bed) in "The Razor's Edge" (1946)
Also in "The Razor's Edge" as Somerset Maugham, "The Secret Garden", and His voice was perfect to lend credence to some early sci-fi classics: "Riders to the Stars" and "Gog" and the "The Fly".
He also fitted comfortably into episodic TV into the 1960s.
Marshall was married five times, including marriages to the actress Edna Best, with whom he appeared in a few films. Their daughter Sarah Marshall is an actress. Also wed to actress Boots Mallory to whom he was married from 1947 until her death in 1958. He was the father of two other children. His mistresses included Kay Francis, Miriam Hopkins, and Gloria Swanson.
Herbert Marshall died of a heart attack on January 22, 1966 (aged 75). Burial took place at
Chapel Of The Pines Crematory in Los Angeles.
Although the gent never received an Oscar nomination, he has a star on the Hollywood Walk of Fame.
Joseph Goodheart
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moira finnie
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Well, so much for letting that little handicap from the war slow him down, eh? Somehow, I don't think that these ladies succumbed to his considerable charm simply out of sympathy, do you? I'm betting that beautiful speaking voice helped quite a bit too. If you have a chance sometime, watch him in the scene in The Razor's Edge with Gene Tierney when Mr. Marshall (as Somerset Maugham) tells her about her beautiful hands. Brother, that's deep dish charm!Marshall was married five times...His mistresses included Kay Francis, Miriam Hopkins, and Gloria Swanson.
It's terrific to see you shedding light on one of my, (and obviously many other's) favorites, Mongo. Will we ever see a TCM Star of the Month for Herbert Marshall? *sigh*
This AP photo appeared back in the day with the following caption:
"Gloria Swanson and Herbert Marshall, at right,
seemed to be engaged in a lively discussion as they
were photographed at the premiere of "Anthony Adverse"
on arrival in Beverly Hill, Calif., on July 30, 1936."
I think she's p.o.ed about something. Whaddya think?
My favorite Marshall performance (aside from TROUBLE IN PARADISE) is in ANGEL FACE. Such charm.
Everyday people...that's what's wrong with the world. -- Morgan Morgan
I love movies. But don't get me wrong. I hate Hollywood. -- Orson Welles
Movies can only go forward in spite of the motion picture industry. -- Orson Welles
I love movies. But don't get me wrong. I hate Hollywood. -- Orson Welles
Movies can only go forward in spite of the motion picture industry. -- Orson Welles
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jdb1
Nah, Moira, I don't think that's necessarily so - it looks like one of her normal expressions. Later in life, when she made the rounds of latenight talkshows, that look was a common one for her. She said perfectly civil things, but looked like she was smelling bad cheese. I guess in this photo she is forshadowing her plastic-surgery face (if at that point she didn't already have one).
Actually, it looks like she was snapped in the middle of a word, and you know how weird we look when that happens. You should see my office building ID photo, where I was caught saying "Aren't you ready yet?" to the photographer.
Actually, it looks like she was snapped in the middle of a word, and you know how weird we look when that happens. You should see my office building ID photo, where I was caught saying "Aren't you ready yet?" to the photographer.
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moira finnie
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Gee ChiO,
Angel Face (1952) is one of the few Marshall movies I'm sort of indifferent to, but could watch The Good Fairy (1935), High Wall (1947), Dark Angel, (1935) & Angel (1937) again with pleasure. Haven't seen them in a long time. (Hey, how many movies with "angel" in the title could one guy be in during a career?).
Hi Judith,
I like your description of Gloria Swanson as a person who often had an expression as though she's just "smelled some bad cheese." I was only kidding about her looking p.o.ed. Ms. Swanson almost always looked p.o.ed, at least to me, before and after plastic surgery. Did you ever see her on the ol' David Susskind show railing against sugar additives in food? She's right of course, but I can't help wondering if a spoonful of sugar might have gotten her to relax a bit. I'm sure that Swanson & Marshall were in the middle of deconstructing the hidden meaning of Anthony Adverse...just kidding!
Angel Face (1952) is one of the few Marshall movies I'm sort of indifferent to, but could watch The Good Fairy (1935), High Wall (1947), Dark Angel, (1935) & Angel (1937) again with pleasure. Haven't seen them in a long time. (Hey, how many movies with "angel" in the title could one guy be in during a career?).
Hi Judith,
I like your description of Gloria Swanson as a person who often had an expression as though she's just "smelled some bad cheese." I was only kidding about her looking p.o.ed. Ms. Swanson almost always looked p.o.ed, at least to me, before and after plastic surgery. Did you ever see her on the ol' David Susskind show railing against sugar additives in food? She's right of course, but I can't help wondering if a spoonful of sugar might have gotten her to relax a bit. I'm sure that Swanson & Marshall were in the middle of deconstructing the hidden meaning of Anthony Adverse...just kidding!
In the Spotlight: MARI BLANCHARD
The voluptuous and exotic looking beauty was born Mary Blanchard on April 13, 1927 in Long Beach, California.
She trained from childhood for a dancing career, but a bout with polio put an end to those dreams at age nine and it took three years before she was able to walk again.
Undaunted, she became an advertising model, and
in the late 1940s, had been a successful print model and film extra.
Blanchard was discovered in 1950 after being seen by a producer in an advertisement for bubble bath. With her well endowed full figure and exotic beauty, she was a natural for Hollywood films of the period.
From 1951 to 1952, she took small roles in a number of films at MGM, RKO, and Paramount, until she was signed by Universal-International in 1952. Her first film at the studio was "Back at the Front" in 1952 with Tom Ewell and Harvey Lembeck.
Mari between Harvey Lembeck & Tom Ewell in "Back at the Front" (1952)
Possessed of a striking but somewhat synthetic beauty, Mari was most effectively cast as tarts, homewreckers, and other assorted villainesses.
Mari: A knockout on the beach
Her most prolific work was in tongue-in-cheek exotic roles, such as the Queen of Venus in "Abbott and Costello Go to Mars" (1953) and the Arabian princess in "Son of Sindbad" (1955).
Mari between Bud & Lou in "Abbott & Costello Go to Mars" (1953)
She concentrated her efforts primarily in comedies and westerns but acted in a variety of film genres. One of her most memorable roles was as Brandy the saloon gal in "Destry" opposite Audie Murphy in 1954.
Her films included, "On the Riviera", "Ten Tall Men" with Burt Lancaster, "The Veils of Bagdad" with Victor Mature, "Rails Into Laramie" with John Payne, "Black Horse Canyon" with Joel McCrea, "The Crooked Web", "Jungle Heat", "No Place to Land", etc.
Mari with Joel McCrea in "Black Horse Canyon" (1954)
Mari romancing John Payne in "Rails Into Laramie" (1954)
Mari (above) as the gorgeous Brandy in "Destry" (1954)and a wounded Mari being comforted by Audie Murphy in the same film (below).
Mari as Iris Lee LaVonne in "No Place to Land" (1958)
She also was seen in numerous TV episodes including "Sugarfoot", "Laramie", "Bronco", "Sea Hunt", "Rawhide", "77 Sunset Strip", "Perry Mason", and "It Takes a Thief".
In 1960, Mari appeared as hotel-owner Kate O'Hara in the shortlived TV series "Klondike", but was dropped from the project when it switched formats in 1961 and was retitled "Acapulco" (what a stretch of locations).
Mari Blanchard's last screen appearance was in 1963, as the likeable town madam in John Wayne's "McLintock!" (she is but one of many townsfolk who refuses to shelter Maureen O'Hara when Big John sets out to give O'Hara a public spanking).
Blanchard retired, acting in just a few TV programs afterward.
In the early to mid 1950s, she dated a string of men, including Hollywood attorney Greg Bautzer, once Joan Crawford and Lana Turner's paramour. Later, she dated singer Mel Tormé before marrying Vince Conte (her second marriage).
Mari Blanchard 1927 - 1970
She was diagnosed with cancer in the 1960s and, after a long struggle, passed away at the Motion Picture Country Home and Hospital in May 1970. She was 43 years old.
The voluptuous and exotic looking beauty was born Mary Blanchard on April 13, 1927 in Long Beach, California.
She trained from childhood for a dancing career, but a bout with polio put an end to those dreams at age nine and it took three years before she was able to walk again.
Undaunted, she became an advertising model, and
in the late 1940s, had been a successful print model and film extra.
Blanchard was discovered in 1950 after being seen by a producer in an advertisement for bubble bath. With her well endowed full figure and exotic beauty, she was a natural for Hollywood films of the period.
From 1951 to 1952, she took small roles in a number of films at MGM, RKO, and Paramount, until she was signed by Universal-International in 1952. Her first film at the studio was "Back at the Front" in 1952 with Tom Ewell and Harvey Lembeck.
Mari between Harvey Lembeck & Tom Ewell in "Back at the Front" (1952)
Possessed of a striking but somewhat synthetic beauty, Mari was most effectively cast as tarts, homewreckers, and other assorted villainesses.
Mari: A knockout on the beach
Her most prolific work was in tongue-in-cheek exotic roles, such as the Queen of Venus in "Abbott and Costello Go to Mars" (1953) and the Arabian princess in "Son of Sindbad" (1955).
Mari between Bud & Lou in "Abbott & Costello Go to Mars" (1953)
She concentrated her efforts primarily in comedies and westerns but acted in a variety of film genres. One of her most memorable roles was as Brandy the saloon gal in "Destry" opposite Audie Murphy in 1954.
Her films included, "On the Riviera", "Ten Tall Men" with Burt Lancaster, "The Veils of Bagdad" with Victor Mature, "Rails Into Laramie" with John Payne, "Black Horse Canyon" with Joel McCrea, "The Crooked Web", "Jungle Heat", "No Place to Land", etc.
Mari with Joel McCrea in "Black Horse Canyon" (1954)
Mari romancing John Payne in "Rails Into Laramie" (1954)
Mari (above) as the gorgeous Brandy in "Destry" (1954)and a wounded Mari being comforted by Audie Murphy in the same film (below).
Mari as Iris Lee LaVonne in "No Place to Land" (1958)
She also was seen in numerous TV episodes including "Sugarfoot", "Laramie", "Bronco", "Sea Hunt", "Rawhide", "77 Sunset Strip", "Perry Mason", and "It Takes a Thief".
In 1960, Mari appeared as hotel-owner Kate O'Hara in the shortlived TV series "Klondike", but was dropped from the project when it switched formats in 1961 and was retitled "Acapulco" (what a stretch of locations).
Mari Blanchard's last screen appearance was in 1963, as the likeable town madam in John Wayne's "McLintock!" (she is but one of many townsfolk who refuses to shelter Maureen O'Hara when Big John sets out to give O'Hara a public spanking).
Blanchard retired, acting in just a few TV programs afterward.
In the early to mid 1950s, she dated a string of men, including Hollywood attorney Greg Bautzer, once Joan Crawford and Lana Turner's paramour. Later, she dated singer Mel Tormé before marrying Vince Conte (her second marriage).
Mari Blanchard 1927 - 1970
She was diagnosed with cancer in the 1960s and, after a long struggle, passed away at the Motion Picture Country Home and Hospital in May 1970. She was 43 years old.
Joseph Goodheart
