Lizabeth Virginia Scott (born Emma Matzo <29 September 1922 - January 31, 2015) is an American actress, known for her "smoky sound" and " during the 1940s and 1950s. " Having understood Sabina's role in the original Broadway and Boston stage production of The Skin of Our Teeth, she appeared in films such as The Strange Love of Martha Ivers (1946), > Dead Reckoning (1947), Desert Fury (1947), and Late for Tears (1949). Of the 22 films, she is the leading woman in all but one. In addition to stage and radio, he appeared on television from the late 1940s to the early 1970s.
Video Lizabeth Scott
Kehidupan awal
Emma Matzo was born in Scranton, Pennsylvania, the eldest of six brothers born to Mary Pennock, 1899-1981 and John Matzo (1895-1968). Several contradictory accounts have been granted for the origins of his parents, with most mentioning English, Russian, and Ukrainian. Her family lives in the Pine Brook section of Scranton, where her father owns Matzo Market. Scott marked his father as a "lifelong Republican", which influenced his capitalist views. This love of music affects Scott's voice.
Scott attends Marywood Seminary, the local Catholic daughters school. She was transferred to Scranton's Central High School, where she appeared in several dramas. After graduation, he spent the summer working with player Mae Desmond at a stock theater in the nearby community of Newfoundland. He then worked at the Barter Theater in Abingdon, Virginia. That fall she attended Marywood College, but stopped after six months.
In 1939, with the help of his father, 17-year-old Scott moved to New York City, where he lived at Ferguson Residence for Women. During this time, Scott read Maxwell Anderson's Mary of Scotland, a play about Mary, Queen of Scots and Elizabeth I, from which she came from the stage name of "Elizabeth Scott." He then drops the "E".
Maps Lizabeth Scott
Debut
In late 1940, an 18-year-old Scott auditioned for Hellzapoppin (1938). From several hundred women, she was chosen by John "Ole" Olsen and Harold "Chic" Johnson, the original Broadway production star. He was assigned to one of three street companies, Scott led by Billy House and Eddie Garr. On his first professional job, he was billed as "Elizabeth Scott". The tour opened on 3 November 1940, at Shubert Theater in New Haven, Connecticut. He did blackouts and other sketch comedy types during his 18 month tour of 63 cities across the US.
Michael Myerberg has just moved the experimental production from New Haven, Connecticut, to the Plymouth Theater. Impressed by Scott's Sadie Thompson, he hired him as a substitute for Tallulah Bankhead, despite Bankhead's protests. Bankhead is the star of the new game Thornton Wilder The Skin of Our Teeth (1942).
Bankhead had previously signed a contract prohibiting a replacement for the role of Sabina, whom Myerberg violated by employing Scott - a rumor of an affair between married Myerberg and a rising new player. Scott says that his fondest memories are about Myerberg telling him, "I love you," but the two eventually split up. Scott was 20 when the drama was opened - Bankhead was 40. The drama lasted from 18 November 1942 to 25 September 1943. During his time with production, Scott played the role of "Girl/Drum Majorette."
Previously, Bankhead had controlled production by not appearing for practice. Now, Myerberg could easily put Scott in place of Bankhead. Scott has admitted that Myerberg uses it to keep Bankhead under control and that Bankhead is furious about the situation. Describing his own experience with Bankhead, Scott recalled, "He never talked to me except for issuing orders, Finally, one day I was enough, I told him to say 'please,' and after that he did it.
The rivalry between the two actresses is referred to as an alternative to Martina Lawrence-Elizabeth Bergner from Mary Orr's short story, The Wisdom of Eve (1946), the basis of the 1950 film All About Eve. The legend of Broadway says that Bankhead was victimized by Scott, who supposedly forms the basis for Harrington's Fictional Hail. For eight months as a substitute, Scott never had a chance to replace Bankhead, because Scott's presence was a guarantee from Bankhead.
Rise to be famous
Hal Wallis
The continuing feud between Myerberg and Bankhead worsens Bankhead's ulcer, which causes him not to renew his contract. Anticipating Bankhead's move, Myerberg unexpectedly signed Miriam Hopkins, 39 years in March, capturing Scott off guard. The last Zinger of Bankhead to Scott is "You're as good as he is (Hopkins)." For a short time, Scott studied for Hopkins. While Scott likes Hopkins over Bankhead, he is still disappointed to be missed for the role of Sabina.
Scott finally stopped in disappointment. Before quitting, Scott replaces Hopkins for one night. When Scott finally got onto the stage as Sabina, he was surprised by the approval and appeal of the audience. His replacement as a substitute is another future of femme fatale, Gloria Hallward, 19, soon to be known as Gloria Grahame. When Michael Myerberg drew Grahame from the drama for another experimental production in Philadelphia -
On August 30, 1943, Scott once again played Sabina when George was sick. Joe Russell was at the Plymouth Theater audience that night. After that, when a friend from California came to New York on one of his biennial visits to Broadway, Russell told him about Scott's performance. Russell's friend is a film producer for Warner Bros., Hal B. Wallis.
Irving Hoffman, a New York press agent and columnist for The Hollywood Reporter, has been friends with Scott and is trying to introduce him to the people who can help him. On September 29, 1943, Hoffman held a birthday party at the Stork Club - Scott had turned 21. By coincidence or design, Wallis was also at the club that night. Hoffman introduced Scott to Wallis, who arranged for an interview the next day. When Scott returned home, he found a telegram that offered him the lead to run Boston from The Skin of Our Teeth. Miriam Hopkins is sick. Scott sent Wallis an apology, canceling the interview. Scott recalled, "When I took the train to Boston, to replace Miss Hopkins, I decided that I needed to make the name more interesting, and that's when I decided to cancel 'E' from Elizabeth." In 1945, The New Republic claimed that Scott had dropped "E" as a patriotic war movement "to save paper printing."
California
Scott appeared in the dissemination of photography Harper's , allegedly admired by movie agent Charles Feldman of Famous Artists Corporation. In a telegram to Scott, he asked him to take the screen test. She invited her to come to Los Angeles and stay at the Beverly Hills Hotel.
His first screen test was at Universal, then in International Draw William Goetz. He was rejected by both studios. Later he was tested at Warner Bros, but this time, Wallis sister Minna Wallis arranged for film director Fritz Lang to train Scott.
Wallis sees Scott's test and recognizes his potential. At the age of 22, the debut of Scott's film is the comedy drama YouCame Along (1945).
During the shoot of You Came Along , Hal Wallis showed Scott's screen test for Hollywood columnist Bob Thomas. Wallis told Thomas, "Watch how his eyes are alive and sparkling... Every now and then he reads sentences too fast, but his directions will heal him.
Paramount year
Martha Ivers
Then in 1946, 37-year-old Barbara Stanwyck, in a letter, objected to Scott's main bill in The Strange Love of Martha Ivers (1946): "I will not be starred with anyone else. in addition to a recognized male or female star. "The lawyers for Wallis and Stanwyck started work, and finally, the final billing was done by Stanwyck, Van Heflin, and Scott at the top, with newcomer Kirk Douglas in second place, but Wallis's interest in promoting Scott is obsessive. The AFI page on Martha Ivers notes:
Director Lewis Milestone quoted in an article in Los Angeles Sun Mirror on December 8, 1946 has said that he will never make another image with producer Hal Wallis because Wallis wants to reboot the scene in this movie for more much more. close up photo of Lizabeth Scott; Milestone reportedly told Wallis to shoot them himself - which he did.
Wallis eventually added extra Scott footage at the expense of Stanwyck's screen time, which then led to contretemps between Stanwyck and Wallis. Regarding the first film noir, Scott remembers how strange it is to be in a movie with Stanwyck and only have one brief scene together. Screenplay by Robert Rossen illustrates two separate storylines that run in parallel - dominated by Martha Ivers (Stanwyck) and others by Antonia "Toni" Marachek (Scott). The Heflin character, Sam, is the relationship between the storyline, which only overlaps in a scene where Martha and Toni meet femme fatale.
In June 1946, Scott gained the distinction of being the first Hollywood star to visit England since the end of World War II. He was there to attend the London premiere of Martha Ivers and conduct a promotional tour across the country. While Scott was still in England, filming began in a new noir that joined Scott after he returned: Dead Reckoning .
Dead Reckoning
Columbia originally addressed Rita Hayworth for the role, which was busy with The Lady from Shanghai (1947). As a result, Scott borrowed from Hal Wallis.
At the age of 24, Scott's billing and portraits are the same as Humphrey Bogart on movie lobby posters and in commercials. Most often portrayed in publicity silence is Jean Louis's dress-and-glove dress worn in a nightclub scene. In September 1946, the Motion Picture Herald poll voted him the "seventh most promising" star of the future. "Production took place June 10-September 4, 1946. It aired in New York on the week of January 23, 1947. Despite the initial positive publicity, the long-term effect of Dead Reckoning was for the former comedian's typecast for her, a whole career.
1940s
With the advent of World War II, a new type of Hollywood actress appeared on the big screen. The California historian Kevin Starr describes it as follows:
The stars appeared in 1940, on the contrary - Rita Hayworth, Ann Sheridan, Ida Lupino, Lupe VÃÆ'Ã… © lez, Marie Windsor, Lana Turner, Lizabeth Scott - each having a certain violence, invisible shield and defensive attitudes, which suggested the moment was getting serious and the comedy would not be able to handle all the problems... Just a few years earlier, Hollywood had been presenting platinum blonde, honest, sexy, self-actualizing. Now with the war, the impropriety has become very mature.
This "hard" quality appeared in two of Scott's previous films and was repeated in Desert Fury (1947), the second noir that was filmed in color and also in the Western.
In December 1946, Scott re-starred with Lancaster, Corey, and Douglas, at Wallis's I Alone (1948), a story of betrayal and noirish retaliation.
More drama takes place behind the scenes of the movie, originally titled Deadlock. Kay Lawrence's role was originally meant to be Kristine Miller's escape role, but Scott, who once competed with all the other actresses, had a role for herself.. Miller later recalled, "(Wallis) is planning on starring me on 'I Walk Alone.' He tested me with Burt, it was a great test, but then Lizabeth Scott decided he wanted the role, and Lizabeth got everything he wanted - from Hal Wallis! (Laugh) So I got the second part instead. "Douglas, while working with Lancaster in the film, notes:
Lizabeth Scott plays the girl involved in the movie. In real life, he was involved with Hal Wallis. It's a problem. Very often, he will be in his office for a long time, appearing with teary eyes, and difficult to work with the rest of the day.
Although the relationship between Lancaster and Scott had been romantic before, a failure. Lancaster's behavior toward Scott was cold, especially during a kiss scene, which made Scott look annoyed. On April 9, 1947, Lancaster tried to break his seven-year contract with Paramount. He claims it violated a previous freelance deal, but added that he did not want to work with Scott again. Apart from all the problems among cast and past critics, I Walk Alone is usually now classified as a classic noir movie.
In January 1948, 26-year-old Scott played his third and final role in second favorite movie among his own films - Error (1948) with Dick Powell and Jane Wyatt as an age couple growing apart. Director AndrÃÆ'Â © de Toth explains the reason for casting Mona:
I want Lizabeth Scott. I do not want some blond with big breasts. You have to believe that this girl is real. Even if I take one of the over-sexed types that can not act, it will change how Powell's character is drawn into the affair. Remember the essence of the scenario is that he's just a mid-level insurance investigator. She's tired of her job, spending time in her little office with a dull secretary. So I can make a different picture, with a girl prettier than Lizabeth Scott, and tell the story about the girl, the thing is, but it's not this movie. It will make it fake, if you throw it with Marilyn Monroe, type like that. I need a real person.
In May 1948, it was announced that Jane Greer and Robert Mitchum would star in a football-themed story by Irwin Shaw, originally titled Interference. After that, Lucille Ball replaces Greer and Victor Mature replaces Mitchum. Scott is scheduled to play the club secretary. Later, he replaced Ball as a leading lady. The reason for switching roles is unknown, although Ball never forgave Mature for his rudeness when they made Seven Days' Leave (1942). The 37-year-old's ball was in a career slump at the time and had to take a secondary role meant for Scott. The final film, entitled Easy Living (1949), received a generally negative response when it was released. Reviews of the New York Times are amazingly positive, though they undermine Scott's performance.
In September 1948, Scott played the lead female role in Too Late for the Tears , with Don DeFore, Dan Duryea, Arthur Kennedy, and Kristine Miller. Black and white noir Hitchcock is widely regarded as Scott's best film and performance. But the film was a box-office failure when it was released, and producer Hunt Stromberg was forced into bankruptcy. Decades later, a film historian notes the power of this film: " Late for the Tears is a relatively unknown and invisible noir and deserves this recognition, especially for the storyline , acting, and the incredible performance of Lizabeth Scott in the role of femme fatale. "
At the end of 1948, Scott shifted dramatic teeth in Paid in Full (1950).
On Tuesday, January 25, 1949, Scott fainted and became hysterical on the set of RKO The Big Steal (1949). He immediately stopped after three days of production. According to Scott's successor, Jane Greer, Scott quit because he worried about getting in touch with prominent Robert Mitchum, who was then imprisoned on the local honor farm for marijuana confidence - Mitchum was sentenced on January 10, 1949. It was later alleged that Hal Wallis was responsible for Scott's bowing. However, Scott starred with Mitchum in the RKO movie two years later. During the same period, the press reported rumors of Scott's stage fright. Scott admitted stage fright, explaining his absence during his film premiere.
During Scott's recovery, Walter Winchell, in his "On Broadway" column for June 9, 1949, repeated rumors of Scott's marriage coming to Mortimer Hall, CEO and president of KLAC radio station. Scott and Hall then disbanded. (Hall eventually marries actress Ruth Roman, chases Rosemarie Bowe, who looks like Scott, divorced Roman, and later marries Diana Lynn, Scott's fellow at Paid in Full.)
On June 22, 1949, Scott reportedly recovered from the January episode and will be loaned by Hal Wallis to the Princeton Drama Festival. In July 1949, Scott returned to the stage in the drama Philip Jordan's Anna Lucasta at the McCarter Theater, on the campus of Princeton University, New Jersey. The press reported: "People who expect fireworks when Liz Scott and Banker Tallulah cross the street at the Princeton Drama Festival are very disappointed, it's all sweet and light."
Finally, Scott decided to legalize his stage name. Having been professionally known as "Lizabeth Scott" for nearly seven years, he officially changed his name from Emma Matzo on September 14, 1949.
1950s
Scott acted in four films in 1950. In an ongoing effort to escape his typining fatale femme, Scott plays another Allyson-like character who sacrifices himself before returning to his usual singer/social role. In The Company She Keeps (1951), she acts as Joan Willburn, an experimental officer who sacrificed her fiancée to a cunning prisoner, Diane Stuart (Jane Greer). While Greer's beauty is degraded for the movie, Scott does. As a result, critics are generally not convinced that the leading man would choose Diane over Joan. Most critics think that Scott and Greer were wrong, and should switch roles. Columnist Erskine Johnson writes, "Lizabeth Scott is in the second reach image for Mabel's Mabel-handkerchief for RKO."
Scott played the third torch-singer role in Dark City (1950), the traditional noir film. Her boyfriend, Danny Haley - Charlton Heston in his film debut - is a bookie that is the real target of a vengeful brother who Haley deceived. Initially, Burt Lancaster acted as leader, but he refused to work with Scott again.
In a May interview, Scott said he was reading the entire Aldous Huxley oeuvre. In another interview, he admitted almost joined the "sect" supported by Huxley, but not because of the necessary poverty oath. Huxley explores reincarnation and destiny, in which Scott also confessed during the interview. During Scott's spiritual quest, he finally met the Dalai Lama at a private reception at the Los Angeles County Museum of Art. However, on the other hand, Scott is a friend and reader of Ayn Rand, an Aristotelian atheist. Later that year, Scott was thrown to do a summer version of Tennessee Williams' Summer and Smoke (1948). Instead, he quit his production and audited two morning courses - philosophy and political science - for six weeks at the University of Southern California.
In "Two of a Kind" (1951), Scott plays Brandy Kirby, a socialite who seduces a gambler, Michael "Lefty" Farrell (Edmond O'Brien), to join the capers. Red Mountain was set in the 1860s, starring Scott as Chris, the only member of his family who survived the American Civil War. Red Mountain is the second of three Western Scotts, though the only non-traditional noir.
Scott played the role of singer-the fourth and final torch in The Racket (1951), another conventional noir. Irene Hayes (Scott) is caught in a struggle between the captain of the big city police (Robert Mitchum) and the local crime boss (Robert Ryan), who resembles real life Bugsy Siegel. The film was released two months after the Kefauver hearing, in which Virginia Hill, and Mrs. Siegel, denied having any knowledge of organized crime. While Irene Hayes is thought to emulate smoky Hill, Scott denies the rumor.
Scott returned to England in October 1951 to film Stolen Face (1952), a noir who organized Alfred Hitchcock Vertigo (1958) for several years.
Later that spring, Scott returned to his beginning as a comedian when he started working on his first comedy noir, Scared Stiff, with Dean Martin and Jerry Lewis. Scott plays an heir who inherits a haunted castle on Lost Island off the coast of Cuba. Though Scott has wonderful memories of working on the set for years to come, at the time of filming, he finds it a try. Scott finds Lewis's impersonation of her offensive, while the jealous Halcy instructs director George Marshall to not let the romantic scene between Scott and Martin become too steamy. Despite Scott's best efforts, including making excuses for Lewis's behavior to the press, most of his scenes were cut. The film premiered the week of May 28, 1953 in Los Angeles. Despite negative experiences and reviews, Scared Stiff remains Scott's third favorite movie.
In April 1953, 30-year-old Scott made his last film as a Paramount contestant. In Bad for One Another (1953), Scott plays a decadent heir trying to dominate a poor but idealist physician (Charlton Heston). The material source for the scenario, Horace McCoy's novel Scalpel , is more nuanced than the linear morality game Bad For Each Other. This film is Wallis Hal's last attempt to pair Burt Lancaster and Scott. Patricia Neal originally served as Helen, but when Scott replaced Neal, Lancaster had to be replaced by Heston. Although Heston and Scott had previously worked together at Dark City, feuds were reported between the two on the set. This movie is a box-office failure. Eight months later in February 1954, Wallis and Scott split up. Scott is now a freelancer.
In April 1954, Scott attended the Cannes Film Festival. Although he went to London soon after the festival, his visit to France brought unforeseen consequences. Later that month, it was announced that she would host High Adventure (1957-1958), a television series trip for CBS, but she never appeared in it. As Scott said: "... from the bright blue sky one morning, I woke up and decided that I never wanted to make a movie again, it was just a spark, I can not explain it."
Critical reception
Although public response to Scott was generally favorable during Paramount's years, film critics lacked it, repeatedly making unfavorable comparisons to Lauren Bacall and Tallulah Bankhead, beginning with Bob Thomas' March 1945 comments on his screen test: "His rasping voice might make Lauren Bacall sounds like soprano mezzo. "When today's most famous critic, Bosley Crowther of The New York Times, gave a bad review about You Came Along (1945), debut Scott's film, he recalls, "Being so young and naive at the time, I did not know you should not do things like that, so I called him and complained, I told him how hard everyone works to make such a beautiful movie, and I do not understand how he can be so cruel I must say he is very kind, and very kind to me. "Nevertheless, in his review of I Walk Alo ne (1948), he stated, "As a torch singer... Lizabeth Scott has no more personality than a model in the window of a department store." He also wrote about "the horribly awful Lizabeth Scott, who was supposed to represent a cabaret singer" in Dark City (1950).
Scott's acting style, another characteristic of film actors in the 1940s - cool, naturalistic underplay from various sources - is often depreciated by critics who prefer a firmer stage style from the pre-film era or the style of the next method. Typical of the 40s is Dick McCrone: "Miss Scott, who is an excellent clothing horse, rounds the principal as a Lancaster mole, or else she is the same as the frozen actress she's in Desert Fury. and several photographs before that. "The current film historians who are critical of Scott repeat Bob Thomas's description of the ersatz Bacer, Bosley Crowther in describing Scott's acting as wood, or the pastiche of the actress of the time, as Pauline Kael did.
However, others, see Scott's acting in a different light. With a resurgence of interest in the appropriate noir film and acting style, beginning in the 1980s, Scott's reputation has been increasing among film critics and historians. In his Movieland, his personal history of Hollywood, Jerome Charyn describes this style as "dreamwalking": "And then, between Sister Dolly and Errol Flynn, Bing Crosby and Dotty Lamour, Bombshell Brazil, Scheherazade, Ali Baba , and the elephant boy - all the exotic fluff and exotic cakes produced by Hollywood - appear as very strange animals, dreamwalkers, such as Turhan Bey, Sonny Tufts, Paul Henreid, Alan Ladd, Veronica Lake, Lizabeth Scott and Dana Andrews, whose faces have quality frozen and always seem to be half asleep... The Dreamwalker seems to reflect all our own fears. "His numbness (and he) is the crazy cinematic energy behind (the Second World)) of war."
Radio
During the Golden Age of Radio, Scott changed the role of his film in a radio version that was strung together. What is typical is his performance at Lux Radio Theater: You Came Along with Van Johnson in the role of Robert Cummings and I Walk Alone . Scott is also guest/guest speaker at Family Theater.
Secret
Rushmore Stories
After being fired from the New York Journal-American in 1954, Howard Rushmore became editor-in-chief of a New York magazine scandal, Confidential . For Rushmore, it is back to his days as a film critic of the Communist Workers , but on the other side. He was fired from Workers in 1939 for providing an ambivalent review of Gone with the Wind (1939). The shooting made the front pages of all the major New York City newspapers. Rushmore became a professional anticommunist. Among the heroes of Rushmore is Wisconsin Senator Joseph McCarthy. Rushmore is a short research director for the Senate Subcommittee on Permanent Investigations under McCarthy. In early 1955, a few months after the Army-McCarthy hearing and the premiere of Silver Lode, Rushmore wrote an exposition of Lizabeth Scott, the second generation of Republicans and Catholics from Family Theater . The publisher, Robert Harrison, was initially interested, but skeptical. To verify some aspects of his story, he hired a non-working actress, Veronica "Ronnie" Quillan, for lunch with Scott, gave Quillan a chance to graduate at Scott. Quillan will be tapped with a watch microphone provided by the Hollywood Detective Agency, but the owner of the bureau, H. L. Von Wittenburg, backed down and the plan was never implemented. Despite the lack of evidence, Secret sent a copy of the story to Scott himself.
What Scott read about was that police raids took place in a Hollywood Hills bungalow at 8142 Laurel View Drive the previous fall. Two adult women, one adult male, and a 17-year-old woman were arrested on charges of prostitution. Police found an address book with names and phone numbers from various people in the film industry, including two numbers suspected to belong to Scott. "HO 2-0064" has a Hollywood prefix and is the occupancy number of the elderly couple, Henry A. and Mamie R. Finke, from 4465 West 2nd Street, Los Angeles, while "BR 2-6111" belongs to the 20th Century Fox Switchboard in 10201 West Pico Boulevard, Los Angeles. Scott did not work for the 20th century until 1956, when he took part in the episode of The 20th Century Fox Hour.
Rushmore's article further states that Scott spends his time outside working hours with "the weird Hollywood society of baritone babes" (euphemism for lesbians). He also attributes Scott's trip to Cannes with a Parisian woman named "Frede", "In a cruise to Europe, (Scott) goes directly to Paris and the left bank where he picks up with Frede, the most famous Lesbian queen and operator of the nightclub dedicated to entertaining irregularities like himself. "Frà © à © dà © à © rique" Frà © Ã… © dà ©  © "BaulÃÆ' © manage" Carroll's, "a top-class nightclub, cabaret-type at 36 Rue de Ponthieu, Paris, France. It featured the main entertainers of the day such as Eartha Kitt and devoted exclusively to the entertaining cafà © community. One of the owners is Marlene Dietrich, who happens to be the subject of "The Untold Story of Marlene Dietrich" in the current edition of Secrets.
Hollywood Research Inc. is the new intelligence-gathering front Secrets . Run by Marjorie Meade, a 26-year-old nephew of Robert Harrison and one of the most feared people in Hollywood since his arrival in January 1955. Once the proposed story is gathered, it is usually either he or the agent visiting the subject and presenting the copy with a "buy back" proposal. But instead of paying for a magazine not to publish the article, Scott sued. On July 25, 1955, two months before the publication date of the issue, and when Marlene Dietrich's problem was still in the newsstands, Scott's lawyer Jerry Giesler initiated a $ 2.5 million lawsuit.
1957 mistrial
In retaliation, Secret publishes Scott's story in the next edition. Under the "Matt Williams" byline, it's titled "Lizabeth Scott in Call Call Call Call". In November 1955, at the age of 33, Scott again went to England to film The Weapon (1957).
The following spring, despite Giesler's warranty to the press, legal proceedings against Secrets did not occur. Because the magazine is domiciled in the state of New York, and Scott is a California resident who has started a lawsuit in his own country, Los Angeles judge Leon T. David dismissed Scott's lawsuit on March 7, 1956, arguing that the magazine was not published in California. Regardless of this setback, Giesler says that he will refile in New York. Lawsuits from other actors against magazines pile up. Meanwhile, Rushmore tries to get Harrison to publish stories about former First Lady Eleanor Roosevelt supposedly having an affair with his African-American driver. When Harrison refused, Rushmore stopped and flew to Los Angeles to meet with Scott's lawyer, Jerry Giesler. Rushmore offers to testify against Secret in exchange for a job in Hollywood. Giesler declined the offer. Later, Rushmore became a witness to California Attorney General Edmund "Pat" Brown. Because New York refuses to allow Brown to extradite Harrison to California, Brown instead puts Hollywood research and Harrison's niece in court. On August 7, 1957, the trial of The People of the State of California v. Robert Harrison, et al. started. This eventually involved more than 200 actors, most of whom escaped from California to avoid a defense court call. Rushmore, who is now a state star witness, testified that the magazine consciously publishes unverified allegations, despite its reputation as a double checking fact: "Some of the stories are true and some have nothing to support them at all. refusing defamation, lawyers and getting on with something. "
According to Rushmore, Harrison told lawyers, "I'll get out of business if I print the kind of stuff you want." Ronnie Quillan himself testified in the same court that he never verified Scott's story, so it did not make the story "as proof", but Rushmore agreed to publish it. However, a cancellation of the trial was announced on 1 October 1957, when the jury could not agree on a verdict.
Behind the sensational 1957 trial, Scott was forgotten by the media. Though later claiming that Scott's film career had been undermined by the Secret scandal, when the September 1955 Secret issue appeared, his career was inactive. Scott had begun his career at a time when many established actors went to war, giving then unknown as Scott had a chance of becoming a star. When the older stars return, many new stars fade away. In addition, the emergence of television and the breakup of the studio system further restricted the film production. Film historians generally agree that Scott's career basically peaked between 1947 and 1949. In February 1953, his stage fright was such that he even hid from his friends. Scott did not renew his Paramount contract in February 1954, 18 months before "Lizabeth Scott in Call Book Call Calls" was published. Between the end of his contract and Rushmore's article, he has rejected many scripts, including the inside of Wallis 'The Rose Tattoo' (1955). Instead of reinventing himself as Bacall did, back to Broadway, Scott chose another path.
Music
Erskine Johnson reported in January 1954 that Scott was being trained by Hollywood voice singer Harriet Lee, and later by Lillian Rosedale Goodman - the end result was that Scott "had a two octave vocal range, A under C to C High," making Scott a mezzo -soprano. In July 1956, Johnson reported that Scott was under the management of Earl Mills, who also managed the singing career Dorothy Dandridge. Scott plans to debut as a torch singer on the nightclub circuit.
Scott re-emerged from retirement in Loving You (1957), Elvis Presley's second musical. During the filming of Loving You, Scott is reportedly infatuated with Presley. During the kiss scene, she happily bit her cheeks, leaving a red mark, which she calls "just a little love snack." The scene should be reshot with the other side of his face to the camera. However, Scott's musical debut is useless. Although Hal Wallis tried to get Scott's singing voice that was not outlined for production, he was ruled out by the head of the studio, despite all previous voice training from Scott. Production took place from late January 1957 to mid-March 1957.
Undaunted by Paramount's refusal to let her sing to be heard, Scott signed a recording contract with Vik Records (a subsidiary of RCA Victor). Scott recorded his album with Henri Renà ©  © and his orchestra in Hollywood on October 28, 29, and 30, 1957. Simply titled Lizabeth , 12 songs are a mixture of funny and funny torch song and ballads. Finally on April 23, 1958, Scott made his public singing debut on CBS ' The Big Record .
Next year
Television
In 1960, Scott continued to be a guest on television, including the famous 1960 episode of Adventures in Paradise , "The Amazon," across from Gardner McKay. Scott plays a titular character, which comes from a boyfriend's dialogue: "He is a slim, well-boned tiger, a man-eating shark - an Amazon! He chews men and spits it out." In the episode of Burke's Law, Who Killed Cable Roberts? (1963), he endured it as a unhappy widow of a great hunter-a famous celebrity. Most of his personal time, though, is dedicated to classes at the University of Southern California.
FiancÃÆ' Â ©
In May 1969, Scott's future marriage to oil executive William Dugger of San Antonio, Texas was announced after a two-year engagement. At the end of 1969, musician Rexino Mondo helped Scott decorate his fiancé house on Mulholland Drive before the wedding: "Liz... introduced me to his fiancée, Texas oil baron William Lafayette Dugger, Jr. He was in his late forties, medium build, handsome, with black hair, warm personality, and strong handshakes. "Dugger himself describes Scott as" The misguided soul who seeks love. "His outward appearance is only a shell." Dugger plans to make a movie in Rome starring Scott, but he suddenly dies on August 8, 1969. A handwritten handwritten to his will leaves half his land to his fiancée contested by Dugger's sister, Sarah Dugger Schwartz. The will is declared invalid in 1971.
Earlier to Dugger, some books claimed Scott was Hal Wallis's stockpile, then married actress Louise Fazenda. Wallis has fallen out with Scott around the time of Bad for the One Other , with allegations on the Wallis section. After Scott was free for several years, Wallis sought to revive the relationship by making Scott the leading woman in front of Presley, as this was probably his last chance to star Scott in anything. After the filming was over, Scott left the movie acting to try his hand to sing. The 14-year relationship that began at the Stork Club in 1943 ended. Scott himself knew the relationship was over - only Wallis still denied it. After Louise's death in 1962, Wallis became depressed and became a hermit before marrying Martha Hyer in 1966. In the next life, she was reluctant to talk about Scott, even though the urgent Hyer urged him to include Scott and his other boyfriend in his book. autobiography. Though Casablanca is the film Wallis is most proud of, which she watched over and over is Lizabeth Scott. Even during her second marriage, Wallis continued to filter Scott's movies at home, night after night.
In 1948, Scott was reportedly divorced from the Russian Prince, Stass Reed. In 1953, Scott was engaged to architect John C. Lindsey, who later became Diana Lynn's first husband before Mortimer Hall. Despite the Secret article, Scott remains active on the Hollywood dating circuit, but the accusations continue to haunt him. A friend, David Patrick Columbia, said: "One night when he drove him home from the party we were going to, he said there was nothing we talked about," and you know David, I'm not a lesbian. '"Scott himself tended toward the secrecy of his personal relationships and previous publicly despised dates telling all to the press.After their date appeared in the media,"... the man left my dating list... "I thought, 'said Miss Scott,' that men do not know. '"In 1948, Burt Lancaster said of Scott:" Being close friends... is a' long stretch of hard work. "" In the period between 1945 and 1970- the press reported Scott dating Van Johnson, James Mason, Helmut Dantine, plastic surgeon Gregory Pollock, Richard Quine, William Dozier, Philip Cochran, Herb Caen, Peter Lawford, Anson Bond from a clothing chain clothing chain, Seymour Bayer of the pharmaceutical family , Marquess of Milford Haven, owner of Gerald "Jerry" racing track Herzfeld, and Eddie Sutherland, among others. Burt Bacharach dated Scott during his breakup with Angie Dickinson. According to Bacharach: "He personifies what I love about a woman, who is not too feminine but a little masculine, just the strength and coolness and separation of the lacy woman who always touches you and wants something... I think Diane Keaton has that quality. "
Late career and death
Scott made his last movie appearance in his second comedy noir, Pulp (1972), alongside Michael Caine and Mickey Rooney in the pastiche nostalgia of the noir tropes. Screenwriter and screenwriter Mike Hodges spent a long time persuading Scott to retire to Malta for filming. Scott said that when he enjoyed Malta, he was unhappy that most of his footage was cut - eight scenes. Hodges for his part reports that Scott is challenging to work with while photographing and struggling with nerves. Although disputes among past players, crews, and critics, Pulp , as with 1949 Late for the Tears , are increasingly perceived as artistic success by film historian.
After that, Scott distanced himself from the public view and rejected most interview requests. Since the 1970s, he has been involved in the development of real estate and voluntary work for charitable activities, such as the Project HOPE and Ancient Art Board of the Los Angeles County Art Museum, where he became a major donor.
Unlike her favorite actress, Greta Garbo, Scott's exile is not total. She keeps dating in a circle near the old Hollywood guys. "One of his best friends is singer Michael Jackson, and on a very rare occasion, he can be seen on his arm." Nor did he forget Wallis. He appeared on stage at an American Film Film award to Wallis in 1987 and gladly recalled his time with him. In 2003, film historian Bernard F. Dick interviewed Scott for his biography of Wallis. The result is an entire chapter entitled "The Morning Star," in which the author observes that Scott can still read his opening monologue from Our Dental Skin, which he had studied six decades earlier.
Scott died of congestive heart failure at age 92 on January 31, 2015.
Lizabeth Scott has a star on the Hollywood Walk of Fame at 1624 Vine Street in Hollywood.
Movieography
References
External links
- Lizabeth Scott 1996 Interview Part 1 of 8, Soap Box & amp; Praeses Productions
- Lizabeth Scott at the American Film Institute
- Lizabeth Scott on IMDb
Source of the article : Wikipedia
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