Lizabeth Scott

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Lizabeth Scott

Lizabeth Scott, 1947
Born Emma Matzo
(1922-09-29) September 29, 1922
Dunmore, Pennsylvania, U.S.
Other names Elizabeth Scott
Education Marywood College, Alvienne School of Drama
Occupation Actress, singer, model
Years active 1942-1972
Height 5'6" (1.68 m)
Religion Catholic

Lizabeth Scott (born September 29, 1922) is a American film actress, known for her deep voice and smoky sensual looks. After performing the Sabina role in the first Broadway and Boston stage productions of The Skin of Our Teeth, she emerged internationally in such films as The Strange Love of Martha Ivers (1946) with Barbara Stanwyck, Dead Reckoning (1947) with Humphrey Bogart, Desert Fury (1948) with John Hodiak, and No Time for Tears (1949) with Don DeFore. No other actress has appeared in more film noirs.

Early life

She was born Emma Matzo[1] in Dunmore, Pennsylvania,[2] oldest of nine children born to John and Mary Matzo. In the 1940 US Census, the parents listed their birthplace as Austria (then Austria-Hungary).[3] Historian Paul R. Magocsi and Yale professors David Levinson and Melvin Ember[4] describe her parents as Rusyns, a stateless ethnicity often confused with others,[5] coming from Uzhhorod in what was then Carpathian Ruthenia, now part of Ukraine.[6] Other reference works and interviews with Scott have given conflicting accounts of the ethnic origins of her parents.[7][8][9][10] The family moved to the Pine Brook section of Scranton, where John Matzo owned a grocery store.[11]

Scott has attributed her famous accent and diction to weekly lessons at a local elocution school, held in "the living room of a Victorian house, where a Grande Dame would preside..."[12] The depth of her voice she attributed to heredity as a younger sister, a New York model,[13] had a similarly deep voice.[14] In addition, she was given piano lessons. When asked what was the best advice she was given, Scott replied, "I don't know, but I sure didn't take it." However, Scott mentioned Ralph Waldo Emerson's Essays series as having the greatest influence on her and Marcel Proust's Remembrance of Things Past as her favorite book of all time.[15]

Scott attended John Adams Elementary, Central High School (now Lackawanna College) and Marywood College (now Marywood University). Mary Matzo wanted her daughter to become a journalist. But Scott said she would either become a stage actress—or a nun. Her mother relented. With her father's help, Scott went to New York City in 1941 and attended the Alvienne School of Drama[16] in the Grand Opera House on 8th Avenue and 23rd Street.[17] She studied there for 18 months.[18] During this time, Scott studied Maxwell Anderson's Mary of Scotland, a play about Mary, Queen of Scots and Elizabeth I, from which she derived the stage name "Elizabeth Scott." She would later drop the "E" from Elizabeth.[19][20]

Debut

After performing on the 1942 national tour of Hellzapoppin "as a chorus girl and sketch player,"[21] the 19 year old Scott returned to New York, where she joined the 52nd Street Stock Company Theatre,[22] a summer stock company on the then equivalent of off-Broadway. Eventually, she starred as Sadie Thompson in John Colton's play Rain. Though no drama critic reviewed the play,[23] one Broadway producer saw it.[24]

Michael Myerberg just moved an experimental production from New Haven, Connecticut to the Plymouth Theatre. Impressed by Scott's Sadie Thompson, he hired her as the understudy for Tallulah Bankhead, despite Bankhead's protests. Bankhead was the star of Thornton Wilder's then new play, The Skin of Our Teeth.[25] Bankhead had previously signed a contract forbidding an understudy for the Sabina role, which Myerberg breached when hiring Scott—rumors of an affair between the married Myerberg and the new understudy were rife. Scott has said that her fondest memory is when Myerberg told her, "I love you." But the two would eventually part.[26]

Bankhead's ill-concealed contempt for Myerberg, originating with the New Haven production, was now exacerbated. Previously, Bankhead controlled the production by not showing up for rehearsal. Now Myerberg could simply put Scott in Bankhead's place.[27] Describing her own experience with Bankhead, Scott recalled, "She never spoke to me, except to bark out commands. Finally, one day, I'd had enough. I told her to say 'please,' and after that she did."[28]

The rivalry between the two actresses is cited as an alternative to the Martina Lawrence origin[29] of Mary Orr's short story, The Wisdom of Eve, the basis of the 1950 film All About Eve. Broadway legend had it that Bankhead was being victimized by Scott, who was supposedly the real-life Eve Harrington.[30][31] However during the seven months she was an understudy, Scott never had an opportunity to substitute for Bankhead, as Scott's presence guaranteed Bankhead's. Scott was cast as the Girl, Drum Majorette.[32] Scott was 20 years old when the play opened. Though the play ran November 18, 1942–September 25, 1943, Scott left the production in March 1943.[33]

Rise to fame

Hal Wallis

The continuing feud between Myerberg and Bankhead worsened her ulcer, leading her to not renew her contract.[34] Anticipating Bankhead's move, Myerberg suddenly signed Miriam Hopkins in March.[35] Caught off-guard, Scott quit in disappointment. Bankhead's final zinger to Scott was "You be as good as she (Hopkins) is."[36] Scott's replacement as Sabina understudy was future femme fatale Gloria Grahame, who, similarly to Bankhead-Scott, never substituted for Hopkins.[37]

Scott returned to her drama studies and some fashion modeling. Later that autumn, she received a call that Gladys George, who replaced Hopkins on August 16, 1943,[38] was ill, and Scott was needed back at the theater. She went on in the leading role of Sabina, receiving a nod of approval from critics. The following night, George was out again and Scott went on in her place.

Meanwhile, Irving Hoffman, a New York press agent and columnist for The Hollywood Reporter, had befriended Scott and tried to introduce her to helpful people. On September 22, 1943, Hoffman held a birthday party at the Stork Club—Scott had turned 21. A Warner Brothers film producer, Hal Wallis, happened to be there while on his biannual visits to Broadway. Hoffman introduced Scott to Wallis, who arranged for an interview the following day. When Scott returned home, however, she found a telegram offering her the lead for the Boston run of The Skin of Our Teeth. Miriam Hopkins was ill. Scott sent Wallis her apologies, cancelling the interview.[39] Scott recalled "On the train up to Boston, to replace Miss Hopkins, I decided I needed to make the name more of an attention-grabber. And that's when I decided to drop the 'E' from Elizabeth."[40]

California

Lizabeth Scott in You Came Along.

Hopkins recovered in two weeks and Scott was back in New York.[41] She returned to modelling. Later that year, a photographic spread of Scott in Harper's Bazaar was seen by film agent Charles Feldman. He admired the fashion poses and telegraphed Scott, inviting her to Los Angeles and stay at the Beverly Hills Hotel, all expenses paid.

On March 2, 1944, when Casablanca (1942) won the Best Picture Award at Grauman's Chinese Theatre, Casablanca's producer, Hal Wallis, rose to accept the Academy Award, but the Warner family prevented him leaving the aisle of seats. Instead, the studio head, Jack Warner, accepted the award, while Wallis looked on helplessly.[42] This incident would change the focus of Scott's career from stage to screen actress. During that same month, Scott made a five-day trip to Los Angeles and stayed at the hotel, where she was forgotten by Feldman for five weeks.[43]

After reaching Feldman on the telephone, Scott was given a test script. Being a stage actress, Scott knew nothing about screen acting. Hal Wallis' sister, Minna Wallis, arranged for film director Fritz Lang to coach Scott. Her first screen test was at Universal,[44] then at William Goetz's International Pictures. She was rejected by both studios. Then she tested at Warner Brothers. However, when Jack Warner saw the screen test, he also rejected Scott, who recalled that years later, when she attended parties at Warner's house, he never once mentioned the screen test.[45] Hal Wallis, still at Warner, saw the test in a separate screening and recognized her potential.[46] In a meeting Wallis told Scott, "If I could, I would put you under contract." But she did not believe him.[47]

Unknown to Scott, years of infighting between Jack Warner and Wallis were about to climax. Under acrimonious circumstances, Wallis left Warner Brothers for Paramount Pictures.[48] On the day that Scott was scheduled to leave for New York, Feldman rushed to the hotel and told her that Wallis had set up shop at Paramount. Scott finally got signed to a contract.[49]

At the age of 22, Scott's film debut was in You Came Along (1945) opposite Robert Cummings. Production ran February 6-April 6, 1945. Despite Scott's initial difficulties with the director, John Farrow, she soon gained his respect with her performance and force of personality. The film opened in Los Angeles on August 2, 1945.[50]

Paramount years

The Threat

Lizabeth Scott in The Strange Love of Martha Ivers.

In September 1945, Paramount public relations dubbed Scott "The Threat," which derived from a critic's description of Scott: "She's the Threat, to the Body, the Voice and the Look."[51] Actresses Marie McDonald ("The Body") and Lauren Bacall ("The Look")[52] were supposed to be threatened by Scott's arrival on the Hollywood scene. The moniker proved prophetic with Barbara Stanwyck, who, in a letter, objected about Scott's top billing in The Strange Love of Martha Ivers (1946): "I will not be co-starred with any other person other than a recognized male or female star." Lawyers for Wallis and Stanwyck hashed it out. Eventually, the final billing ran Stanwyck, Van Heflin and Scott at the top, with newcomer Kirk Douglas in second place.[53]

Wallis would continue to cast Scott in film noir thrillers, as Scott's sensuality and deep voice lent itself to the genre. Film historian Eddie Muller has noted that no other actress has appeared in so many noir films,[54] with almost three-quarters of her 22 films qualifying. Like the later Elizabeth Taylor,[55] Scott was one of those rare actresses that needed little makeup beyond lipstick.[56] In Scranton, classmates would make fun of her naturally dark brows and tow-colored hair. The smoky blonde actress was initially compared to Bacall because of a slight facial resemblance, pin-curl bobbed hair and contralto voice,[57] even more so after she starred with Bacall's husband, Humphrey Bogart, in the 1947 noir Dead Reckoning, where Bogart's character, Murdock, calls Dusty (Scott) the "Cinderella with the husky voice." When Bacall did the voice-over for a 1990s cat food commercial, people thought it was Scott.[58]

At the age of 25, Scott's billing and portrait were equal to Bogart's on the film's lobby posters and in advertisements. The film was the first of many femme fatale roles for Scott. In 1946 exhibitors voted her the seventh-most promising "star of tomorrow."[59]

Notable films

1940s

Arthur Kennedy and Lizabeth Scott in Too Late for Tears.

Possibly Scott's most famous film, Desert Fury (1947) was the second noir filmed in color. It starred John Hodiak, Burt Lancaster, Wendell Corey and Mary Astor. Astor played Fritzi Haller, a casino and bordello owner, who runs the desert town of Chuckawalla. Scott played Fritzi's daughter, Paula, who, on her expulsion from still another private school, returns home. She falls for gangster Eddie Bendix (Hodiak), and faces a great deal of opposition from everyone else. Generally panned by critics when it first appeared,[60] it has been gaining critical praise and understanding in the passing years. Even the once ridiculed outfits of Scott's—by Edith Head with the colors the Southwest in mind—play a role in the continuing fascination with the film.[61][62] The male lead, John Hodiak, previously starred with Tallulah Bankhead in Lifeboat (1944).

In January of 1948, Scott was again paired with Lancaster, Corey and Douglas in Wallis' I Walk Alone (1948), a noirish story of betrayal and vengeance. Scott is Kay Lawrence, a torch singer who befriends a convict (Lancaster), back in New York after 14 years in prison to collect a debt from Kay's ex-boyfriend, played by Douglas. Both the Lancaster and Douglas characters compete for Scott's affections. The Kay Lawrence role was originally intended to be Kristine Miller's breakout role. But Scott wanted the role herself and went to Wallis, who bumped Miller down to a secondary role,[63] a career pattern that would plague Miller till her retirement from acting. Douglas, while working with Lancaster on the film, noted: "Lizabeth Scott played the girl we were involved with in the movie. In real life she was involved with Hal Wallis. This was a problem. Very often, she'd be in his office for a long time, emerge teary-eyed, and be difficult to work with for the rest of the day."[64]

Later in August of 1948, Scott starred in Pitfall (1948) with Dick Powell, Jane Wyatt and Raymond Burr. In post-war Los Angeles, Powell is a married insurance investigator, who is seduced by the very woman (Scott) he is supposed to be investigating. He competes for her affection with a voyeuristic detective (Burr). Soon everyone is enmeshed in a murderous, five-way relationship.[65]

In July of 1949, Scott returned to the stage to star in the title role of Philip Yordan's play, Anna Lucasta, at the McCarter Theatre, Princeton, New Jersey."[66] Almost simultaneously, a film shot the previous year was released. Scott starred as the ultimate femme fatale in Too Late for Tears, with Don DeFore, Dan Duryea, Arthur Kennedy and Kristine Miller. The story again takes place in post-war Los Angeles, where the facade of a typical married couple is shattered when someone by mistake throws $60,000 into their car. In an effort to keep the money, the wife, Jane Palmer (Scott), leaves a trail of bodies to the very end.[67] This traditional black-and-white noir is widely considered Scott's best film and performance, eliciting praise even from the traditionally hostile New York Times.[68] Though shooting took place mid-September to mid-October 1948 at Republic Pictures, the film was released July 8, 1949.[69]

Finally, Scott decided to legalize her stage name. Having been known professionally as "Lizabeth Scott" for almost seven years, a judge granted on Wednesday, September 14, 1949, a request to legally change Emma Matzo to Lizabeth Scott, who was eight days from her 28th birthday.[70] In November, Scott returned to the stage: "Lizabeth Scott, out of movies for the winter, opened at the East Hartford, Conn. theater in Anna Lucasta."[71]

1950s

Lizabeth Scott in Paid in Full.

In 1950, Scott shifted dramatic gears in Paid in Full. Mousy Jane Langley (Scott), a department store illustrator, allows younger sister Nancy (Diana Lynn), a beautiful store model, to marry Bill Prentice (Robert Cummings), despite Jane's love for him. A few years later, Jane has an argument with Nancy, who catches Jane and Bill having an affair. Distraught, Jane backs up her car and accidentally kills the Prentices' child. The Prentices then divorce. Jane eventually marries Bill herself and gets pregnant, despite warnings from all around. Before Jane dies after giving birth, she gives the baby to her sister.[72] In a film reminiscent of Stella Dallas (1937) and Mildred Pierce (1945), both Cummings and the noirish screenwriter, Robert Rossen, were out of their element—but the film succeeded surprisingly well.[73] The makeup department, however, was not entirely successful in toning down Scott's looks, in contrast to the supposedly more glamorous sister.

Though Scott previously visited Britain in 1946 during a promotional tour of The Strange Love of Martha Ivers,[74] she returned in 1952 to film Stolen Face (1952), a noir that presages Alfred Hitchcock's Vertigo (1958) by several years.[75] Paul Henreid is Dr. Philip Ritter, a London plastic surgeon, who upon losing the love of an American concert pianist, Alice Brent (Scott), recreates her face on a disfigured female criminal. They marry with disastrous results when Alice returns to England.[76]

In April of 1953, Scott appeared in Scared Stiff,[77] with Dean Martin and Jerry Lewis. Scott played an heiress that inherits a haunted castle on an island off Cuba. Though Scott would recall fond memories of working on the set in the years ahead, at the time of filming it was trying. She found Lewis' impersonations of her offensive, while a jealous Hal Wallis instructed the director, George Marshall, not to let the romantic scenes between Scott and Martin get too steamy. Despite Scott's best efforts, most of her scenes ended up on the cutting room floor.[78]

That December, Scott appeared in Bad for Each Other (1953), set in her home state of Pennsylvania. In a story reminiscent of John O'Hara's Gibbsville saga, Scott is a Main Line divorcee, Helen Curtis, who tries to dominate a poor but idealistic physician, Tom Owen (Charlton Heston). Owen is a former Army doctor, who wishes to live in his coal-mining community and help the impoverished patients, but Helen tries to lure him into her jewelled world, instead.[79]

In Scott's most overtly politically-themed film, Silver Lode (1954), she returned to the Western noir of Desert Fury, only in a traditional 19th century setting. Scott is a would-be bride, whose groom (John Payne) is the target of a lynch mob on their wedding day. Dan Duryea was cast as a villain named McCarty, a thinly veiled stand-in for Wisconsin Senator Joseph McCarthy. The public response was muted[80] as the film appeared immediately after the Army–McCarthy hearings.

While Scott was signed to Paramount, she was often on loan to other studios, as was the standard practice during the Studio system era. She worked with half of the eight major studios during the Golden Age of film. As a result, almost half her output and several of her best known films were with studios other than Paramount.[81]

Critical reception

Though the response to Scott was generally favorable during the Paramount years, the most prominent film critic of the era, Bosley Crowther of the New York Times, was uniformly negative.[82][83][84] When Crowther gave a bad review of When You Came Along, Scott recalled, "Being very young and naiive at the time, I didn't know you weren't suppose to do such things, so I called him up and complained. I told him how hard everyone worked to make such a beautiful movie, and I couldn't understand how he could be so cruel. I must say he took it awfully well, and was very kind to me."[85]

Radio

During the Golden Age of Radio, Scott would reprise her film roles in abridged radio versions. Typical were her appearances on Lux Radio Theatre: You Came Along with Van Johnson in the Cummings role (July 1, 1946) and I Walk Alone (May 24, 1948).[86] One notable radio performance was the Molle Mystery Theatre episode, Female Of The Species (June 7, 1946).[87] Scott was also a guest host on Family Theater.[88]

Confidential

Rushmore's story

After being fired from the New York Journal-American in 1954,[89] Howard Rushmore became the managing editor of a New York scandal magazine, Confidential. For Rushmore it was a return to his days as film critic of the communist Daily Worker, but on the opposing side. After quitting the Worker in 1940, Rushmore investigated the very industry that produced the films he once reviewed.[90] He became a key witness in the House Un-American Activities Committee's 1947 hearings into communist influence in Hollywood. He testified against Edward G. Robinson, Charles Chaplin, Clifford Odets and Dalton Trumbo.[91] Till the spring of 1953, he was director of research for Senator Joseph McCarthy. Then he left McCarthy's inner circle for a brief stay at the Journal-American.[92]

In early 1955, several months after the Army–McCarthy hearings and premiere of Silver Lode, he wrote an exposé on Lizabeth Scott, a lifelong Republican[93] and Catholic host of Family Theater. To verify some aspects of the story, the publisher, Robert Harrison, hired an out-of-work actress, Veronica "Ronnie" Quillan,[94] to have luncheon with Scott. Quillan was to be bugged with a wristwatch microphone (Minifone) by the Hollywood Detective Agency. But the agency owner, H. L. Von Wittenburg, backed out and the plan never went through. He told Harrison over the telephone, "I think it stinks."[95] Despite the lack of evidence, Confidential then sent a copy of the story to Scott herself.[96][97]

What Scott read was that a police raid occurred on a Hollywood Hills bordello the previous autumn.[98] The bordello was run in part by John Visciglia, a film studio accountant. The police found an address book with the names and telephone numbers of various people in the film industry, including two numbers allegedly belonging to Scott. However, "HO 2-0064" had a Hollywood "HO" prefix,[99] while "BR 2-6111" belonged to the 20th Century Fox Research Library on 10201 West Pico Boulevard, Los Angeles.[100][101] Scott lived in West Los Angeles from the late 1940s to 2012.[102][103]

The article further stated that Scott spent her off-work hours with "Hollywood's weird society of baritone babes" (an euphemism for lesbians).[104] The article also linked Scott to a Parisian woman named "Frede", (Frederique Baule),[105] "that city's most notorious Lesbian queen and the operator of a night club devoted exclusively to entertaining deviates like herself."[106] Baule managed "Carroll's," an ordinary nightclub open to the general public, featuring mainstream entertainers of the day like Eartha Kitt.[107] One of the owners was Marlene Dietrich,[108] who happened to be the subject of "The Untold Story of Marlene Dietrich" in the then current issue of Confidential.[109]

Confidential would send the subjects of its stories copies as "buy-back" proposals. But instead of paying the magazine not to publish the article, Scott sued. "On July 25, 1955—two months before the issue's printed publication date, while the (Dietrich issue) was still on the stands, Jerry Giesler, Lizabeth's lawyer, instituted a $2.5 million libel suit."[110]

Aftermath

In retaliation, Confidential published the Scott story in the next issue. Since the magazine was domiciled in New York State, and Scott was a California resident who initiated the suit in her own state, the suit was stopped. "In March of 1956, Los Angeles Supreme Court judge Leon T. David granted the Confidential lawyers' motion to quash service of summons, on grounds that the magazine was not published in California."[111] In a later trial involving 200 Hollywood actors, Rushmore testified that the magazine knowingly published unverified allegations, despite the magazine's reputation for double-checking facts:[112] "Some of the stories are true and some have nothing to back them up at all. Harrison many times overruled his libel attorneys and went ahead on something."[113][114] Ronnie Quillan herself testified at the same trial that she never verified the Scott story, thus not making the story "suit proof," but that Rushmore agreed to publish it anyway.[115]

In November of 1956, Scott again went to Britain to film The Weapon (1956). After completing Loving You in 1957, Elvis Presley's second film, Scott essentially retired from the big screen. Later that year, she recorded her album, Lizabeth. In 1958, the author of the Confidential story would shoot his estranged wife and himself in a New York taxicab incident.[116] But the damage to Scott's career was done.

Music

After completing her final major film role, Scott signed a recording contract with Vik Records (a subsidiary of RCA Victor) and recorded an album with Henri Rene and his orchestra (in Hollywood on October 28, 29 and 30, 1957). Simply titled Lizabeth, the 12 tracks are a mixture of torch songs and playful romantic ballads. The album includes Willow Weep For Me, Can't Get Out Of This Mood and Cole Porter's I'm In Love Again.

The recordings were arranged by George Wyle and Henri Rene, while Herman Diaz, Jr. produced and directed.[117]

Later years

Fiancé

Lizabeth Scott in Burke's Law.

The 1960s saw Scott continuing to guest-star on television, including a notable 1963 episode of Burke's Law, "Who Killed Cable Roberts?" (1963), where she camps it up as the ungrieving widow of a celebrity big game hunter in the Hemingway mode.[118] But much of her private time was dedicated to classes at the University of Southern California.[119] Scott began taking summer courses on philosophy and political science at USC back in 1950.[120]

In the spring of 1969, the engagement of Scott to oil executive William Lafayette Dugger, Jr. of San Antonio, Texas was announced.[121] He was formerly married to the actress Mara Lane, sister of Jocelyn Lane. During the 1960s, Dugger and Scott would appear as items in gossip columns—they were seen at the Kowloon restaurant in Los Angeles,[122] in England attending a pheasant shoot, then dressing up for a cocktail party,[123] or vacationing in Acapulco.[124] Dugger planned to make a film in Rome starring Scott, but suddenly died on August 8, 1969. A handwritten codicil to his will leaving half his estate to his fiancée was contested by Dugger's sister, Sarah Dugger Schwartz.[125] The will was judged invalid in 1971.[126]

Previous to Dugger, at least three books claimed she was a mistress of Hal Wallis, then married to actress Louise Fazenda.[127][128][129] But there was a falling out between Wallis and Scott sometime before and after Loving You, with recriminations on Wallis' part. After Louise's death in 1962, Wallis became a recluse before marrying Martha Hyer in 1966.

In the period between 1945 to the 1970s, Stewart Granger, Mortimer Hall (son of newspaper publisher Dorothy Schiff), Laurence Harvey and Burt Bacharach would date Scott.[130][131][132] According to Bacharach: "She personified what I love about a woman, which is not too feminine but a little bit masculine. Just the strength and the coolness and the separation from the frilly woman who is always touching you and wanting something...I think Diane Keaton had that kind of quality.”[133]

Nostalgia

Scott made her final film appearance in Pulp (1972),[134] a nostalgic pastiche of noirs starring Michael Caine and Mickey Rooney. Scott plays a man-eating cougar, Princess Betty Cippola, who lives with the Beautiful People on Malta. One of her ex-husbands is Preston Gilbert (Rooney), an expatriate Hollywood actor. Gilbert hires a pulp writer, Mickey King (Caine), to ghost his autobiography, but murderous complications ensue. The director, Mike Hodges, spent a long time coaxing Scott out of retirement to fly to Malta for the shooting. He reported that both Mickey Rooney and Scott were tiring to work with on the sets. Rooney was overly energetic and had to be shot on rehearsal as he never repeated himself. Scott was equally as tiring as she "hadn't make a picture in 15 years and I had to really coax her into coming back." But Hodges was pleased with their performances.[135]

Since then Scott has kept away from public view and declined most interview requests. From the 1970s on, she has reportedly been engaged in real estate development[136] and volunteer work for various charities, such as Project HOPE.[137][138]

She did, however, appear on stage at an American Film Institute tribute to Hal Wallis in 1987. In 2001, she was listed as one of the celebrity guests for the Michael Jackson: 30th Anniversary Special, which screened in the USA on CBS. She was photographed next to an image of herself on the poster for The Strange Love of Martha Ivers at the AMPAS Centennial Celebration for Barbara Stanwyck on 16 May 2007.[139] She attended another screening of the film on June 28, 2010 as part of AMPAS's "Oscar Noir" series at the Samuel Goldwyn Theater in Beverly Hills.[140]

In 2003, film historian Bernard F. Dick interviewed Scott for his biography of Hal Wallis. The results was an entire chapter titled "Morning Star." In the chapter, the author observed that during the interview, Scott (around 80 or 81) was still able to recite her opening monologue from The Skin of Our Teeth, which she had learned many decades earlier.[141]

Lizabeth Scott has a star on the Hollywood Walk of Fame for her contribution to motion pictures at 1624 Vine Street in Hollywood.[142]

Filmography

Titles with an asterisk are in the public domain.

No Title Year Studio Role Director Other cast members
1. You Came Along* 1945 Paramount Ivy Hotchkiss John Farrow Robert Cummings, Don DeFore
2. The Strange Love of Martha Ivers* 1946 Hal Wallis Productions/
Paramount 		Toni Marachek Lewis Milestone Barbara Stanwyck, Van Heflin, Kirk Douglas
3. Dead Reckoning 1947 Columbia Coral "Dusty" Chandler John Cromwell Humphrey Bogart
4. Desert Fury 1947 Paramount Paula Haller Lewis Allen John Hodiak, Burt Lancaster, Mary Astor, Wendell Corey
5. Variety Girl 1947 Paramount Herself George Marshall Mary Hatcher, Olga San Juan, DeForest Kelley
6. I Walk Alone 1948 Paramount Kay Lawrence Byron Haskin Burt Lancaster, Kirk Douglas
7. Pitfall* 1948 United Artists Mona Stevens André De Toth Dick Powell, Jane Wyatt, Raymond Burr
8. Too Late for Tears* 1949 United Artists Jane Palmer Byron Haskin Don DeFore, Dan Duryea, Arthur Kennedy, Kristine Miller
9. Easy Living 1949 RKO Liza "Lize" Wilson Jacques Tourneur Victor Mature, Lucille Ball, Sonny Tufts
10. Paid in Full* 1950 Paramount Jane Langley William Dieterle Robert Cummings, Diana Lynn
11. Dark City 1950 Paramount Fran Garland William Dieterle Charlton Heston, Viveca Lindfors, Dean Jagger, Don DeFore
12. The Company She Keeps 1951 RKO Joan Wilburn John Cromwell Jane Greer, Dennis O'Keefe
13. Two of a Kind 1951 Columbia Brandy Kirby Henry Levin Edmund O'Brien, Terry Moore
14. Red Mountain* 1951 Paramount Chris William Dieterle Alan Ladd, Arthur Kennedy, John Ireland
15. The Racket 1951 RKO Irene Hayes John Cromwell Robert Mitchum, Robert Ryan, William Talman
16. Stolen Face 1952 Hammer/ Lippert Alice Brent and
Lily Conover (after surgery) 		Terence Fisher Paul Henreid, André Morell, Mary Mackenzie
17. Scared Stiff 1953 Paramount Mary Carroll George Marshall Dean Martin, Jerry Lewis, Carmen Miranda
18. Bad for Each Other 1953 Columbia Helen Curtis Irving Rapper Charlton Heston, Dianne Foster
19. Silver Lode 1954 RKO Rose Evans Allan Dwan John Payne, Dan Duryea, Dolores Moran
20. The Weapon 1957 Republic Elsa Jenner Val Guest Steve Cochran, Herbert Marshall
21. Loving You 1957 Paramount Glenda Markle Hal Kanter Elvis Presley, Wendell Corey
22. Pulp 1972 United Artists Princess Betty Cippola Mike Hodges Michael Caine, Mickey Rooney

References

  1. ↑ Emma Matzo is the name given in the 1930 U.S. census, April 8, 1930, which lists Emma Matzo, aged 8, daughter of John and Mary Matzo.
  2. ↑ "Lizabeth Scott," Filmbug
  3. ↑ 1940 U.S. Federal Population Census
  4. ↑ American immigrant cultures: builders of a nation, p. 147, David Levinson, Melvin Ember Simon & Schuster Macmillan, 1997
  5. ↑ Austria-Hungary and the Successor States: A Reference Guide from the Renaissance to the Present, p. 291, Eric Roman, Infobase Publishing, 2003
  6. ↑ Paul R. Magocsi (Bolchazy-Carducci Publishers, July 30, 2005), Our people: Carpatho-Rusyns and their descendants in North America, 4th Revised edition, p. 81. Scott's parents are described as Rusyns from Carpathian Ruthenia, in what is present-day Uzhhorod, Ukraine.
  7. ↑ Al Yaremko (September 1, 1945), "Another Ukrainian Movie Star Makes Debut," The Ukrainian Weekly, p. 33
  8. ↑ J. D. Spiro (September 11, 1949), "Lizabeth Is So Different," The Milwaukee Journal, p. 3. Interview described her mother as a White Russian, who came to the US at 16. The father is described as English.
  9. ↑ Carole Langer (1996), "Lizabeth Scott 1996 Interview" Soapbox & Praeses Productions. Scott described her ancestry as Russian.
  10. ↑ Bernard F. Dick (2004), Hal Wallis: Producer to the Stars, p. 96, described John Matzo as Italian and Mary Matzo as Slovak.
  11. ↑ "Scranton’s Grand Lady of the Silver Screen: Remembering Lizabeth Scott," Happenings Magazine
  12. ↑ Bernard F. Dick (2004), Hal Wallis: Producer to the Stars, p. 96
  13. ↑ Bob Thomas (November 17, 1948), "Ford, Lupino Do Turn-About Query," "The Evening Independent, p. 11
  14. ↑ Howard C. Heyn (January 2, 1949), "Lush, Sultry and Single," St. Petersburg Times, p. 4
  15. ↑ Burt Prelutsky (2012), Sixty Seven Conservatives You Should Meet Before You Die, p. 465
  16. ↑ Bernard F. Dick (2004), Hal Wallis: Producer to the Stars, pp. 96-97
  17. ↑ "The Alviene School of the Arts," Alviene Blogspot
  18. ↑ "Lizabeth Scott," Glamour Girls of the Silver Screen
  19. ↑ "Love that Lizabeth!", Satin and Shadow
  20. ↑ Burt Prelutsky (2012), Sixty Seven Conservatives You Should Meet Before You Die, p. 466
  21. ↑ Diana McLellan (2001), The Girls: Sappho Goes to Hollywood, p. 307
  22. ↑ "Love that Lizabeth!", Satin and Shadow
  23. ↑ Bernard F. Dick (2004), Hal Wallis: Producer to the Stars, p. 97
  24. ↑ Victor Gunson (November 7, 1946), "Treason? Film Actress Lizabeth Scott Thinks N.Y. Glamorous, Not Hollywood," Beaver Valley Times, p. 12
  25. ↑ "Michael Myerberg, Broadway Heretic," "Sunday Herald Tribune," April 14, 1946
  26. ↑ Burt Prelutsky (2012), Sixty Seven Conservatives You Should Meet Before You Die, p. 471
  27. ↑ Joel Lobenthal (2004), Tallulah!: The Life and times of a Leading Lady, p. 347
  28. ↑ Burt Prelutsky (2012), Sixty Seven Conservatives You Should Meet Before You Die, p. 466
  29. ↑ Sam Stagg (2000), All About "All About Eve," pp. 319–335
  30. ↑ Bruce Kirle ( 2005), Unfinished Show Business: Broadway Musicals as Works-in-process, p. 191
  31. ↑ Boze Hadleigh (2013), Broadway Babylon: Glamour, Glitz, and Gossip on the Great White Way, p. 194
  32. ↑ George Jean Nathan (1943), The Theatre Book of the Year, 1942-1943, p. 132
  33. ↑ IBDb Elizabeth Scott
  34. ↑ Tallulah Bankhead (2004), "Tallulah: My Autobiography," pp. 258-259
  35. ↑ David Bret (1996), Tallulah Bankhead: A Scandalous Life, p. 174
  36. ↑ Eric Braun (2007), Frightening the Horses: Gay Icons of the Cinema, p. 1927
  37. ↑ Laura Wagner (2004), Killer Tomatoes: Fifteen Tough Film Dames, p. 66
  38. ↑ Anonymous (August 15, 1943), "Myerberg 'Snatches' Gladys Right Under Hollywood's Nose," Brooklyn Eagle, p. 31
  39. ↑ Bernard F. Dick (2004), Hal Wallis: Producer to the Stars, pp. 97-98
  40. ↑ Burt Prelutsky (2012), Sixty Seven Conservatives You Should Meet Before You Die, p. 466
  41. ↑ Maud M. Miller (1948), Winchester's Screen Encyclopedia, p. 170
  42. ↑ Harlan Lebo (1992), Casablanca: Behind the Scenes, p. 194
  43. ↑ Burt Prelutsky (2012), Sixty Seven Conservatives You Should Meet Before You Die, p. 467
  44. ↑ J. D. Spiro (September 11, 1949), "Lizabeth Is So Different," The Milwaukee Journal, p. 3
  45. ↑ Burt Prelutsky (2012), Sixty Seven Conservatives You Should Meet Before You Die, p. 469
  46. ↑ Burt Prelutsky (2012), Sixty Seven Conservatives You Should Meet Before You Die, p. 467
  47. ↑ Bernard F. Dick (2004), Hal Wallis: Producer to the Stars, pp. 99-100
  48. ↑ Bernard F. Dick (2004), Hal Wallis: Producer to the Stars, pp. 64-84
  49. ↑ Bernard F. Dick (2004), Hal Wallis: Producer to the Stars, p. 100
  50. ↑ TMC You Came Along, original print information
  51. ↑ "Inside Paramount," LIFE, September 10, 1945, p. 11
  52. ↑ TCM "Lizabeth Scott Profile"
  53. ↑ Bernard F. Dick (2004), Hal Wallis: Producer to the Stars, p. 103
  54. ↑ Eddie Muller commentary, The Racket, Warner Home Video, 2006
  55. ↑ Mike Steen (1974), Hollywood speaks: an oral history, p. 197
  56. ↑ Bernard F. Dick (2004), Hal Wallis: Producer to the Stars, p. 104
  57. ↑ Virginia MacPherson (August 10, 1945), "Don't Call Lizabeth No. 2 Bacall: Nothing Makes New Star Madder Than That Comparison," Pittsburgh Post-Gazette
  58. ↑ Bettelou Peterson (January 14, 1992), "Where's Lizabeth Scott?" Deseret News
  59. ↑ "The Stars of To-morrow". The Sydney Morning Herald (NSW : 1842 - 1954) (NSW: National Library of Australia). 10 September 1946. p. 11 Supplement: The Sydney Morning Herald Magazine. Retrieved 24 April 2012. 
  60. ↑ T.M.P. (September 25, 1947), Desert Fury (1947) At the Paramount, New York Times
  61. ↑ TMC Desert Fury (1947)
  62. ↑ David Ehrenstein (1999), "Desert Fury , Mon Amour," Film Quarterly: Forty Years, a Selection, pp. 474-493
  63. ↑ Mike Fitzgerald, "An Interview With... Kristine Miller
  64. ↑ Kirk Douglas (1988), The Ragman's Son, p. 123
  65. ↑ TMC Pitfall (1948)
  66. ↑ James Robert Parish (Arlington House, 1972), The Paramount pretties, p. 525
  67. ↑ TMC "Too Late for Tears (1949)
  68. ↑ A. W. (August 15, 1949), "Too Late for Tears (1949) THE SCREEN IN REVIEW; 'Too Late for Tears,' Adult and Suspenseful Adventure Film, Is New Bill at Mayfair" New York Times
  69. ↑ TCM Too Late for Tears (1949)
  70. ↑ "Reel Name Now Real; Emma's Lizabeth Scott," The Milwaukee Journal, September 15, 1949, p. 29
  71. ↑ Anonymous (November 13, 1949), "Filmdom Chatter Box," Toledo Blade
  72. ↑ TCM Paid in Full (1950)
  73. ↑ Bernard F. Dick (2004), Hal Wallis: Producer to the Stars, pp. 123-124
  74. ↑ Bernard F. Dick (2004), Hal Wallis: Producer to the Stars, p. 103
  75. ↑ Paul Leggett (2002), Terence Fisher: Horror, Myth and Religion, p. 4
  76. ↑ TCM Stolen Face (1952)
  77. ↑ TCM Scared Stiff (1953)
  78. ↑ William Schoell (1999), Martini Man: The Life of Dean Martin, pp. 80-81
  79. ↑ TCM Bad for Each Other (1953)
  80. ↑ O. A. G. (July 24, 1954), Silver Lode (1954), Silver Lode, "Horse Opera, Bows at Palace," New York Times
  81. ↑ Bernard F. Dick (2004), Hal Wallis: Producer to the Stars, p. 105
  82. ↑ Bosley Crowther (July 5, 1945) "You Came Along (1945) THE SCREEN; A Story Imitative," New York Times
  83. ↑ Bosley Crowther (October 19, 1950), "Dark City (1950) THE SCREEN IN REVIEW; Charlton Heston Makes His Film Debut in 'Dark City,' Feature at the Paramount Theatre," New York Times
  84. ↑ Bosley Crowther (January 29, 1951), "The Dancing Years (1949) THE SCREEN IN REVIEW; 'The Company She Keeps,' With Lizabeth Scott Playing a Parole Officer, Arrives at Loew's Criterion At the Little Carnegie At the Stanley," New York Times
  85. ↑ Burt Prelutsky (2012), Sixty Seven Conservatives You Should Meet Before You Die, p. 470
  86. ↑ The Lux Radio Theatre 1934–1955
  87. ↑ CastRoller podcast, Female Of The Species
  88. ↑ OTR Family Theater
  89. ↑ AP, (Jan 4, 1958), "Howard Rushmore Commits Suicide After Slaying Wife," Reading Eagle, p. 10
  90. ↑ David M. Oshinsky (1983), A Conspiracy So Immense: The World of Joe McCarthy, p. 252
  91. ↑ Jay Maeder (Monday, February 26, 2001), "Turncoat: The Estrangements of Howard Rushmore, "January 1958, Chapter 282," New York Daily News
  92. ↑ David M. Oshinsky (1983), A Conspiracy So Immense: The World of Joe McCarthy, p. 318
  93. ↑ Burt Prelutsky (2012), Sixty Seven Conservatives You Should Meet Before You Die, p. 470
  94. ↑ Henry E. Scott (2010), Shocking True Story: The Rise and Fall of Confidential, "America's Most Scandalous Scandal Magazine, p. 36
  95. ↑ Vanity Fair, 2003, Volume 66, p. 197
  96. ↑ Henry E. Scott (2010), Shocking True Story: The Rise and Fall of Confidential, "America's Most Scandalous Scandal Magazine, p. 98
  97. ↑ Diana McLellan (2001), The Girls: Sappho Goes to Hollywood, p. 358
  98. ↑ Anonymous (October 2, 1954), "Juvenile, 3 Others Nabbed in Vice Raid," The San Bernardino County Sun, p. 2
  99. ↑ "Old Telephone Exchange Names Los Angeles County"
  100. ↑ News Notes of California Libraries, Statisical Issue, Winter 1962
  101. ↑ Matt Williams, "Lizabeth Scott's Name in the Call Girls' Call Book?" Confidential, September 1955, p. 32
  102. ↑ J. D. Spiro (September 11, 1949), "Lizabeth Is So Different," The Milwaukee Journal, p. 3
  103. ↑ "Lizabeth Scott," Fanmail
  104. ↑ Matt Williams, "Lizabeth Scott's Name in the Call Girls' Call Book?" Confidential, September 1955, pp. 32-33
  105. ↑ Diana McLellan (2001), The Girls: Sappho Goes to Hollywood, p. 227
  106. ↑ Matt Williams, "Lizabeth Scott's Name in the Call Girls' Call Book?" Confidential, September 1955, p. 34
  107. ↑ Serge Guilbaut (2008), Be-Bomb: The Transatlantic War of Images and All That Jazz. 1946-1956, p. 116
  108. ↑ Diana McLellan (2001), The Girls: Sappho Goes to Hollywood, p. 228
  109. ↑ Joseph, "Marlene Dietrich's Confidential File"
  110. ↑ Diana McLellan (2001), The Girls: Sappho Goes to Hollywood, p. 358
  111. ↑ Diana McLellan (2001), The Girls: Sappho Goes to Hollywood, p. 403
  112. ↑ Douglas O. Linder (2010)
  113. ↑ Larry Harnisch (May 15, 2007), "Hollywood madame," Los Angeles Times
  114. ↑ “The Confidential Magazine Trial: An Account"
  115. ↑ Henry E. Scott (2010), Shocking True Story: The Rise and Fall of Confidential, "America's Most Scandalous Scandal Magazine," p. 98
  116. ↑ "Former Editor Kills Self and Wife," Reading Eagle, p. 10, January 4, 1958
  117. ↑ Discogs listing
  118. ↑ IMDb "Who Killed Cable Roberts?" (1963), Burke's Law
  119. ↑ Bernard F. Dick (2004), Hal Wallis: Producer to the Stars, p. 112
  120. ↑ "Lizabeth Scott Signs Up For Summer Classes," Deseret News, June 23, 1950, p. 2F
  121. ↑ Oswego Palladium April–June 1969
  122. ↑ Dorothy Manners (July 12, 1966), "Tab Hunter Can't See Spot For Him In Hollywood," The News and Courier
  123. ↑ Dorothy Manners (December 8, 1967), "Terence Stamp Files Libel Suit," St. Petersburg Times, p. 18D
  124. ↑ Suzy Knickerbocker (April 15, 1968), The Montreal Gazette, p. 15
  125. ↑ Rexino Mondo (2010), The Immigrants' Daughter, pp. 183-186
  126. ↑ LIZABETH SCOTT v. SARAH DUGGER SCHWARTZ (05/05/71)
  127. ↑ Edward Bunker (Macmillan, 2001), Education of a Felon: A Memoir, p. 80
  128. ↑ Kirk Douglas (1988), The Ragman's Son, p. 123
  129. ↑ Shirley MacLaine (2010), While You Can You Can, p. 31
  130. ↑ Lizabeth Scott Dating History
  131. ↑ "Lizabeth Scott," Glamour Girls of the Silver Screen
  132. ↑ Burt Bacharach (2013), Anyone Who Had a Heart: My Life and Music, p. 24
  133. ↑ Juile Miller (June 12 2012), "Chloë Grace Moretz on Her Carrie Remake and Being an Official “Face of the Future,” Vanity Fair
  134. ↑ TCM Pulp (1972)
  135. ↑ Get Carter and Beyond: The Cinema of Mike Hodges, p. 64
  136. ↑ Anonymous (December 5, 1974), "What's A Celebrity? Here's One," The Daily Herald, p. 40
  137. ↑ Anonymous (June 10, 1973), "It's a 'Circus' for Project Hope," Valley News, p. 43
  138. ↑ Anonymous (July 22, 1976), "Pennsylvania People: Liz Likes Hope and Aristotle," Reading Eagle p. 10
  139. ↑ AMPAS Centennial Celebration for Barbara Stanwyck on May 16, 2007 in Los Angeles, California.
  140. ↑ "Lizabeth Scott Photo: THE STRANGE LOVE OF MARTHA IVERS Academy Screening"
  141. ↑ Bernard F. Dick (2004), Hal Wallis: Producer to the Stars, pp. 95-110
  142. ↑ Lizabeth Scott at Walk of Fame

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