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| align=center| 7 || ''Lux Radio Theatre''<br>"Saigon"<br>(September 5, 1949)<ref>[http://otrsite.com/logs/logl1008.htm] Jerry Haendiges (accessed May 26, 2014), "Series: 'Lux Radio Theater'," ''Jerry's Vintage Radio Logs''</ref> || CBS || || Susan Cleaver || John Lund ||
| align=center| 7 || ''Lux Radio Theatre''<br>"Saigon"<br>(September 5, 1949)<ref>[http://otrsite.com/logs/logl1008.htm] Jerry Haendiges (accessed May 26, 2014), "Series: 'Lux Radio Theater'," ''Jerry's Vintage Radio Logs''</ref> || CBS || || Susan Cleaver || John Lund ||
|-
|-
| align=center| 8 || ''Lux Radio Theatre''<br>"California"<br>(January 30, 1950)<ref>[http://otrsite.com/logs/logl1008.htm] Jerry Haendiges (accessed May 26, 2014), "Series: 'Lux Radio Theater'," ''Jerry's Vintage Radio Logs''</ref> || CBS || || Lily Bishop || Ray Milland ||
| align=center| 8 || ''[[Screen Director's Playhouse]]''<br>"Pitfall"<br>November 17, 1949)<ref> </ref> || NBC || || Mona Stevens || Dick Powell ||
|-
|-
| align=center| 9 || ''Stars Over Hollywood''<br>"Night Operator"<br>(March 29, 1952)<ref>[http://radiogoldindex.com/cgi-local/p4.cgi?ArtistName=Scott,%20Lizabeth&ArtistNumber=28538] J. David Goldin (accessed May 26, 2014), "Scott, Lizabeth," ''RadioGOLDINdex''</ref> || CBS || || Laurie Ann McCrae || [[Harry Bartell]] || [[Verna Felton]],<br>[[Don Diamond]],<br>Louise Arthur,<br>Sidney Miller
| align=center| 9 || ''Lux Radio Theatre''<br>"California"<br>(January 30, 1950)<ref>[http://otrsite.com/logs/logl1008.htm] Jerry Haendiges (accessed May 26, 2014), "Series: 'Lux Radio Theater'," ''Jerry's Vintage Radio Logs''</ref> || CBS || || Lily Bishop || Ray Milland ||
|-
|-
| align=center| 10 || ''Stars In The Air''<br>"The Strange Love Of Martha Ivers"<br>(April 17, 1952)<ref>[http://radiogoldindex.com/cgi-local/p4.cgi?ArtistName=Scott,%20Lizabeth&ArtistNumber=28538] J. David Goldin (accessed May 26, 2014), "Scott, Lizabeth," ''RadioGOLDINdex''</ref> || CBS || Harry Cronman (director, script-writer) || Martha Ivers || Dan Duryea || [[Joseph Kearns]],<br>[[Herb Vigran]],<br>[[Bob Sweeney]]
| align=center| 10 || ''Stars Over Hollywood''<br>"Night Operator"<br>(March 29, 1952)<ref>[http://radiogoldindex.com/cgi-local/p4.cgi?ArtistName=Scott,%20Lizabeth&ArtistNumber=28538] J. David Goldin (accessed May 26, 2014), "Scott, Lizabeth," ''RadioGOLDINdex''</ref> || CBS || || Laurie Ann McCrae || [[Harry Bartell]] || [[Verna Felton]],<br>[[Don Diamond]],<br>Louise Arthur,<br>Sidney Miller
|-
| align=center| 11 || ''Stars In The Air''<br>"The Strange Love Of Martha Ivers"<br>(April 17, 1952)<ref>[http://radiogoldindex.com/cgi-local/p4.cgi?ArtistName=Scott,%20Lizabeth&ArtistNumber=28538] J. David Goldin (accessed May 26, 2014), "Scott, Lizabeth," ''RadioGOLDINdex''</ref> || CBS || Harry Cronman (director, script-writer) || Martha Ivers || Dan Duryea || [[Joseph Kearns]],<br>[[Herb Vigran]],<br>[[Bob Sweeney]]
|}
|}


Revision as of 10:27, 27 May 2014

Lizabeth Scott on screen and stage
Lizabeth Scott
Lizabeth Scott
GenreFilm noir and noir derivatives
Notable worksThe Strange Love of Martha Ivers, Dead Reckoning, Desert Fury, Pitfall, No Time for Tears

Lizabeth Virginia Scott[1] (born September 29, 1922) is an American film actress who made 22 feature films from 1945 to 1972. In addition to radio, she appeared on television from the late 1940s to early 1970s.

Biography

Main article: Lizabeth Scott

Performances

Feature films

Though Lizabeth Scott began as a comedienne on stage (Hellzapoppin, The Skin of Our Teeth), her film career is associated with the film noir genre by film historians and public alike. Of the 22 feature films she starred in, 15 of them are noir-themed. Scott appeared in traditional black-and-white noirs, as well as noir variants, which include Western (Silver Lode), color (Desert Fury), comedy (Scared Stiff) and drama (The Company She Keeps).

While Scott was signed to Paramount Pictures, 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.[2]

No. Title, US release year Studio,
producer		 Director,
screen-
writer		 Scott's
role		 Leading
man		 Costars
1 You Came Along
(1945)*[3]		 Paramount,
Hal Wallis		 John Farrow, Ayn Rand Ivy "Hotcha" Hotchkiss Robert Cummings Don DeFore,
Charles Drake,
Helen Forrest,
Kim Hunter
2 The Strange Love of Martha Ivers
(1946)*[4]		 Hal Wallis Productions/
Paramount,
Hal Wallis		 Lewis Milestone, Robert Rossen Antonia "Toni" Marachek Van Heflin Barbara Stanwyck,
Kirk Douglas
3 Dead Reckoning (1947)[5][6] Columbia,
Sidney Biddell		 John Cromwell, Steve Fisher Coral "Dusty" Chandler Humphrey Bogart Morris Carnovsky,
William Prince,
Marvin Miller
4 Desert Fury (1947)[7][8] Paramount,
Hal Wallis		 Lewis Allen, Robert Rossen Paula Haller John Hodiak Burt Lancaster,
Mary Astor,
Wendell Corey,
Kristine Miller
5 Variety Girl (1947)[9][10] Paramount,
Daniel Dare		 George Marshall, Monte Brice Herself Burt
Lancaster		 Mary Hatcher,
Olga San Juan
6 I Walk Alone (1948)[11][12] Paramount,
Hal Wallis		 Byron Haskin, Charles Schnee Kay Lawrence Burt Lancaster Kirk Douglas,
Kristine Miller,
Wendell Corey
7 Pitfall (1948)*[13] United Artists, Samuel Bischoff André De Toth,
Karl Kamb		 Mona Stevens Dick Powell Jane Wyatt,
Raymond Burr,
Byron Barr,
Ann Doran
8 Too Late for Tears (1949)*[14] United Artists,
Hunt Stromberg		 Byron Haskin,
Roy Huggins		 Jane Palmer Don DeFore Dan Duryea,
Arthur Kennedy,
Kristine Miller
9 Easy Living (1949)[15][16] RKO,
Robert Sparks		 Jacques Tourneur,
Irwin Shaw		 Liza "Lize" Wilson Victor Mature Lucille Ball,
Sonny Tufts,
Lloyd Nolan,
Jack Parr
10 Paid in Full (1950)*[17] Paramount,
Hal Wallis		 William Dieterle,
Robert Blees		 Jane Langley Robert Cummings Diana Lynn,
Eve Arden,
Ray Collins
11 Dark City (1950)[18][19] Paramount,
Hal Wallis		 William Dieterle,
John Meredyth Lucas		 Fran Garland Danny Haley/
Richard Branton (Charlton Heston)		 Viveca Lindfors,
Dean Jagger,
Don DeFore,
Jack Webb,
Harry Morgan
12 The Company She Keeps (1951)[20][21] RKO,
John Houseman		 John Cromwell,
Ketti Frings		 Joan Willburn Dennis O'Keefe Jane Greer,
Fay Baker,
John Hoyt
13 Two of a Kind (1951)[22][23] Columbia, William Dozier Henry Levin, Lawrence Kimble Brandy Kirby Edmund O'Brien Terry Moore,
Alexander Knox,
Griff Barnett
14 Red Mountain (1951)[24][25] Paramount,
Hal Wallis		 William Dieterle,
George W. George		 Chris Alan Ladd Arthur Kennedy,
John Ireland,
Jeff Corey,
Neville Brand
15 The Racket (1951)[26][27] RKO,
Edmund Grainger		 John Cromwell,
William Wister Haines		 Irene Hayes Robert Mitchum Robert Ryan,
Ray Collins,
William Talman,
Joyce Mackenzie,
Robert Conrad
16 Stolen Face (1952)[28][29] Hammer/
Lippert,
Anthony Hinds		 Terence Fisher,
Martin Berkeley		 Alice Brent/
Lily Conover (after surgery)		 Paul Henreid André Morell,
Mary Mackenzie
17 Scared Stiff (1953)[30][31] Paramount,
Hal Wallis		 George Marshall, Herbert Baker Mary Carroll Dean Martin Jerry Lewis,
Carmen Miranda
18 Bad for Each Other (1953)[32][33] Columbia,
William Fadiman		 Irving Rapper, Irving Wallace Helen Curtis Charlton Heston Dianne Foster,
Mildred Dunnock,
Ray Collins
19 Silver Lode (1954)[34][35] RKO,
Benedict Bogeaus		 Allan Dwan, Karen DeWolf Rose Evans John Payne Dan Duryea,
Dolores Moran,
Alan Hale, Jr.,
Stuart Whitman
20 The Weapon (1957)[36][37] Periclean Productions,
Irving H. Levin		 Val Guest, Fred Freiberger Elsa Jenner Steve Cochran Jon Whiteley,
Herbert Marshall
George Cole
21 Loving You (1957)[38][39] Paramount,
Hal Wallis		 Hal Kanter, Herbert Baker Glenda Markle Elvis Presley Wendell Corey,
Dolores Hart
22 Pulp (1972)[40][41] United Artists,
Michael Klinger		 Mike Hodges
(both)		 Princess Betty Cippola Michael Caine Mickey Rooney,
Lionel Stander,
Nadia Cassini

Titles in the public domain.* See cites for copyright renewal dates.

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 Bob Cummings role (July 1, 1946) and I Walk Alone (May 24, 1948).[42] Scott would also recreate on radio the original film roles of other actresses such as Loretta Young and Veronica Lake. Scott would even reprise Barbara Stanwyck's role in The Strange Love of Martha Ivers. One notable radio performance was the Molle Mystery Theatre episode, Female Of The Species (June 7, 1946), in which Scott plays Eva Lester, the owner of a beauty salon, who tries to murder a patron married to Lester's lover.[43] Scott was also a guest host on Family Theater.[44]

No. Title, US release year Studio,
producer		 Director,
script-writer		 Scott's
role		 Leading
man		 Costars
1 Lux Radio Theatre
"You Came Along"
(January 7, 1946)[45]		 CBS Fred MacKaye,
Robert Smith		 Ivy "Hotcha" Hotchkiss Van Johnson Don DeFore,
Colleen Collins,
Jeff Corey,
Betty Bryan
2 Molle Mystery Theatre
"Female Of The Species"
(June 7, 1946)[46]		 NBC Irene Winston (script-writer) Eva Lester Bernard Lenrow
3 Proudly We Hail
"The Triumphant Road"
(1948)[47]		 Army/
Air Force		 Eddie Skrivanek (director)
4 The Screen Guild Theater
"Desert Fury"
(January 12, 1948)[48]		 CBS,
Bill Lawrence		 Bill Lawrence
(director)		 Paula Haller John Hodiak Burt Lancaster,
Mary Astor,
Wendall Corey
5 Lux Radio Theatre
"The Perfect Marriage"
(December 4, 1948)[49]		 CBS Jenny Williams Ray Milland
6 Lux Radio Theatre
"I Walk Alone"
(May 24, 1948)[50]		 CBS Kay Lawrence Burt Lancaster Kirk Douglas,
Wendell Corey
7 Lux Radio Theatre
"Saigon"
(September 5, 1949)[51]		 CBS Susan Cleaver John Lund
8 Screen Director's Playhouse
"Pitfall"
November 17, 1949)Cite error: There are <ref> tags on this page without content in them (see the help page).		 NBC Mona Stevens Dick Powell
9 Lux Radio Theatre
"California"
(January 30, 1950)[52]		 CBS Lily Bishop Ray Milland
10 Stars Over Hollywood
"Night Operator"
(March 29, 1952)[53]		 CBS Laurie Ann McCrae Harry Bartell Verna Felton,
Don Diamond,
Louise Arthur,
Sidney Miller
11 Stars In The Air
"The Strange Love Of Martha Ivers"
(April 17, 1952)[54]		 CBS Harry Cronman (director, script-writer) Martha Ivers Dan Duryea Joseph Kearns,
Herb Vigran,
Bob Sweeney

Television

Lizabeth Scott transitioned from the radio versions of programs she previously voiced. She continued to guest host for the television version of Family Theater, as well as acting in the then new Lux Video Theatre. Returning to her vaudeville origins (Hellzapoppin), she also appeared in comedy and variety programs like the Colgate Comedy Hour and The Big Record.[55] Scott continued to guest-star on various series during the 1960s, notably Adventures in Paradise, Burke's Law and The Third Man.

No. Title, US release year Studio,
producer		 Director,
screen-
writer		 Scott's
role		 Leading
man		 Costars
1 Family Theater
"The Denver Express"
(August 31, 1949)*		 St. Paul Films Herself
(hostess)		 Regis Toomey
2 Lux Video Theatre
"Amo, Amas, Amat"
(December 1, 1952)*		 J. Walter Thompson Agency,
Cal Kuhl		 Richard Goode,
Anne Howard Bailey		 Margaret Bailey Ralph Meeker Oliver Thorndike
3 Lux Video Theatre
"Make Believe Bride"
(June 11, 1953)*		 J. Walter Thompson Agency,
Cal Kuhl		 Howard Loeb,
Anne Howard Bailey		 Betsy Don DeFore Glenn Anders
4 Studio 57
"I'll Always Love You, Natalie"
(December 12, 1955)[56]		 Revue Productions Lawrence Kimble[57]
(screenwriter)		 Clara Townsley[57] Patric Knowles William Roerick,
Edward Platt,
Ed Reimers
5 The 20th Century Fox Hour
"Overnight Haul"
(May 16, 1956)[58]		 20th Century Fox Television,
Peter Packer		 Jules Bricken, Leonard Freeman Frances Fowler Richard Conte Richard Eyer
6 Adventures in Paradise
"The Amazon"
(March 21, 1960)[59]		 20th Century Fox Television,
Richard Goldstone		 Joseph Lejtes, William Froug Carla MacKinley Gardner McKay Claude Akins,
Tom Drake
7 Burke's Law
"Who Killed Cable Roberts?"
(October 4, 1963)[60]		 Four Star,
Aaron Spelling		 Jeffrey Hayden,
Gwen Bagni		 Mona Roberts Gene Barry Paul Lynde,
Mary Astor,
Zsa Zsa Gabor,
John Saxon
8 The Third Man
"The Luck of Harry Lime"
(August 27, 1965)*		 20th Century Fox Television,
John Llewellyn Moxey		 Paul Henreid,
Gene Wang		 Diane Masters Michael Rennie Jonathan Harris,
Willis Bouchey

Titles in the public domain.* See cites for copyright renewal dates.

Critical reception

Bosley Crowther

Though the public response to Scott was generally favorable during the Paramount years, the film critics were less so, repeating unfavorable comparisons with Lauren Bacall and Tallulah Bankhead,[61][62][63] which all began with Bob Thomas' March 1945 comment on Scott's screen test: "Her throaty voice may well make Lauren Bacall sound like a mezzo soprano."[64] The most prominent critic of the era, Bosley Crowther of The New York Times, was uniformly negative.[65][66][67][68] Typical of Crowther was: "As the torch singer jilted by the (Kirk Douglas character) and thereafter inclined towards revenge, Lizabeth Scott has no more personality than a model in the window of a department store."[69] Of Dark City he described Scott as "frighteningly grotesque."[70] However, Crowther was unique in that he never made the Bacall comparison (though he could be negative on Bacall too).[71][72][73] When Crowther gave a bad review of You Came Along, Scott recalled, "Being very young and naïve 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."[74]

Later critics

Though Lizabeth Scott started her career as a comedienne with Hellzapoppin and The Skin of Our Teeth, she was typecast by the critics and public in the seductress, Rita Hayworth category.[75] In January 1946, columnist Erskine Johnson would observed that the biggest surprise of 1945 was that "it became fashionable to be bad." Former Hollywood heroines, saints and comediennes would join the ranks of seductresses.[76] But despite Scott's femme fatale image, her most common role in 22 films was the heiress-socialite, of which she played variants of eight times, versus three femme fatales (Coral Chandler, Jane Palmer, Lily Conover). Of the four nightclub singer roles, only one was a femme fatale. Scott played the "ingénue-gone-wrong" three times (Toni Marachek, Paula Haller, Mona Stevens). Joan the probation officer of The Company She Keeps was a rare departure, as was the single mother (Elsa Jenner) of The Weapon. Yet even in her non-noir films Scott would remain in Lauren Bacall's shadow with some current critics.[77][78] Typical is Richard Schickel, who described Scott as "an inferior Bacall-look-alike."[79][80]

Historically, the Bacall character of To Have and Have Not traces back through a line of deep-voiced actresses developed by producers like Walter Wanger, who discovered Clara Bow, Hedy Lamarr[81] and Yvonne De Carlo.[82] When Lauren Bacall first appeared on the screen in 1944, despite the close resemblance to Gene Tierney, critics saw her as imitating Veronica Lake's hair,[83] manner[84] and deep voice,[85] with Scott following in 1945 (You Came Along), then Nancy Guild in 1946 (Somewhere in the Night).[86] But before Lake's breakout role in I Wanted Wings (1941), there were already actresses like Hedy Lamarr of Algiers (1938) and Joan Bennett of Trade Winds (1938), both of whom were made-over by Wanger to resemble even earlier actresses like Ann Sheridan.[87][88] The noir hairstyles of Lake, Bacall and Scott derive from the peek-a-boo styles of the 1930s—high-volume curls held with hairspray and long pins[89]—which were wore by actresses like Sheridan[90][91] and Anna Sten[92] during that decade. The Sheridans and Tallulah Bankheads of the 1930s were influenced in looks, voice and manner by the two actresses they most admired—Marlene Dietrich,[93] who was "Paramount's answer"[94] to Hollywood's original husky-voiced femme fatale, MGM's Greta Garbo[95]—Scott's own personal favorite.[96] Unlike Hollywood's first popular femme fatale—Theda Bara (1885–1955)[97]—Garbo and Dietrich survived the transition from silent film to sound and served as role models for actresses of the pre-war era on either side of the Atlantic.[98]

Despite the myriad of deep-voiced,[99][100][101][102] lookalike actresses[103] created by competing studios before To Have and Have Not,[104] the popular pairing of Bacall and Scott remains permanent, if only for their association with Humphrey Bogart. Yet Scott's femme fatales still had the traditional male versus female conflict that was missing in Lauren Bacall's noir films—The Big Sleep (1946), Dark Passage (1947)—as Bacall was never a femme fatale[105] and always supported the hero.[106] Nor conversely did Scott ever played a true heroine in the romantic Betty Hutton mode as did Bacall.[75] Even when Scott played a non-villain, the character tended to be a victim of circumstances and was seldom assertively heroic as Bacall's characters, who were in their world, but never of it. The most assertive Scott characters were femme fatales, who were always of their world. Even Scott's ingénue roles reinforced her fatale image.[107][108]

The cinematographic style of Scott's noir films, from The Strange Love of Martha Ivers to No Time for Tears, is Expressionistic—the "foreboding deep space, the use of the wide-angle lens to create an element of distortion in the juxtaposition of foreground and background, the aggressive, staccato editing rhythms, and the oblique camera angles, whether in tilted close-ups or the preference for floor ..."[109] Standard film noir iconography contribute to the total effect. Though Scott handled firearms in only five films, the handgun is an integral part of her popular image[110][111] as are the lit cigarette,[112][113][114] elaborate coiffure and evening gown with opera gloves.[115][116][117] Film historian Eddie Muller has noted that no other actress has appeared in so many noir films,[118] with 15 of her 22 films qualifying.[119] In addition to the classical black-and-white noir, Scott appeared in noir variants, such as color (3), Western (2), comedy (2) and soap opera (3).[120]

Scott's style of acting, characteristic of other film actors of the 1940s—a cool, naturalistic underplay derived from multiple sources[121]—was often depreciated by critics who preferred the more emphatic stage styles of the pre-film era or the later method styles. Typical of the '40s was Dick McCrone: "Miss Scott, who is an excellent clothes horse, rounds out the principals as Lancaster's moll. Otherwise, she's still the same frozen-face actress she was in Desert Fury and a couple of pictures before that."[122] Current film historians critical of Scott either repeat Bob Thomas' image of an ersatz Bacall,[123][124] Bosley Crowther in describing Scott's acting as wooden,[125][126] or a pastiche of actresses of the period, as did Pauline Kael.[127][128] But other historians see Scott's acting in a different light.[129][130] Jerome Charyn described the style as "dreamwalking":[131] "And then, among the Dolly Sisters and Errol Flynn, Bing Crosby and Dotty Lamour, the Brazilian Bombshell, Scheherazade, Ali Baba, and the elephant boy—all the fluff and exotic pastry that Hollywood could produce—appeared a very odd animal, the dreamwalker, like Turhan Bey, Sonny Tufts, Paul Henreid, Alan Ladd, Veronica Lake, Lizabeth Scott, and Dana Andrews, whose face had a frozen quality and always looked half-asleep ... The dreamwalker seemed to mirror all our own fears. His (and her) numbness was the crazed underside of that cinematic energy in the wake of the (Second World) war."[132]

With the revival of interest in film noir and its corresponding acting style, beginning in the 1980s—possibly in reaction to past and current emotive acting styles—Scott's acting reputation has increased among critics and film historians.[106][133][134]

References

  1. ^ Janice H. McElroy (Pennsylvania Division, American Association of University Women, June 1, 1983), Our Hidden Heritage: Pennsylvania Women in History, p. 379
  2. ^ Bernard F. Dick (The University Press of Kentucky, May 21, 2004), Hal Wallis: Producer to the Stars, p. 105
  3. ^ [1] AFI (accessed May 26, 2014), You Came Along, Catalog of Feature Films
  4. ^ [2] AFI (accessed May 26, 2014), The Strange Love of Martha Ivers, Catalog of Feature Films
  5. ^ [3] US Copyright Office (accessed May 26, 2014), Copyright Catalog. Copyright renewed December 8, 1987.
  6. ^ [4] AFI (accessed May 26, 2014), Dead Reckoning, Catalog of Feature Films
  7. ^ [5] US Copyright Office (accessed May 26, 2014), Copyright Catalog. Copyright renewed December 30, 2004.
  8. ^ [6] AFI (accessed May 26, 2014), Desert Fury, Catalog of Feature Films
  9. ^ [7] US Copyright Office (accessed May 26, 2014), Copyright Catalog. Copyright renewed December 30, 2004.
  10. ^ [8] AFI (accessed May 26, 2014), Variety Girl, Catalog of Feature Films
  11. ^ [9] US Copyright Office (accessed May 26, 2014), Copyright Catalog. Copyright renewed October 22, 1980.
  12. ^ [10] AFI (accessed May 26, 2014), I Walk Alone, Catalog of Feature Films
  13. ^ [11] AFI (accessed May 26, 2014), Pitfall, Catalog of Feature Films
  14. ^ [12] AFI (accessed May 26, 2014), Too Late for Tears, Catalog of Feature Films
  15. ^ [13] US Copyright Office (accessed May 26, 2014), Copyright Catalog. Copyright renewed January 3, 2005.
  16. ^ [14] AFI (accessed May 26, 2014), Easy Living, Catalog of Feature Films
  17. ^ [15] AFI (accessed May 26, 2014), Paid in Full, Catalog of Feature Films
  18. ^ Walter E. Hurst, D. Richard Baer (Hollywood Film Archive, 1994), Film Superlist: 1950–1959, p. 73. US copyright renewed November 1977
  19. ^ [16] AFI (accessed May 26, 2014), Dark City, Catalog of Feature Films
  20. ^ [17] US Copyright Office (accessed May 26, 2014), Copyright Catalog. Copyright renewed July 11, 1978.
  21. ^ [18] AFI (accessed May 26, 2014), The Company She Keeps, Catalog of Feature Films
  22. ^ [19] US Copyright Office (accessed May 26, 2014), Copyright Catalog. Copyright renewed May 4, 1979.
  23. ^ [20] AFI (accessed May 26, 2014), Two of a Kind, Catalog of Feature Films
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  28. ^ [25] US Copyright Office (accessed May 26, 2014), Copyright Catalog. Copyright renewed January 3, 1980.
  29. ^ [26] AFI (accessed May 26, 2014), Stolen Face, Catalog of Feature Films
  30. ^ [27] US Copyright Office (accessed May 26, 2014), Copyright Catalog. Copyright renewed June 25, 1980.
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  32. ^ [29] US Copyright Office (accessed May 26, 2014), Copyright Catalog. Copyright renewed January 15, 1981.
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  42. ^ [39] Anonymous (accessed May 26, 2014), "Radio Broadcast Log Of: Lux Radio Theatre," Audio Classics Archive
  43. ^ [40] Anonymous (accessed May 26, 2014), CastRoller podcast, Female Of The Species
  44. ^ [41] OTR (accessed May, 2014), Family Theater, "Old Time Radio"
  45. ^ [42] J. David Goldin (accessed May 26, 2014), "Scott, Lizabeth," RadioGOLDINdex
  46. ^ [43] J. David Goldin (accessed May 26, 2014), "Scott, Lizabeth," RadioGOLDINdex
  47. ^ [44] J. David Goldin (accessed May 26, 2014), "Scott, Lizabeth," RadioGOLDINdex
  48. ^ [45] J. David Goldin (accessed May 26, 2014), "Scott, Lizabeth," RadioGOLDINdex
  49. ^ [46] Jerry Haendiges (accessed May 26, 2014), "Series: 'Lux Radio Theater'," Jerry's Vintage Radio Logs
  50. ^ [47] J. David Goldin (accessed May 26, 2014), "Scott, Lizabeth," RadioGOLDINdex
  51. ^ [48] Jerry Haendiges (accessed May 26, 2014), "Series: 'Lux Radio Theater'," Jerry's Vintage Radio Logs
  52. ^ [49] Jerry Haendiges (accessed May 26, 2014), "Series: 'Lux Radio Theater'," Jerry's Vintage Radio Logs
  53. ^ [50] J. David Goldin (accessed May 26, 2014), "Scott, Lizabeth," RadioGOLDINdex
  54. ^ [51] J. David Goldin (accessed May 26, 2014), "Scott, Lizabeth," RadioGOLDINdex
  55. ^ Steven H. Scheuer (April 29, 1958), "Jane Powell Tells Of First Picture," TV Keynotes, The Troy Record (Troy, New York), p. 27
  56. ^ [52] US Copyright Office (accessed May 26, 2014), Copyright Catalog. Copyright renewed December 30, 2004.
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  58. ^ [53] US Copyright Office (accessed May 26, 2014) Copyright Catalog. Copyright renewed June 15, 2002.
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  61. ^ Virginia Vale (Thursday, August 8, 1946), Star Dust: Stage, Screen, Radio, The Terril Record (Terril, Iowa), p. 7
  62. ^ Betty Gose (Wednesday, February 12, 1947), "Blonde Makes Trouble For Bogart in 'Dead Reckoning'," Scenes From The Cinema, The Amarillo Globe-Times (Amarillo, Texas), p. 19
  63. ^ Rebel Hope (Sunday, March 2, 1947), "Week's Screen Menu Is Varied," Abilene Reporter-News (Abilene, Texas), p. 81
  64. ^ Bob Thomas (Friday, March 16, 1945), "Hollywood—It Takes A Spark To Make A Star," Big Spring Weekly Herald (Big Spring, Texas), p. 14
  65. ^ [56] Bosley Crowther (July 5, 1945; accessed May 23, 2014; site formats correctly only in http) "You Came Along (1945) THE SCREEN; A Story Imitative," The New York Times (New York City, New York)
  66. ^ [57] Bosley Crowther (January 22, 1948; accessed May 23, 2014; site formats correctly only in http), "ON THE SCREEN; ' I Walk Alone,' a Gangster Film, Starring Burt Lancaster, Opens at Paramount," The New York Times (New York City, New York)
  67. ^ [58] Bosley Crowther (October 19, 1950; accessed May 23, 2014; site formats correctly only in http), "Dark City (1950) THE SCREEN IN REVIEW; Charlton Heston Makes His Film Debut in 'Dark City,' Feature at the Paramount Theatre," The New York Times (New York City, New York)
  68. ^ [59] Bosley Crowther (January 29, 1951; accessed May 23, 2014; site formats correctly only in http), "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," The New York Times (New York City, New York)
  69. ^ Karen Burroughs Hannsberry (McFarland & Company, 1998), Femme Noir: Bad Girls of Film, p. 450
  70. ^ Karen Burroughs Hannsberry (McFarland & Company, 1998), Femme Noir: Bad Girls of Film, p. 452
  71. ^ [60] Bosley Crowther (November 3, 1945; accessed May 23, 2014; site formats correctly only in http), "Confidential Agent (1945) THE SCREEN; Confidential Agent,' a Warner Thriller Starring Boyer and Bacall, Opens at the Strand—Lorre, Paxinou 'Heavies'," New York Times (New York City, New York)
  72. ^ [61] Bosley Crowther (August 24, 1946; accessed May 23, 2014; site formats correctly only in http), "The Big Sleep (1946) THE SCREEN; 'The Big Sleep,' Warner Film in Which Bogart and Bacall Are Paired Again, Opens at Strand—'Step by Step' of the Rialto," The New York Times (New York City, New York)
  73. ^ [62] Bosley Crowther (June 17, 1950; accessed May 23, 2014; site formats correctly only in http), "Bright Leaf (1950) THE SCREEN IN REVIEW; 'Bright Leaf,' With Gary Cooper as Tobacco Magnate, New Bill at Strand Theatre," The New York Times (New York City, New York)
  74. ^ Burt Prelutsky (CreateSpace Independent Publishing Platform, November 3, 2012), Sixty Seven Conservatives You Should Meet Before You Die, p. 470
  75. ^ a b Anonymous (April 2005), "The Hollywood Family Tree," Premiere, p. 44. This category includes Hollywood actresses like Ava Gardner, Maria Montez, Rhonda Fleming and Veronica Lake.
  76. ^ Erskine Johnson (Thursday, January 10, 1946), "Ingrid Bergman And Milland In Top Film Spots," Freeport Journal-Standard (Freeport, Illinois), p. 7
  77. ^ James McKay (McFarland & Company, January 15, 2013), "Easy Living RKO 1949," The Films of Victor Mature, p. 71
  78. ^ Ken Burke, Dan Griffin (Chicago Review Press, August 1, 2006), The Blue Moon Boys: The Story of Elvis Presley's Band, p. 100
  79. ^ Richard Schickel (Thomas Dunne Books, 1st edition, December 12, 2006), Bogie: A Celebration of the Life and Films of Humphrey Bogart, p. 122. Despite Bogart's oft public praise of Scott, Schickel says that "(Bogart) was resentful when obliged to perform with an inferior Bacall-look-alike, Lizabeth Scott in Dead Reckoning."
  80. ^ William Hare (McFarland & Company, January 24, 2008), L.A. Noir: Nine Dark Visions of the City of Angels, pp. 87–88. On the set of Dead Reckoning, Scott noted that Bogart would stare off in space and say "Isn't this a stupid way to make a living?" Scott explained Bogart's discontent: "Not that he didn't want to be an actor ... he didn't enjoy the fame, success, the material aspects ... somewhere within himself, he thought he should be doing greater things."
  81. ^ Noel F. Busch (July 24, 1939), "America's Oomph Girl," Life (New York City, New York), p. 66. Though Louis B. Mayer of MGM originally signed on Hedy Lamarr (1913–2000), MGM did nothing with her till after her success in United Artists' Algiers.
  82. ^ Matthew Bernstein (University of Minnesota Press, January 31, 2000), Walter Wanger, Hollywood Independent, p. 190
  83. ^ Jeffrey Meyers (Fromm International, 1999), Bogart: a life in Hollywood, p. 340
  84. ^ Robert Heide, John Gilman (Doubleday, May 20, 1986), Starstruck: The Wonderful World of Movie Memorabilia, p. 204
  85. ^ Jeanine Basinger (Vintage, January 6, 2009), The Star Machine, p. 290
  86. ^ [63] Tom Vallance (Saturday 28 August 1999; accessed May 23, 2014), "Obituary: Nancy Guild," The Independent. As a 20th Century Fox contractee, Guild's direct predecessor was Gene Tierney—who herself descended from a line of 20th Century Fox actresses that began with Theda Bara in William Fox's A Fool There Was (1915)—rather than Scott or Lauren Bacall as various film historians have suggested.
  87. ^ Noel F. Busch (July 24, 1939), "America's Oomph Girl," Life (New York City, New York), p. 66. In 1938 Wanger, working then at United Artists, discovered Lamarr at MGM and borrowed her for Algiers. He made over Lamarr into an Americanized femme fatale-type. After Lamarr returned to MGM, Wanger found a replacement in a blonde Joan Bennett and made her into a duplicate of the brunette Lamarr.
  88. ^ Matthew Bernstein (University of Minnesota Press, January 31, 2000), Walter Wanger, Hollywood Independent, p. 146
  89. ^ Debbie Wells (CreateSpace Independent Publishing Platform, April 28, 2011), 1940's Style Guide, pp. 40–42
  90. ^ [64] Anonymous (accessed May 23, 2014), Movie Hair—Screen Legends, Ann Sheridan
  91. ^ Sylvie Aubenas, Xavier Demange (Chronicle Books, April 5, 2007), Elegance: The Seeberger Brothers and the Birth of Fashion Photography, p. 44. The authors place the long-hair look of the WW2 years—as well as the grand hats, platform shoes and short dresses typical of the period—back to 1937.
  92. ^ Adrienne L. McLean (Rutgers University Press, January 28, 2011), Glamour in a Golden Age: Movie Stars of the 1930s, pp. 127–128. The Ukrainian-Swedish Anna Sten (1908–1993) was MGM's backup/replacement for Garbo and challenger of Paramount's Dietrich. The blonde, long-tressed Sten of Nana (1934), with her deep-toned voice, foreshadowed Veronica Lake and Lizabeth Scott of the next decade.
  93. ^ Ray Hagen, Laura Wagner, (Mcfarland & Company, September 2004), Killer Tomatoes: Fifteen Tough Film Dames, pp. 172, 197. When Marlene Dietrich first appeared in the US, it was assumed by some critics that she was a copy of Greta Garbo.
  94. ^ Adrienne L. McLean (Rutgers University Press, January 28, 2011), Glamour in a Golden Age: Movie Stars of the 1930s, p. 108
  95. ^ Anonymous (Southern Methodist University Press, 1950), Southwest Review Volumes 35-36 (Dallas, Texas), p. 215. During the first half of the 20th century, a common critical view of the silent era femme fatales was that they were only a caricature, with a reprieve during the naturalistic '30s, but that the '40s was a return to the bad old days of Theda Bara and Musidora: "The femme fatale became a more recognizable woman in Greta Garbo and her double, Marlene Dietrich. She lingers in Hedy Lamarr and has been made ridiculous again by such synthetic sirens as Lauren Bacall and Lizabeth Scott."
  96. ^ [65] Anonymous (assessed May 23, 2014), "Celebrity Almanac Profile: Lizabeth Scott," Celebrity Almanac
  97. ^ Theresa St. Romain (Mcfarland & Company, reprint edition, March 16, 2012), Margarita Fischer: A Biography of the Silent Film Star, pp. 40, 66–67. Margarita Fischer in The Vampire (1910) preceded Theda Bara's femme fatale in A Fool There Was (1915), though Bara popularized the archetype. The Vampire derived from Rudyard Kipling's poem of the same name.
  98. ^ Moritz Föllmer (Cambridge University Press, February 25, 2013), Individuality and Modernity in Berlin: Self and Society from Weimar to the Wall, pp. 57–58
  99. ^ Sharon Anne Cook (Mcgill Queens University Press, April 11, 2012), Sex, Lies, and Cigarettes: Canadian Women, Smoking, and Visual Culture, 1880-2000, pp. 225. "(Greta Garbo) was reportedly warned by Louis B. Mayer on her introduction to the American cinema business that 'American men don't like fat women.' Preparing for her new role in Flesh and the Devil (1927), Garbo, a heavy smoker, promptly lost weight, partly by replacing food with cigarettes."
  100. ^ Steven Bach (University Of Minnesota Press, reprint edition, March 16, 2011), Marlene Dietrich: Life and Legend, p. 406. Dietrich suffered from Buerger's Disease from smoking, though later quit.
  101. ^ Noel F. Busch (July 24, 1939), "America's Oomph Girl," Life (New York City, New York), p. 66. Typical of the 1930–50s period, Ann Sheridan would consume 30 cigarettes a day.
  102. ^ Michelle Vogel (McFarland & Company, March 22, 2005), Gene Tierney: A Biography, p. 29. Gene Tierney took up smoking due to her high-toned voice in The Return of Frank James (1940). After the premiere, she said, "I sound like an angry Minnie Mouse."
  103. ^ Jeanine Basinger (Vintage, January 6, 2009), The Star Machine, p. 290. According to Basinger, the true proof that an actor was a star was that studios, including the one's own, would create lookalikes. Margaret O'Brien is quoted as saying how MGM created lookalikes for every star and how the studio used them to keep the stars in line.
  104. ^ Bernard F. Dick (The University Press of Kentucky, May 21, 2004), Hal Wallis: Producer to the Stars, p. 95. Bacall was a heavy smoker and had numerous smoking scenes in her films.
  105. ^ Bernard F. Dick (The University Press of Kentucky, May 21, 2004), Hal Wallis: Producer to the Stars, p. 96
  106. ^ a b Bruce Crowther (Columbus Books, 1988), Film Noir: Reflections in a Dark Mirror, p. 123
  107. ^ Foster Hirsch (Da Capo Press, 2nd edition, November 25, 2008), The Dark Side of the Screen: Film Noir, p. 224. Paula Haller of Desert Fury is eager to join her mother's underworld activities, despite Fritzi wanting a normal life for her daughter.
  108. ^ Mark Bould (Wallflower Press, December 7, 2005), Film Noir: From Berlin to Sin City, p. 61. Bould is one of the few film historians that recognizes that Scott's Mona Stevens of Pitfall is not a true femme fatale.
  109. ^ Aaron Sultanik (Associated University Press, June 1986), Film: A Modern Art, pp. 272–273
  110. ^ David Ehrenstein (University of California Press, May 18, 1999), "Desert Fury, Mon Amour," Film Quarterly: Forty Years, a Selection, p. 481
  111. ^ Paula Rabinowitz (Columbia University Press, July 15, 2002), Black & White & Noir: America's Pulp Modernism, pp. 95–96
  112. ^ David Ragan (Prentice Hall, July 1, 1985), "Lizabeth Scott," Movie Stars of the 40s, p. 192.
  113. ^ R. J. Reynolds (November 30, 1953), Camel advertisement, Life, (New York City, New York), back cover
  114. ^ [66] Anonymous (accessed May 23, 2014), "Lizabeth Scott," Female Celebrity Smoking List. Scott has smoked in ten of her films.
  115. ^ David Ehrenstein (University of California Press, May 18, 1999), "Desert Fury, Mon Amour," Film Quarterly: Forty Years, a Selection, pp. 483
  116. ^ Melanie Bell (I. B. Tauris, February 2, 2010), Femininity in the Frame: Women and 1950s British Popular Cinema, pp. 30–33. Bell cites Scott's gowns and high-heeled shoes in Stolen Face (1952).
  117. ^ Herbert Cohn (Thursday, October 30, 1947), "'Desert Fury' at Brooklyn Paramount With Lizabeth Scott, Hodiak, Corey," The Brooklyn Daily Eagle (Brooklyn, New York), p. 13. Due to the retro 1920–30s designs of Edith Head, Scott's principal dress designer, Scott largely escaped the "square shoulders look" of the 1940s, making Scott atypical of the period.
  118. ^ Eddie Muller commentary, The Racket, Warner Home Video, 2006
  119. ^ Andrew Spicer (Scarecrow Press, March 19, 2010), Historical Dictionary of Film Noir, p. 273
  120. ^ John Reid (Lulu.com, November 19, 2004), "Desert Fury," Popular Pictures of the Hollywood 1940s, pp. 34–35
  121. ^ Karen Hollinge (Routledge, April 21, 2006), The Actress: Hollywood Acting and the Female Star, pp. 9–10. "(Cynthia) Baron characterizes studio acting as an eclectic mix of pragmatic acting strategies and guidelines that centered around three major concerns: the actor's adjustment from stage to screen, the development of "silent thinking" as a way to help formulate appropriate reactions during shooting, and the building of a character through careful script analysis, extensive preparation, and dispassionate execution. She proposes that (s)tudio actors developed their craft, not by using a single method, but rather by drawing on a complex integration of techniques taken from silent films, theater, dance, modeling, vaudeville, and the theories of Constantin Stanislavski." Baron's list reads like a resume of Scott's.
  122. ^ Dick McCrone (Friday, January 23, 1948), HomeTown Fan Fare, The Evening News (Harrisburg, Pennsylvania), p. 11
  123. ^ Terence Pettigrew (Proteus, 1981), Bogart: A Definitive Study of His Film Career, p. 86
  124. ^ Brian W. Fairbanks (Lulu.com, October 28, 2005), The Late Show—Writings on Film, p. 136
  125. ^ John DiLeo (Limelight Editions, August 1, 2004), 100 Great Film Performances You Should Remember—But Probably Don't, p. 165
  126. ^ Jay Jorgensen (Running Press, 1st edition, October 5, 2010), Edith Head: The Fifty-year Career of Hollywood's Greatest Costume Designer, p. 126
  127. ^ Dan Callahan (University Press of Mississippi, February 3, 2012), Barbara Stanwyck: The Miracle Woman, p. 152
  128. ^ Frank Krutnik (Routledge, August 24, 1991), In a Lonely Street: Film Noir, Genre, Masculinity, p. 257
  129. ^ Ronald Schwartz (McFarland & Company, November 6, 2013), Houses of Noir: Dark Visions from Thirteen Film Studios, p. 130
  130. ^ David J. Hogan (Applause Theatre & Cinema Books, April 15, 2013), Film Noir FAQ: All That's Left to Know About Hollywood's Golden Age of Dames, Detectives, and Danger, p. 100
  131. ^ Jerome Charyn (NYU Press, August 1, 1996), Movieland: Hollywood and the Great American Dream Culture, p. 137
  132. ^ Jerome Charyn (NYU Press, August 1, 1996), Movieland: Hollywood and the Great American Dream Culture, p. 135
  133. ^ David J. Hogan (Applause Theatre & Cinema Books, April 15, 2013), Film Noir FAQ: All That's Left to Know About Hollywood's Golden Age of Dames, Detectives, and Danger
  134. ^ Foster Hirsch (Da Capo Press, 2nd edition, November 25, 2008), The Dark Side of the Screen: Film Noir, pp. 221–222
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