Lizabeth Scott
Lizabeth Scott
Lizabeth Scott is an American actress and singer widely known for her film noir roles. She is one of few surviving actresses from Hollywood's "golden age".
Lizabeth Scott's personal information overview.
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Billy and Marilyn -- They Do Not have Those "Wedding Bell Blues"
Huffington Post - about 2 years
"SOMETIMES we are sitting around the house, and I'll say to Marilyn, 'You know, we need to get out more, see more people. Young people!" And she'll say, 'Okay. Let's do that.' But, we never do! I guess we are pretty content with ourselves." •THAT'S Billy Davis Jr., talking about his long relationship with Marilyn McCoo. I had a fast, energizing phone call with the couple, who just celebrated their 40th wedding anniversary. The pair -- he was the founder of The Fifth Dimension group, she was its lead singer -- feel it is significant that they will be working in The Orleans Showroom in Las Vegas over Valentine's Day. Marilyn said: "It's corny to say, but it is special. We still have so much joy in one another, and I know it communicates to the audience." Asked what the "secret" was to such a long marriage, they both chimed "Compromise!" Billy says: "What do you really 'win" when you 'win?' Is that how to approach issues? We've never thought so, and so far it's work ...
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Huffington Post article
Lizabeth Scott dies at 92; sultry leading woman of film noir
LATimes - about 2 years
Actress Lizabeth Scott, whose sultry looks and smoky voice led many a man astray in 1940s and '50s film noir, died Jan. 31 at Cedars-Sinai Medical Center in Los Angeles. She was 92.
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LATimes article
Film noir actress Lizabeth Scott dies at 92
LATimes - about 2 years
Actress Lizabeth Scott, who played the bad girl in numerous hard-boiled film noir releases of the 1940s and '50s, died Jan. 31 at Cedars-Sinai Medical Center in Los Angeles. She was 92.
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LATimes article
Mike Kaplan: Encounters With Mike Hodges Via Stanley Kubrick, Robert Altman and Terrence Malick
Huffington Post - almost 4 years
Part One Thirty nine years ago, I walked out of Warner Bros.' London offices with a knot in my stomach. It was late and chilly on Wardour Street, a good three miles to the flat I was renting in St. John's Wood, yet I desperately needed that walk to get a grasp on the emotions churned up by the film I had just screened. It was a response one hopes for in the movies, when something completely transports you to another world, and you need time to get yourself around the film before restoring your own reality. The movie was The Terminal Man, British director Mike Hodges's third feature and his first as producer on a major studio project. He had freely adapted the best-selling Michael Crichton novel into a chilling warning of technology gone amok in the name of benefitting humanity. In the process, he presented a searing indictment of medical and scientific arrogance. The plot concerns a computer expert (George Segal), whose involuntary homicidal tendencies can only be ...
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Huffington Post article
Pop culture Q&A: Lizabeth Scott got her start on stage and starred in films - Kansas City Star
Google News - over 5 years
My favorite actress is Lizabeth Scott. What can you tell us about her? A: Born Emma Matzo in 1922 in Scranton, Pa., Scott was a sultry, deep-voiced star of numerous films noir, although - as she herself pointed out - she also worked with Elvis Presley
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Google News article
Des polars pour se laver les yeux - l'Humanité
Google News - over 5 years
Avec un superbe personnage de femme (Lizabeth Scott) tendre et libre. Tenons-nous-en à ces trois exemples. Mais aucun de ces films n'est à rater. On peut choisir pratiquement au hasard. Pour le plaisir, d'abord, mais aussi parce qu'ils « lavent les
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Google News article
Krishna Bhakti Dham planned in Pennsylvania, USA - Calcutta Tube
Google News - over 5 years
Notable people associated with Scranton include US Vice President Joseph Biden, television host Bill O'Reilly, Baseball Hall of Famer Nestor Chylak, actresses Gloria Jean and Lizabeth Scott, novelist Lauren Weisberger, Banana Republic co-founder Mel
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Google News article
'Krishna Bhakti Dham' planned in Pennsylvania - TruthDive
Google News - over 5 years
Notable people associated with Scranton include US Vice President Joseph Biden, television host Bill O'Reilly, Baseball Hall of Famer Nestor Chylak, actresses Gloria Jean and Lizabeth Scott, novelist Lauren Weisberger, Banana Republic co-founder Mel
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Google News article
Edith Head's costumery - Palm Beach Post
Google News - over 5 years
The impeccable craftsmanship and style of the pieces designed and executed for the likes of Barbara Stanwyck, Lizabeth Scott and other standbys of the era at Paramount, where Head spent most of her career, were astonishing. These weren't clothes made
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Google News article
In Another Time > Wildwood's big screen connections - Shore News Today
Google News - almost 6 years
Among the visitors here were actors Leo Carrillo, Ruth Warrick, Lizabeth Scott, Charles Coburn, and Rhonda Fleming. Producer Jesse Lasky was there too and he served as honorary chairman. But while Hunt put the finishing touches on movies, so to speak,
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Google News article
DVDS; Postal Sleuths, Freudian Roiling and Female Revenge
NYTimes - over 6 years
AS many DVD distributors cut back on releases of older films -- ''deep library,'' in industry parlance -- it's a particular pleasure to welcome a new company to the field. Olive Films (, a theatrical and home video distributor, has announced an ambitious schedule of releases drawn from the rich Paramount library. Here's a look at the
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NYTimes article
DVDS; Carnal, Gum-Crackin' and Dangerous to Know
NYTimes - about 7 years
IT'S easy to recognize the Bad Girl. She's usually a bottle blonde, stuffed into a tight sweater that outlines her oddly conical breasts. Her mouth is wide, painted and clamped on a cigarette. Her eyes burn a little too brightly, and her legs, planted in a pair of high-rise pumps, go on forever. This exotic specimen began appearing in American
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NYTimes article
Andre De Toth, the Director Of Noted 3-D Film, Is Dead
NYTimes - over 14 years
Andre De Toth, a Hungarian-born movie and television director whose loss of an eye as a youth robbed him of depth perception yet didn't prevent him from making the most highly regarded of all 3-D films, died on Sunday at his home in Burbank, Calif. The cause was an aneurysm, friends said. In recent publications and interviews, Mr. De Toth gave the
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NYTimes article
NYTimes - over 18 years
To the Editor: Thanks to William Grimes for explaining the Ramos gin fizz of New Orleans (''Charting the Globe on a Cocktail Napkin,'' Aug. 30). As an addendum, Lizabeth Scott in the movie ''Dead Reckoning'' (1947) is quite partial to it. Liz and the fizz are quite an item in the film. In fact, from its description the cocktail is a remarkable
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NYTimes article
FILM REVIEW; Glimpses of the Gay Life: A Hollywood Perspective
NYTimes - over 18 years
Images and opinions abound in ''The Silver Screen: Color Me Lavender,'' but genuine insight and reportorial curiosity are in short supply in this film about Hollywood's treatment of homosexuality during its golden age, from the 1930's to the 60's. Written, directed and edited by Mark Rappaport, ''The Silver Screen: Color Me Lavender'' is another of
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NYTimes article
Metropolitan Diary
NYTimes - over 23 years
DEAR Diary: Walking along Sixth Avenue, headed for CBS the other morning, I was confronted by a gray-haired woman in a raincoat and carrying an umbrella. She said, "You're Frank Field and you said it was going to be a nice day and that the dark clouds would clear." I said, "Yes, it is going to be a nice day and the dark clouds will clear." She
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NYTimes article
Review/Television; Facing Corruption Close to Home
NYTimes - almost 25 years
Maybe it's the law of averages or maybe it's just Michael Ontkean, but the USA Network has found itself a reasonably decent movie, the kind of moody, hard-boiled urban morality tale that used to star Dan Duryea, with maybe Howard da Silva in a supporting role. USA's "World Premiere Movie" presentations are generally low-budget disaster areas, but
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NYTimes article
Theater in Review
NYTimes - almost 25 years
Gunmetal Blues Theater Off Park 224 Waverly Place Manhattan Through May 10 Book by Scott Wentworth; music and lyrics by Craig Bohmler and Marion Adler; directed by Davis Hall; scenery and costumes by Eduardo Sicangco; lighting by Scott Zielinski; production stage manager, Lisa Ledwich; musical direction, arrangements and orchestrations by Mr.
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NYTimes article
50 Restored Movies at the Modern
NYTimes - over 28 years
LEAD: Without the restoration and preservation work done by film archives, we would never be able to see such artifacts as the first three-color Technicolor feature (Rouben Mamoulian's ''Becky Sharp,'' 1935), Ernst Lubitsch's ''One Hour With You'' (1932) in its original amber-and-blue tints, and two films that Laurel and Hardy made in Spanish
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NYTimes article
Learn about memorable moments in the evolution of Lizabeth Scott
  • 2015
    Age 92
    Scott died of congestive heart failure at the age of 92 on January 31, 2015.
    More Details Hide Details Lizabeth Scott has a star on the Hollywood Walk of Fame for her contribution to motion pictures at 1624 Vine Street in Hollywood.
  • 2003
    Age 80
    In 2003, film historian Bernard F. Dick interviewed Scott for his biography of Wallis.
    More Details Hide Details The results was an entire chapter titled "Morning Star." In the chapter, the author observed that during the interview, Scott (then 80 or 81 years old) was still able to recite her opening monologue from The Skin of Our Teeth, which she had learned six decades earlier. Scott's favorite film was one she never appeared in—Doctor Zhivago (1965). Ever the non-conformist, she never stopped living Ralph Waldo Emerson's precept: "To be yourself in a world that is constantly trying to make you something else is the greatest accomplishment."
  • 1987
    Age 64
    She appeared on stage at an American Film Institute tribute to Wallis in 1987 and fondly recalled her time with him.
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  • 1969
    Age 46
    Dugger planned to make a film in Rome starring Scott, but he suddenly died on August 8, 1969.
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    In late 1969, musician Rexino Mondo was helping Scott decorate her fiance's mansion on Mulholland Drive before the wedding: "Liz... introduced me to her fiance, Texas oil baron William Lafayette Dugger, Jr. He was in his late forties, of medium build, good-looking, with dark hair, a warm personality, and a strong handshake."
    More Details Hide Details Dugger himself described Scott as "A misunderstood soul searching for love. Her outward appearance is just a shell."
    In May 1969, the future wedding of Scott to oil executive William Dugger of San Antonio, Texas was announced after a two-year engagement.
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  • 1960
    Age 37
    In the 1960s, Scott continued to guest-star on television, including a notable 1960 episode of Adventures in Paradise, "The Amazon," opposite Gardner McKay.
    More Details Hide Details Scott played the titular character, derived from a boyfriend's dialog: "She is a sleek, well-groomed tigress, a man-eating shark—an Amazon! She chews men up and spits them out." In a Burke's Law episode, "Who Killed Cable Roberts?" (1963), she camps it up as the ungrieving widow of a celebrity big-game hunter. But much of her private time was dedicated to classes at the University of Southern California.
  • 1958
    Age 35
    Finally on April 23, 1958, Scott made her public singing debut on CBS' The Big Record.
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  • 1957
    Age 34
    Undaunted by Paramount's refusal to let her singing be heard, Scott signed a recording contract with Vik Records (a subsidiary of RCA Victor). Scott recorded her album with Henri René and his orchestra in Hollywood on October 28, 29 and 30, 1957.
    More Details Hide Details Simply titled Lizabeth, the 12 tracks are a mixture of torch songs and playful romantic ballads.
  • 1956
    Age 33
    In July 1956, Johnson reported that Scott was under the management of Earl Mills, who also managed the singing career of Dorothy Dandridge.
    More Details Hide Details Scott was planning to debut as a torch singer on the nightclub circuit. Scott reemerged from retirement in Loving You (1957), Elvis Presley's second musical. During the shooting of Loving You, Scott was reported to have been infatuated with Presley. During a kissing scene, she playfully bit him on the cheek, leaving a red mark, which she called "just a little love nibble." The scene had to be reshot with the other side of his face to the camera. But Scott's musical debut came to naught. Though Hal Wallis tried to get Scott's singing voice undubbed for the production, he was overruled by the studio heads, despite all of Scott's previous voice training. Production ran late January 1957–mid-March 1957.
  • 1955
    Age 32
    Despite later claims that Scott's film career was ruined by the Confidential scandal, by the time the September 1955 issue of Confidential appeared, her career was already dormant.
    More Details Hide Details Scott had begun her career at a time when many established actors were away at war, giving then unknowns like Scott a chance at stardom. When the older stars returned, many of the newer stars faded away. In addition, the rise of television and the breakup of the studio system further curtailed film production. Film historians generally agree that Scott's career essentially peaked between 1947 and 1949. By February 1953, her stage fright was such that she even hid from friends. Scott did not renew her Paramount contract in February 1954, 18 months before "Lizabeth Scott in the Call Girls' Call Book" was published. Between the end of her contract and Rushmore's article, she had turned down numerous scripts, including a part in Wallis' The Rose Tattoo (1955). But instead of reinventing herself as Bacall did, returning to Broadway, Scott chose another path.
    In retaliation, Confidential published the Scott story in the next issue. Under the byline of "Matt Williams", it was titled "Lizabeth Scott in the Call Girls' Call Book". In November 1955, at the age of 33, Scott again went to Britain to film The Weapon (1957).
    More Details Hide Details The next spring, despite Giesler's reassurances to the press, the legal efforts against Confidential went nowhere. Since the magazine was domiciled in New York State, and Scott was a California resident who had initiated the suit in her own state, Los Angeles Supreme Court judge Leon T. David quashed Scott's suit on March 7, 1956, on the grounds that the magazine was not published in California. Despite this setback, Giesler said that he would refile in New York. Lawsuits from other actors against the magazine were piling up. Meanwhile, Rushmore tried to get Harrison to publish a story about former First Lady Eleanor Roosevelt allegedly having an affair with her African-American chauffeur. When Harrison refused, Rushmore quit and flew to Los Angeles to meet with Scott's attorney, Jerry Giesler. Rushmore offered to testify against Confidential in exchange for a job in Hollywood. Giesler rejected the offer. Then Rushmore became a witness for California Attorney General Edmund "Pat" Brown. Since New York refused to let Brown extradite Harrison to California, Brown instead put Hollywood Research and Harrison's niece on trial. On August 7, 1957, the trial of The People of the State of California v. Robert Harrison et al. began. It eventually involved over 200 actors, most of whom fled California to avoid defense subpoenas. Rushmore, now the state's star witness, testified that the magazine knowingly published unverified allegations, despite its reputation for double-checking facts: "Some of the stories are true and some have nothing to back them up at all.
    In early 1955, several months after the Army–McCarthy hearings and the premiere of Silver Lode, Rushmore wrote an exposé on Lizabeth Scott, a second-generation Republican and Catholic host of Family Theater.
    More Details Hide Details The publisher, Robert Harrison, was initially intrigued, but skeptical. To verify some aspects of the story, he hired an out-of-work actress, Veronica "Ronnie" Quillan, to have luncheon with Scott, giving Quillan an opportunity to make a pass at Scott. Quillan was to be bugged with a wristwatch microphone supplied by the Hollywood Detective Agency, but the agency's owner, H. L. Von Wittenburg, backed out and the plan was never implemented. Despite the lack of evidence, Confidential sent a copy of the story to Scott herself. What Scott read was that a police raid occurred on a Hollywood Hills bungalow at 8142 Laurel View Drive the previous autumn. Two female adults, one male adult and a 17-year-old female were arrested on prostitution charges. 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. "HO 2-0064" had a Hollywood prefix and was the residential number of an elderly couple, Henry A. and Mamie R. Finke, of 4465 West 2nd Street, Los Angeles, while "BR 2-6111" belonged to the 20th Century Fox switchboard at 10201 West Pico Boulevard, Los Angeles. Scott did not work for 20th Century until 1956, when she took part in an episode of The 20th Century Fox Hour.
  • 1954
    Age 31
    After being fired from the New York Journal-American in 1954, Howard Rushmore became the chief editor of a New York scandal magazine, Confidential.
    More Details Hide Details For Rushmore, it was a return to his days as film critic of the communist Daily Worker, but on the opposing side. He had been fired from the Worker in 1939 for giving an ambivalent review of Gone with the Wind (1939). The firing made the front page of all the major New York City newspapers. Rushmore became a professional anti-communist. Among Rushmore's heroes was Wisconsin Senator Joseph McCarthy. Rushmore was briefly director of research for the Senate Permanent Subcommittee on Investigations under McCarthy.
    In April 1954, Scott attended the Cannes Film Festival, where she posed wading barefoot in a fountain and surf for photographers.
    More Details Hide Details Though she left for London immediately after the festival, her visit to France had unforeseen consequences. Later that month, it was announced that she would be the host of High Adventure (1957–1958), a travelogue television series for CBS, but she never appeared in it. As Scott put it: " out of the clear blue sky one morning, I woke and decided that I never wanted to make another film again. It was just a spark, I can't explain it." Though the public response to Scott was generally favorable during the Paramount years, the film critics were less so, repeatedly making unfavorable comparisons to Lauren Bacall and Tallulah Bankhead, beginning with Bob Thomas' March 1945 comment about her screen test: "Her throaty voice may well make Lauren Bacall sound like a mezzo soprano." When the most prominent critic of the era, Bosley Crowther of The New York Times, gave a bad review of You Came Along (1945), Scott's film debut, she 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." Nonetheless, in his review of I Walk Alone (1948), he stated, "As the torch singer...
    Eight months later in February 1954, Hal Wallis and Scott parted ways.
    More Details Hide Details Scott was now a freelancer. 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, Dan Ballard (John Payne), is the target of a lynch mob on their Fourth of July wedding day. As the loyal fiancée, Scott is unwavering in facing volatile public opinion, fueled by the fear that Ballard is someone other than he appears. The film repeats many of the themes found in previous Western noirs such as The Ox-Bow Incident (1943), as well as the then recent anti-blacklist Johnny Guitar that had premiered the previous month. Dan Duryea was cast as a villain named Ned McCarty, ostensibly named after William Henry McCarty (alias Billy the Kid), but usually assumed by film historians to be an allusion to Wisconsin Senator Joseph McCarthy. Unlike previous Hollywood efforts against blacklisting, such as the Committee for the First Amendment, manned mostly by Democrats, Republicans dominated the Silver Lode production. Though the screenwriter, Karen DeWolf, was a left-wing activist, director Allan Dwan and John Payne were Republicans, as were Scott and RKO's owner, Howard Hughes. Critical response to the film itself was muted, as the film appeared immediately after the Army–McCarthy hearings and McCarthy's influence was already in decline.
  • 1953
    Age 30
    In 1953, Scott was briefly engaged to architect John C. Lindsey, who later became Diana Lynn's first husband before Mortimer Hall.
    More Details Hide Details Despite the Confidential article, Scott remained active on the Hollywood dating circuit. But the allegations continued to haunt her. A friend, David Patrick Columbia, noted: "One night driving her home from a party we’d been to, she remarked apropos of nothing we’d been talking about, 'and you know David, I am not a lesbian.'" Scott herself tended toward secrecy about her personal relationships and publicly disparaged former dates who told all to the press. Once their date appears in the press, " the man goes off my date list... 'I think,' said Miss Scott, 'that gentlemen don't tell.'" In 1948, Burt Lancaster said of Scott: "Becoming her close friend... is 'a long stretch at hard labor.'" In the period between 1945 and the 1970s, 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 of the clothing store chain family, Seymour Bayer of the pharmaceutical family, Marquess of Milford Haven, race-track owner Gerald "Jerry" Herzfeld, and Eddie Sutherland, among others. Burt Bacharach dated Scott during his breakup with Angie Dickinson. 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...
    In April 1953, the 30-year-old Scott made her last film as a Paramount contractee.
    More Details Hide Details In Bad for Each Other (1953), Scott played a decadent heiress, Helen Curtis, who tries to dominate a poor but idealistic physician, Colonel Tom Owen (Charlton Heston). The source material for the screenplay, Horace McCoy's novel Scalpel, was more nuanced than the linear morality play of Bad For Each Other. This film was Hal Wallis' last attempt to pair Burt Lancaster and Scott. Patricia Neal was originally cast as Helen, but when Scott replaced Neal, Lancaster had to be replaced by Heston. Though Heston and Scott had previously worked together in Dark City, there was reported feuding between the two on the set. The film was a box office failure.
  • 1952
    Age 29
    Scott's stage fright was worsening. During the October 19, 1952 live broadcast of NBC's Colgate Comedy Hour, Scott reportedly hid in her dressing room until the casting director, Howard Ross, taunted her to face the audience.
    More Details Hide Details By the end of October 1952, of the original 48 big name actors under contract to Paramount in 1947, only four were left—Bing Crosby, Bob Hope, William Holden and Lizabeth Scott.
  • 1951
    Age 28
    Scott returned to Britain in October 1951 to film Stolen Face (1952), a noir that presages Alfred Hitchcock's Vertigo (1958) by several years.
    More Details Hide Details It combined elements from medical science-fiction (repeated in the later work of the director, Terence Fisher, in his cycle of Hammer horror films). 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. Hal Wallis and Scott, by allowing Henreid to be the leading man, were among the first to break the Hollywood blacklist. As a former member of the Committee for the First Amendment, Henreid was forced to seek work in Europe. Scott later starred in an anti-McCarthy noir, raising the ire of a pro-McCarthy journalist, who linked Scott's future visit to Cannes, France with an alleged visit to a Parisian nightclub. Later that spring, Scott returned to her beginnings as a comedian when she began work on her first comedy noir, Scared Stiff, with Dean Martin and Jerry Lewis. Scott played an heiress who inherits a haunted castle on Lost Island off the coast of Cuba. Though Scott had fond memories of working on the set in the years ahead, at the time of filming she found it trying. Scott 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, including making excuses for Lewis' behavior to the press, most of her scenes ended up on the cutting-room floor.
  • 1950
    Age 27
    1950 saw Scott act in four films.
    More Details Hide Details In a continuing effort to escape her femme fatale typecasting, Scott played another self-sacrificing June Allyson-like character before reverting to her usual torch singer/socialite roles. In The Company She Keeps (1951), she played Joan Willburn, a probation officer who sacrifices her fiancé to a scheming convict, Diane Stuart (Jane Greer), who echoes Scott's Toni Marachek from Martha Ivers. While Greer's beauty was toned down for the film, Scott's was not. As a result, critics were generally unconvinced that the leading man would choose the dowdy Diane over Joan. Most critics thought that Scott and Greer were miscast, and should have switched roles. Columnist Erskine Johnson summed it thus: "Lizabeth Scott is on her second reach-for-the-handkerchief-Mabel picture for RKO." A box-office failure due to the then perceived miscasting and mix of noir and "weepie" genres, The Company She Keeps has risen in critical esteem with a more sophisticated audience in later years.
  • 1949
    Age 26
    Finally, Scott decided to legalize her stage name. Having been known professionally as "Lizabeth Scott" for almost seven years, she legally changed her name from Emma Matzo on September 14, 1949.
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    In July 1949, Scott returned to the stage in the title role of Philip Yordan's play Anna Lucasta at the McCarter Theatre, on the campus of Princeton University, New Jersey.
    More Details Hide Details The press reported: "Folks who expected fireworks when Liz Scott and Tallulah Bankhead crossed paths at the Princeton Drama Festival were vastly disappointed. It was all sweetness and light."
    By June 22, 1949, Scott was reportedly recovered from her January episode and was to be loaned out by Hal Wallis to the Princeton Drama Festival.
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    During Scott's recovery period, Walter Winchell, in his "On Broadway" column for June 9, 1949, repeated a rumor of Scott's impending marriage to Mortimer Hall, CEO and president of radio station KLAC.
    More Details Hide Details Scott and Hall later broke up. (Hall eventually married actress Ruth Roman, pursued Rosemarie Bowe, who looked similar to Scott, divorced Roman, and then married Diana Lynn, Scott's co-star in Paid in Full.)
    According to Scott's replacement, Jane Greer, Scott quit because she was concerned about being associated with the leading man, Robert Mitchum, who at the time was jailed at the local honor farm for a marijuana conviction—Mitchum was convicted January 10, 1949.
    More Details Hide Details It was also later alleged that Hal Wallis was supposedly responsible for Scott's bowing out. Yet, Scott starred with Mitchum in a RKO film two years later. During this same period, the press reported rumors of Scott's stage fright, an ailment common to actors. Scott herself has admitted to stage fright, explaining her absence during premieres of her films.
    On Tuesday, January 25, 1949, Scott collapsed and went into hysterics on the RKO set of The Big Steal (1949).
    More Details Hide Details She immediately quit after three days of production.
  • 1948
    Age 25
    In 1948 Scott was reportedly divorced from Russian Prince Stass Reed.
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    At the end of 1948, Scott shifted dramatic gears in Paid in Full (1950).
    More Details Hide Details 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 accidentally kills her young niece, eventually marries Bill herself, gets pregnant, and dies after giving birth. In a film reminiscent of Stella Dallas (1937) and Mildred Pierce (1945), both Cummings and the original screenwriter, Robert Rossen, were out of their depth, according to one review—but the final film succeeded surprisingly well. There was reportedly a "scene stealing" competition between Scott and Lynn on the set.
    In September 1948, Scott played the ultimate femme fatale in Too Late for Tears, with Don DeFore, Dan Duryea, Arthur Kennedy and Kristine Miller.
    More Details Hide Details 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. During the shooting of a scene where Scott screamed at Duryea, she accidentally broke a blood vessel in her throat. This Hitchcock-like, black-and-white noir is widely considered Scott's best film and performance, eliciting praise even from the normally hostile New York Times. But the film was a box-office failure when it was released and the producer, Hunt Stromberg, was forced into bankruptcy. Decades later, one film historian noted the film's staying power: "Too Late for Tears is a relatively 'unknown and unseen' noir and deserves this recognition, especially for its storyline, acting and the incredible performance of Lizabeth Scott in the femme fatale role."
    In January 1948, the 26-year-old Scott played her third and last ingénue in the second favorite among her own films—Pitfall (1948) with Dick Powell and Jane Wyatt as a middle-aged couple growing apart.
    More Details Hide Details Director André de Toth explained his reasons for casting Mona: "I wanted Lizabeth Scott. I didn't want some blonde with big tits. You had to believe that this girl was real. Even if I took one of these over-sexed types who could not act, it would change how the Powell character is drawn into the affair. Remember the point of the script was that he's just a middle-level insurance investigator. He's tired of his job, spending time in his little office with a drab secretary. So I could have made a different picture, with a prettier girl than Lizabeth Scott, and told the story of that girl, her problems; but that wasn't this movie. That would make it phony, if you cast it with Marilyn Monroe, a type like that. I needed somebody real." In post-war Los Angeles, Powell's character, John Forbes, is investigating Mona Stevens (Scott), a department store model whose jailed boyfriend had embezzled funds. Bored with his wife, John starts an affair with Mona, but is soon competing for her with a voyeuristic detective, played by a then unknown Canadian actor, Raymond Burr.
  • 1946
    Age 23
    In December 1946, Scott again starred with Lancaster, Corey and Douglas, in Wallis's I Walk Alone (1948), a noirish story of betrayal and vengeance.
    More Details Hide Details In her second torch singer role, Scott is Kay Lawrence, who befriends a convict, Frankie Madison (Lancaster), who returns to New York after 14 years in prison, seeking his share of criminal proceeds from his partner Noll "Dink" Turner (Douglas), who is also Kay's boyfriend. The film was a dramatic hit with the audience. But there was more drama behind the scenes of the film, originally titled Deadlock. The Kay Lawrence role was originally intended to be Kristine Miller's breakout role. But Scott, ever competitive with all other actresses, grabbed the role for herself. Miller later recalled, "(Wallis) planned to star me in 'I Walk Alone.' He tested me with Burt; it was a wonderful test. But then Lizabeth Scott decided she wanted the role, and Lizabeth got whatever she wanted—from Hal Wallis! (Laughs) So, I got the second part instead." 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." Though relations between Lancaster and Scott had previously been romantic, there had been a falling out. Lancaster's behavior toward Scott was chilly, especially during one kissing scene, leaving Scott looking exasperated.
    In September 1946, a Motion Picture Herald poll of exhibitors voted her the seventh-most promising "star of tomorrow."
    More Details Hide Details Production ran 10 June–4 September 1946. It premiered in New York the week of 23 January 1947. Despite the initial positive publicity, the long-term effect of Dead Reckoning was to typecast the former comedian for her entire career. The following year, contrary to general expectations, Bacall herself approved of the casting of Scott in Dead Reckoning. With the coming of World War II, a new type of Hollywood actress appeared on the big screen. California historian Kevin Starr described it thus: "The stars emerging in 1940, by contrast—Rita Hayworth, Ann Sheridan, Ida Lupino, Lupe Vélez, Marie Windsor, Lana Turner, Lizabeth Scott—each possessed a certain hardness, an invisible shield of attitude and defense, that suggested that times were getting serious and that comedy would not be able to handle all the issues... Just a few years earlier Hollywood had been presenting the wisecracking platinum blonde, frank, sexy, self-actualizing. Now with the war, that insouciance had become hard-boiled." This "hard-boiled" quality appeared in Scott's two previous films and was repeated in Desert Fury (1947), the second noir filmed in color and a Western as well. 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 19-year-old daughter, Paula, who, on her expulsion from "her fifth finishing school," returns home.
    In June 1946, Scott gained the distinction of being the first Hollywood star to visit Britain since the end of World War II.
    More Details Hide Details She was there to attend the London premiere of Martha Ivers and do a promotional tour through the country. In Liverpool and Manchester, she was met by massive crowds. Her appeal was now truly international. During her stay in Britain, Scott was interviewed by Picture Page, a news magazine program, at the BBC's Alexandra Palace studios. While Scott was still in Britain, shooting began on a new noir that Scott joined after she returned: Dead Reckoning. Columbia originally intended Rita Hayworth for the role, who was busy with The Lady from Shanghai (1947). Then attention turned to Bacall, who also refused. As a result, Scott was borrowed from Hal Wallis. Scott played Coral "Dusty" Chandler, a woman that US Army Captain Murdock (portrayed by Humphrey Bogart) is attracted to during his search for the murderer of his AWOL friend. She may not be the innocent bystander that she seems.
    Later in 1946, Scott's moniker proved prophetic, when a 37-year-old Barbara Stanwyck, in a letter, objected to 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."
    More Details Hide Details Lawyers for Wallis and Stanwyck got to work, and eventually, the final billing ran Stanwyck, Van Heflin and Scott at the top, with newcomer Kirk Douglas in second place. But Wallis' interest in promoting Scott was obsessive. The AFI page on Martha Ivers notes: "Director Lewis Milestone is quoted in an article in the Los Angeles Sun Mirror on 8 December 1946 as having said that he would never make another picture with producer Hal Wallis because Wallis wanted to reshoot scenes in this film for more close-ups of Lizabeth Scott; Milestone reportedly told Wallis to shoot them himself—which he did." Wallis ended up adding extra footage of Scott at the expense of Stanwyck's screen time, which later led to a contretemps between Stanwyck and Wallis. Concerning her first film noir, Scott recalled how strange it was to be in a film with Stanwyck and only have one brief scene together. The screenplay by Robert Rossen depicts two separate story lines running in parallel—one dominated by Martha Ivers (Stanwyck) and the other by Antonia "Toni" Marachek (Scott). The Heflin character, Sam, is the connection between the story lines, which only overlap in the one scene where femme fatale Martha and Toni meet.
    Early in February 1946, Scott was dating a then unknown actor named Burt Lancaster, with whom she did a screen test.
    More Details Hide Details Lancaster's first marriage was in trouble and despite rumors of marriage between him and Scott, the two broke up the following year.
  • 1945
    Age 22
    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." "The Body" (Marie McDonald), "The Voice" (Frank Sinatra) and "The Look" (Lauren Bacall) were supposed to be threatened by Scott's arrival on the Hollywood scene.
    More Details Hide Details Though they were the same height (5'6" or 1.68 meters), McDonald's measurements were 36½-22½-35, to Scott's 34-24-34. Nor was Scott permitted to sing after her first film, invariably being dubbed by Trudy Stevens. Scott herself never cared for the moniker, though she found "meanie" roles easier to play.
    In October 1945, Tallulah Bankhead denied Paramount publicity stating that Scott was her understudy on Broadway. "'Nobody ever understudies me,' baritones the Alabam' belle. 'When I don't go on, the play doesn't go on!'"
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    Almost four months before the release of Scott's first film, Thomas's March 16, 1945 column was the first to make an unfavorable comparison between Lauren Bacall and Scott, thus beginning a critical trend of marginalizing Scott in favor of Bacall.
    More Details Hide Details Despite Scott's initial difficulties with Cummings, she soon gained his respect with her performance and force of personality. Scott never made any headway with the director, John Farrow, however. Farrow had lobbied for Teresa Wright and when he did not get her, he made his displeasure known to Scott throughout the shoot. However, You Came Along remained Scott's favorite of all the films she made.
  • 1944
    Age 21
    Scott moved to Los Angeles in November 1944.
    More Details Hide Details Later that winter, Scott tested for Love Letters (1945) and for the role of Susan in The Affairs of Susan (1945), but was cast in neither. At the age of 22, Scott's film debut was the comedy-drama You Came Along (1945), opposite Robert Cummings. Originally conceived as a Barbara Stanwyck vehicle, Ayn Rand's script concerns an Army Air Force officer, Bob Collins, who tries to hide his terminal leukemia from his handler, Ivy Hotchkiss (Scott), a US Treasury public relations agent, whom Bob meets during a war bond drive. During the shooting of You Came Along, Hal Wallis showed Scott's screen test to Hollywood columnist Bob Thomas. Wallis told Thomas: "Notice how her eyes are alive and sparkling... Once in a while she reads a line too fast, but direction will cure that. That voice makes her intriguing."
    But she spent several months in New York before Feldman telegraphed her in August 1944—Wallis wanted to sign her to a contract.
    More Details Hide Details To Have and Have Not (1944), Bacall's first film, made its New York premiere October 11, 1944. This film became the basis for claims that Scott was a "Bacall manquée" for the rest of her career.
  • 1943
    Age 20
    The 14-year-relationship that began at the Stork Club in 1943 came to an end.
    More Details Hide Details Scott herself knew the relationship was over—only Wallis remained in denial. After Louise's death in 1962, Wallis went into a depression and became a recluse before marrying Martha Hyer in 1966. In later life, he was reticent on the subject of Scott, despite an unjealous Hyer urging him to include Scott and his other mistresses in his autobiography. Though Casablanca was the film Wallis was most proud of, the ones he watched repeatedly were those starring Lizabeth Scott. Even during his second marriage, Wallis continued to screen Scott's films at home, night after night.
    On September 29, 1943, Hoffman held a birthday party at the Stork Club—Scott had turned 21.
    More Details Hide Details By happenstance or design, Wallis was also at the club that night. Hoffman introduced Scott to Wallis, who arranged for an interview the following day. When Scott returned home, 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, canceling the interview. 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." In 1945, The New Republic claimed that Scott had dropped the "E" as a patriotic wartime gesture "to conserve newsprint." Hopkins recovered in two weeks, and Scott was back in New York. Scott returned to modeling for the Walter Thornton Agency, which Lauren Bacall also worked for. Bacall was currently a cover girl for Harper's Bazaar. Later that year, Scott herself appeared in a Harper's photographic spread, which was allegedly admired by film agent Charles Feldman of Famous Artists Corporation (now ICM Partners). In a telegram to Scott, he asked her to take a screen test. He invited her to come to Los Angeles and stay at the Beverly Hills Hotel, all expenses paid. Coincidentally or not, he had just signed Bacall, who soon made her first film.
    On August 30, 1943, Scott once again played Sabina when George was ill.
    More Details Hide Details Joe Russell was in the Plymouth Theatre audience that night. Afterward, when a Californian friend came to New York on one of his biannual visits to Broadway, Russell told him about Scott's performance. Russell's friend was an up-and-coming film producer for Warner Brothers, Hal Wallis. Scott returned to her drama studies and some fashion modeling. Meanwhile, an associate of Joe Russell's, Irving Hoffman, a New York press agent and columnist for The Hollywood Reporter, had befriended Scott and tried to introduce her to people who could help her. Hoffman earlier had done the same for a 19-year-old model who was then being approached by several Hollywood studios—Lauren Bacall.
  • 1942
    Age 19
    Though the play ran from November 18, 1942 to September 25, 1943, Scott left the production during Miriam Hopkins' tenure.
    More Details Hide Details The continuing feud between Myerberg and Bankhead worsened her ulcer, leading her to not renew her contract. Anticipating Bankhead's move, Myerberg suddenly signed 39-year-old Miriam Hopkins in March. Caught off guard, Scott eventually quit in disappointment. Bankhead's final zinger to Scott was "You be as good as she (Hopkins) is." For a brief period, Scott understudied for Hopkins. While Scott liked Hopkins much more than Bankhead, she was still disappointed about being passed over for the Sabina role. Before quitting, Scott replaced Hopkins for one night only. When Scott finally went on stage as Sabina, she was surprised by both the approval and fascination of the audience. Her replacement as Sabina understudy was another future femme fatale, 19-year-old Gloria Hallward, soon to be known as Gloria Grahame. When Michael Myerberg pulled Grahame from the play for another experimental production in Philadelphia—Star Dust—there was no understudy when Gladys George took over for Hopkins.
    Scott returned to New York in the spring of 1942, where she joined a summer stock company at the 52nd Street Theatre on the subway circuit, the then equivalent of off-Broadway.
    More Details Hide Details Eventually, she starred as Sadie Thompson in John Colton's play Rain (1923). Though no drama critic reviewed the play, a press agent for new actresses, Joe Russell—known locally as "The Man who meets the Greyhound Bus"—persuaded a producer with a problem to see it. Michael Myerberg had 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 (1942). Bankhead had previously signed a contract forbidding an understudy for the Sabina role, which Myerberg breached by hiring Scott—rumors of an affair between the married Myerberg and the new understudy were rife. Scott has said that her fondest memory was of Myerberg telling her, "I love you," but the two eventually parted.
  • 1940
    Age 17
    In late 1940, an 18-year-old Scott auditioned for Hellzapoppin (1938).
    More Details Hide Details From several hundred women, she was chosen by vaudevillians John "Ole" Olsen and Harold "Chic" Johnson, stars of the original Broadway production. She was assigned to one of three road companies, Scott's being led by Billy House and Eddie Garr. Landing her first professional job, she was billed as "Elizabeth Scott." The tour opened November 3, 1940 at the Shubert Theatre in New Haven, Connecticut. She did blackouts and other types of sketch comedy during her 18-month tour of 63 cities across the US.
  • 1939
    Age 16
    In 1939, with her father's help, the 17-year-old Scott moved to New York City, where she stayed at the Ferguson Residence for Women.
    More Details Hide Details Scott attended the Alvienne School of the Theatre. There she studied for 18 months, resisting attempts by teachers to pitch her voice higher. During this time, Scott read 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 later dropped the "E".
  • 1922
    Born on September 29, 1922.
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