Tag Archives: Peyton Place

Russ Tamblyn

 

Russell Irving Tamblyn (born December 30, 1934) is an American film and television actor and dancer.

Born and raised in Los Angeles, Tamblyn was trained as a gymnast in his youth. He began his career as a child actor for Metro-Goldwyn-Mayer. Tamblyn appeared in the musical Seven Brides for Seven Brothers (1954). He subsequently portrayed Norman Page in the drama Peyton Place (1957), for which he earned an Academy Award nomination for Best Supporting Actor. This led to Tamblyn being cast in leading roles, such as in the crime film High School Confidential (1958), and in the title role of Tom Thumb (1958).

Tamblyn’s gymnastic and acrobatic talents were showcased in several other musicals, including West Side Story (1961), in which he portrayed Riff, the leader of the Jets gang. The success of West Side Story led to additional leading roles, including parts in the horror film The Haunting (1963), directed by Robert Wise, and the Japanese science fiction film The War of the Gargantuas (1966).

Throughout the 1970s, Tamblyn appeared in several exploitation films and worked as a choreographer in the 1980s. In 1990, he starred as Dr. Lawrence Jacoby in David Lynch’s television drama Twin Peaks, reprising the role during its 2017 revival.

 

Early life

Tamblyn was born December 30, 1934 in Los Angeles, California, the son of actors Sally Aileen (Triplett) (1912–1995) and Eddie Tamblyn (Edward Francis Tamblyn) (1908–1957). He has one younger brother, Larry Tamblyn, who was the organist for the 1960s band, the Standells. Tamblyn was a “hyperactive” child and had a penchant for gymnastics and
performing. As a child, he would take the stage during intermissions at the local movie theater and do tumbling performances.

Career

1948–1952: Child acting

Tamblyn wanted to be a circus performer and was skilled in acrobatics and dancing as a child. He developed a musical act that involved singing, dancing, juggling and comedy. Discovered at the age of ten by actor Lloyd Bridges after acting in a play, Tamblyn first appeared on film in a small non- speaking role in The Boy With Green Hair (1948). Also as a child, he appeared on The Ed Sullivan Show.

Tamblyn was given a large role in The Kid from Cleveland (1949), billed third (as “Rusty Tamblyn”) under stars George Brent and Lynn Bari. The movie was not a large success but established Tamblyn as a film actor. He could be seen in small roles in Reign of Terror (1949), Cecil B. DeMille’s 1949 version of Samson and Delilah (where he played young Saul), and the short What Happened to Jo Jo? (1950).

He played the younger Bart Tare (played as an adult by John Dall) in the film noir Gun Crazy (1950); around the same time, he had a minor role as Elizabeth Taylor’s younger brother in Father of the Bride (also 1950) and appeared in its sequel, Father’s Little Dividend (1951). Tamblyn could also be seen in Captain Carey, U.S.A. (1950), The Gangster We Made (1950), As Young as You Feel (1951), Cave of Outlaws (1951), Retreat, Hell!(1952), and The Winning Team (1952).

1953–1962: MGM and leading roles

MGM had been impressed by Tamblyn’s performance in Retreat, Hell! and
signed him to a long term contract. His first role under the new contract was
as a young soldier in boot camp in Take the High Ground! (1953), directed by Richard Brooks. His training as a gymnast in high school, and abilities as an acrobat, prepared him for his breakout role as Gideon, the youngest brother, in Seven Brides for Seven Brothers (1954).

 

He was not a trained dancer and always considered himself an actor who danced rather than the other way around, but the film was a big success and established him at MGM. Tamblyn was one of many studio contract players in the musical Deep in My Heart (1954). He played Eleanor Parker’s brother in the Western, Many Rivers to Cross (1955), and was one of several young MGM actors (others included Jane Powell and Debbie Reynolds) in the musical Hit the Deck (1955).

Tamblyn supported older actors in two Westerns: Robert Taylor and Stewart Granger in The Last Hunt (1956), a flop; and Glenn Ford and Broderick Crawford in The Fastest Gun Alive (1956), a big hit, where he performed an extraordinary “shovel dance” at a hoe-down early in the film.

 

He served (uncredited) as a choreographer for Elvis Presley in 1957’s Jailhouse Rock. MGM loaned Tamblyn to Allied Artists for his first star role, The Young Guns (1957). Back at MGM he supported Glenn Ford and Gia Scala in Don’t Go Near the Water (1957), a comedy set among members of the U.S. Navy.

Tamblyn portrayed Norman Page in the film Peyton Place (1957) at 20th Century Fox, opposite Lana Turner and Diane Varsi. For his performance in the film he received an Academy Award nomination for Best Supporting Actor. He was then given a star role at MGM, playing Tony Baker in High School Confidential (1958). The film was a solid hit. Also successful was the musical Tom Thumb (1958) made for George Pal, in which Tamblyn
was cast in the title role.

 

Tamblyn’s career was interrupted when he was drafted into the US army in 1958. On his return, MGM gave him an excellent part in Cimarron (1960). Tamblyn’s best known musical role came as Riff, the leader of the Jets street gang in West Side Story (1961). He then appeared in two MGM Cinerama movies, The Wonderful
World of the Brothers Grimm, and How the West Was Won (both 1962). He was seen as Luke Sanderson in The Haunting, and as Lt. “Smitty” Smith in MGM’s Follow the Boys (both 1963).

 

1963–1976: Television and independent films

Tamblyn was unable to consolidate his position as a leading man, and he later recounted that he “dropped out” after his West Side Story success, that he devoted himself to art and turned down movie roles as well as a role in the TV series Gilligan’s Island.

In the 1960s he appeared in the TV series The Greatest Show on Earth (“Silent Love, Secret Love”) (1963), and Channing (“The Last Testament of Buddy Crown”)(1963).

Tamblyn played a Viking alongside Richard Widmark and Sidney Poitier in The Long Ships (1965). He was in Burke’s Law (“Who Killed RosieSunset?”) (1965), and Gunsmoke (“He Who Steals”) (1965). He also appeared in Days of Our Lives (1965).

 

Tamblyn was giving the star role in a low budget Western for MGM, Son of a Gunfighter (1965) and starred in the 1966 Japanese kaiju film War of the Gargantuas. He guest starred on Tarzan (“Leopard on the Loose”) (1966), and Iron Horse (“Decision at Sundown”) (1967).

Tamblyn later admitted he became “bored” with acting around this time and more interested in art. He starred in a notorious biker movie, Satan’s Sadists (1969) for Al
Adamson. He followed it with Scream Free! (1969), The Last Movie (1971), The Female Bunch (1971) and Dracula vs. Frankenstein (1971) for Adamson.

He appeared on TV in Cade’s County (“Ragged Edge”) (1972), Win, Place or Steal (1973), The World Through the Eyes of Children (1975), The Quest (“he Captive”) (1976), The Life and Times of Grizzly Adams (“TheSkyrider”) (1978), and Nero Wolf (“Before I Die” 1981). He was also in the film Black Heat (1976).

At the same time he worked in exploitation, Tamblyn also worked in the construction industry and computer software.

 

1978–1989: Choreography and film

Tamblyn played the supporting role in Neil Young’s 1982, Human Highway. while also being credited for screenplay and choreography. Tamblyn is credited as director, choreographer and actor for Neil Young’s Greendale concert tour. He choreographed a play, Man with Bags, in 1983. He could be seen in Fame, Commando Squad (1987) for Fred Olen Ray, The Phantom Empire (1988), Necromancer (1988), B.O.R.N. (1988), The Bloody Monks (1988), and an episode of Quantum Leap. He was in Aftershock (1990), and Wizards of the Demon Sword (1991) for Fred Olen Ray.

 

 

1990–2004: Twin Peaks and other work

In 1990–91, Tamblyn starred as Dr. Lawrence Jacoby on the David Lynch- created series Twin Peaks (alongside his West Side Story co-star Richard Beymer, who played Ben Horne); his scenes in the 1992 prequel film, Twin Peaks: Fire Walk with Me. were cut.

He could be see in Running Mates (1992), Little Devils: The Birth (1993),Cabin Boy (1994), Desert Steel (1995), and Babylon 5. He appeared on stage in Los Angeles in Zastrozzi.

His work drifted back to straight to video: Starstruck (1995), Rebellious (1995), Attack of the 60 Foot Centerfold (1995) and Invisible Mom (1996) for Fred Olen Ray, Johnny Mysto: Boy
Wizard (1997), My Ghost Dog (1997), and Little Miss Magic (1998) for Ray.

He appeared on another soap opera, General Hospital, alongside his daughter Amber in 1997 and 2000. In 2004, he appeared with Amber again, playing God in the form of a man walking dogs, in three episodes of Joan of Arcadia. The two also have worked together in the films Rebellious, Johnny Mysto: Boy Wizard, and The Increasingly Poor
Decisions of Todd Margaret. And in Quentin Tarantino’s film Django
Unchained, they were billed respectively as “Son of a Gunfighter”and “Daughter of a Son of a Gunfighter”, alluding to his leading role in the 1965 western Son of a Gunfighter.

In 2004, the Academy Film Archive preserved the mid-1960s works First Film and Rio Reel by Tamblyn.

 

2005–present: Later roles

Tamblyn has had supporting roles in Drive (2011), Django Unchained (2012), and Hits (2014). He appeared several times in The Increasingly Poor Decisions of Todd Margaret, and in the revival of Twin Peaks (2017).

 

Personal life

Tamblyn married actress Venetia Stevenson in 1956, but the couple divorced the following year. He married Elizabeth Kempton, a showgirl, in Las Vegas in 1960. He and Kempton had one child, daughter China, before divorcing in 1979. His second child, actress Amber Tamblyn, was born in 1983 to his third wife, Bonnie Murray.

In 2012, it was announced that he was working on writing an autobiography, titled Dancing On The Edge. Tamblyn underwent open heart surgery in October 2014. There were complications following the surgery and during the rehabilitation, although his health has reportedly improved since.

Lana Turner

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In 1969, when I was a patrol sergeant in Hollywood I got a call to the Desilu studios on Gower. Eddie Albert greeted me on the set. In the next room was Lana Turner. Albert prevailed upon me that Turner was not feeling well and that it was nothing to worry about. I don’t recall the exact nature of the call, but I could tell that Albert was interested in keeping it low profile. Once I felt convinced there was no foul play, I had no problem in not going into the next room and checking on Turner. Albert was quite persuasive. I suppose I was a bit foolish, but often having been around actors, I understood their need for privacy, particularly in “iffy” situations like this one.

Lana Turner (February 8, 1921 – June 29, 1995) was an American actress popular during the 1940s and 1950s. Turner was born Julia Jean Turner in Wallace, Idaho. She was the only daughter of John Virgil Turner, a miner from Montgomery, Alabama (January 23, 1903 – December 14, 1930), and Mildred Frances Cowan, a sixteen-year-old native of Lamar, Arkansas (June 19, 1904 – February 22, 1982). Her father was of Dutch ancestry and her mother was of Scottish, English and Irish ancestry. A common and often repeated error is to add the given names of her mother Mildred Frances to her birth name. These names she used when she converted to Catholicism as a child.

Until her film career took off, young Julia Turner was known to family and friends as “Judy”. Hard times eventually forced the family to re-locate to San Francisco, where her parents soon separated. On December 14, 1930, her father won some money at a traveling craps game, stuffed his winnings in his left sock, and headed for home. He was later found dead on the corner of Minnesota and Mariposa Streets, on the edge of Potrero Hill and the Dogpatch District in San Francisco, his left shoe and sock missing. The robbery and murder were never solved. Soon after, her mother developed health problems and was advised by her doctor to move to a drier climate. With her ten-year-old daughter, she moved to Los Angeles in 1931.

Mildred and Lana were very poor, and Turner was sometimes separated from her mother, living with friends or acquaintances so that the family could save money. Her mother worked 80 hours a week as a beautician to support them. After Turner was discovered, her mother became the overseer of Turner’s career.

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Turner’s discovery at a Hollywood drug store is a show-business legend. As a sixteen-year-old student at Hollywood High School, Turner skipped a typing class and bought a Coke at the Top Hat Malt Shop located on the southeast corner of Sunset Boulevard and McCadden Place (not Schwab’s Pharmacy, as is commonly believed), where she was spotted by William R. Wilkerson, publisher of The Hollywood Reporter. Wilkerson was attracted by her beauty and physique, and referred her to the actor/comedian/talent agent Zeppo Marx. Marx’s agency immediately signed her on and introduced her to film director Mervyn LeRoy, who cast her in her first film, They Won’t Forget (1937).

Turner earned the nickname “The Sweater Girl” from her form-fitting attire in a scene in They Won’t Forget. According to her daughter, this was a nickname Turner detested throughout her entire career.In late 1937, she signed a contract with Metro-Goldwyn-Mayer for $100 a week, and graduated from high school in between filming. According to LeRoy, it was thanks to him that she made the switch, for he left Warners to work at MGM and was advised by studio head Jack Warner to take her with him, because Warner believed that she wouldn’t “amount to anything.” Her first starring role for MGM was scheduled to be an adaptation of The Sea-Wolf, co-starring Clark Gable, but the project was eventually canned. Instead, she was assigned opposite teen idol Mickey Rooney in the Andy Hardy film Love Finds Andy Hardy (1938). It was this appearance, as a flirtatious girl described as “the kissing bug,” that convinced Louis B. Mayer that LeRoy’s protégée Turner could be the next Jean Harlow, a sex symbol who had died six months before Turner’s arrival at MGM.

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Mayer turned her into a glamorous star, mostly popular among college boys, and gave her the leads in several teen-oriented films in the late 1930s and early 1940s, such as Dramatic School (1938), These Glamour Girls (1939) and Dancing Co-Ed (1939). In early 1940, she was also set to star in a remake of Our Dancing Daughters, but the film was never made.[10] From the beginning of her career, Turner stood her ground on her beliefs and was one of the few actresses at MGM to go against Mayer’s wishes.

Turner, an actress bolstered by her extreme beauty, reached the height of her fame in the 1940s and 1950s. During World War II, Turner became a popular pin-up girl due to her popularity in such films such as Ziegfeld Girl (1941), Johnny Eager (1942), Slightly Dangerous (1943) and four films with Metro-Goldwyn-Mayer’s “king of the lot”, Clark Gable. The Turner-Gable films’ successes were only heightened by gossip-column rumors about a relationship between the two. Turner even had a B-17 Flying Fortress—the Tempest Turner—named after her. Following the canned The Sea Wolf project, Turner and Gable were set to star in The Uniform in December 1940. Turner was eventually replaced by Rosalind Russell and the film was released as They Met in Bombay (1941).

Meanwhile, Turner was receiving much publicity for her personal life, and her career was one of the very few to be furthered by this. MGM boosted this by changing the title of her latest film to Slightly Dangerous (1943).

After the war, Turner’s career continued successfully with the release, The Postman Always Rings Twice (1946), which co-starred John Garfield. As claimed in a documentary, Turner did not get along with him and when she found he was her male lead, she responded: “Couldn’t they at least hire someone attractive?” The now-classic film noir marked a turning point in her career, and it marked Turner’s first femme fatale role. Reviews of the film, and in particular, Turner’s performance, were glowing, with a critic of The New York Times writing it was “the role of her career.” While not exactly giving up her pin-up credentials, Turner established herself as a skilled actress. The Postman Always Rings Twice was thus a turning point in her career. Turner commented on this:

“I finally got tired of making movies where all I did was walk across the screen and look pretty. I got a big chance to do some real acting in The Postman Always Rings Twice, and I’m not going to slip back if I can help it. I tried to persuade the studio to give me something different. But every time I went into my argument about how bad a picture was they’d say, ‘well, it’s making a fortune.’ That licked me.”

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She got the role after turning down “four pretty-pretty parts in a row.” The film became a box office success, which prompted the studio to take more risks on the star. In August 1946, it was announced Turner was set to replace Katharine Hepburn in the big budgeted historical drama Green Dolphin Street (1947), a role for which she darkened her hair and lost 15 pounds. She was cast due to the persistence of producer Carey Wilson, who was overwhelmed by her performance in The Postman Always Rings Twice. Turner later recalled she was surprised about replacing Hepburn, saying: “And I guess I’m about the most un-Hepburnish actress on the lot. But it was just what I wanted to do.” It was her first starring role that did not center on her looks. In an interview, Turner said: “I even go running around in the jungles of New Zealand in a dress that’s filthy and ragged. I don’t wear any make-up and my hair’s a mess.” Nevertheless, she insisted she would not give up her glamorous image.

Later that year, Turner headlined Cass Timberlane, a role that Jennifer Jones, Vivien Leigh and Virginia Grey were previously considered for. As of early 1946, Turner was set for the role, but schedules with Green Dolphin Street almost prohibited her from taking the role, and by late 1946, she was almost recast.Production of Cass Timberlane was very exhausting for Turner, as it was shot in between retakes of Green Dolphin Street. Nevertheless, she took the female lead in Homecoming (1948) in August 1947, only moments after finishing Cass Timberlane. She was the studio’s first choice for the role, but they were reluctant to offer her the part, considering her overbooked schedule.[19] Paired again with Clark Gable in Homecoming, their chemistry projected on the screen was well received by the audience, and they were nicknamed “the team that generates steam”. By this period, Turner achieved the milestone of her film career, and was not only MGM’s most popular star, but also one of the ten best paid women in the United States.

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In 1948, Turner appeared in her first Technicolor film, appearing as Lady de Winter in The Three Musketeers, opposite Gene Kelly, Van Heflin and June Allyson. In November 1947, she agreed to do the film, thereby giving up an unfinished film project called Bedeviled. However, in January 1948 it was reported that she had withdrawn from the film. Initially, Louis B. Mayer gave her permission for doing so because of her schedule, but she was later that month put on suspension. Eventually, Turner agreed to make the film, but did not start production until March due to having to lose weight. In 1949, she was to headline A Life of Her Own (1950). The project was shelved for several months, and Turner insisted in December 1949 that she had nothing to do with it, saying: “Everybody agrees that the script is still a pile of junk. I’m anxious to get started. By the time this one comes out, it will be almost three years since I was last on the screen, in The Three Musketeers. I don’t think it’s healthy to stay off the screen that long.”

During the 1950s, Turner starred in a series of films that failed to succeed at the box office, a situation MGM attempted to remedy by casting her in musicals. The first, Mr. Imperium (1951), was a flop, while The Merry Widow (1952) was more successful. She gave a widely praised performance in Vincente Minnelli’s film, The Bad and the Beautiful (1952) (in a role partly based on Diana Barrymore), and later starred with John Wayne in the adventure film The Sea Chase (1955). She was then cast in the epic The Prodigal (1955), but the film and her performance in general were not well received. After the film Diane (1956), MGM opted not to renew her contract. This was a difficult time for Hollywood’s major studios because a recent court decision forced them to divest themselves of their movie theaters. In addition, television had caught on in a big way; the public was staying home. Turner was just one of MGM’s star roster to be let go.

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Turner’s career recovered briefly after she appeared in the hugely successful big-screen adaptation of Grace Metalious’s best-selling novel, Peyton Place (1957), for which she was nominated for an Academy Award for Best Actress. Another few box-office failures followed (Another Time, Another Place (1958), for example) when the 1958 scandal surrounding her daughter’s killing of Stompanato threatened to derail her career completely.

In the trail of the related negative publicity, Turner accepted the lead role in Ross Hunter’s remake of Imitation of Life (1959) under the direction of Douglas Sirk. Universal Studios capitalized on her new-found notoriety; the result was one of the biggest hits of the year, as well as the biggest hit of Turner’s career: she owned 50% of the earnings of the picture and for only the first year of the film’s career she earned $11 million. Critics and audiences couldn’t help noticing that the plots of both Peyton Place and Imitation of Life had borrowed heavily from Turner’s private life. Each film depicted the troubled, complicated relationship between a single mother and her teenage daughter.

She made her last film at MGM starring with Bob Hope in Bachelor in Paradise (1961). Other highlights of this era include By Love Possessed (1961), based on the James Gould Cozzens novel and two Hunter productions (for whom she did Imitation of Life), Portrait in Black (1960) and Madame X (1966), which proved to be her last major starring role.

In 1969, Turner appeared in her only lead starring role on television in ABC’s Harold Robbins’ The Survivors, but despite the presence of other big-name stars, the program fared badly opposite Mayberry R.F.D. and The Doris Day Show on CBS and The NBC Monday Movie, and was cancelled midway into the season.

In the 1970s and 1980s, Turner appeared in several television roles, most notably as a guest star for several episodes on the series Falcon Crest as the mysterious Jaqueline Perrault and The Love Boat, but the majority of her final decade was spent out of the public eye.

On October 25, 1981 the National Film Society presented Lana with an Artistry in Cinema award. In 1994 she received Donostia Lifetime Achievement Award at the San Sebastian International Film Festival, Spain. In 1982, Turner released a memoir, in which she stated that she had two abortions and three stillbirths. She said she was an alcoholic and had attempted suicide.

Turner spent most of the 1970s and early 1980s in semi-retirement, working only occasionally. In 1982 she accepted a much publicized and lucrative recurring guest role in the television series Falcon Crest. Her first appearance on the show gave the series the highest rating it ever achieved. Turner made her next final film appearance in 1991, and died from throat cancer in 1995.