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Natalie Schafer might make an interesting SUTS day


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Everybody knows her as Mrs. "Luvy" Howell from Gilligan's Island

 

Secret Beyond the Door 1947 Noir

Repeat Performance 1947 Noir

The Snake Pit 1948

Caught 1949 Noir

Payment on Demand 1951

Female on the Beach 1955  Noir

The Day of the Locust 1975


 

 

 

 

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Sure.  I like seeing early work from people I thought were somehow different from what I was familiar with.  Like HARRIET HILLIARD, who for years I only knew as the much older HARRIET NELSON, Mother of Ricky.  

Fro years we(my generation mostly) long only knew them as old ladies, but thanks to TCM occasionally showing  their early movies, we finally get to see how absolutely lovely Natalie and Harriet were.  Can sure see what OZZY saw in her!  ;) 

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It's probably better to list her films in the Turner library:

THE BODY DISAPPEARS (1941)...WB
REUNION IN FRANCE (1942)...MGM
MARRIAGE IS A PRIVATE AFFAIR (1944)...MGM
KEEP YOUR POWDER DRY (1945)...MGM
DISHONORED LADY (1946)...public domain
PAYMENT ON DEMAND (1951)...RKO
THE LAW AND THE LADY (1951)...MGM
CALLAWAY WENT THATAWAY (1951)...MGM
FOREVER DARLING (1956)...MGM
SUSAN SLADE (1961)...WB

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4 hours ago, TopBilled said:

It's probably better to list her films in the Turner library:

THE BODY DISAPPEARS (1941)...WB
REUNION IN FRANCE (1942)...MGM
MARRIAGE IS A PRIVATE AFFAIR (1944)...MGM
KEEP YOUR POWDER DRY (1945)...MGM
DISHONORED LADY (1946)...public domain
PAYMENT ON DEMAND (1951)...RKO
THE LAW AND THE LADY (1951)...MGM
CALLAWAY WENT THATAWAY (1951)...MGM
FOREVER DARLING (1956)...MGM
SUSAN SLADE (1961)...WB

She's a lot of fun in Reunion in France as the wife of a prominent Nazi. Joan Crawford talks back to her good, IIRC. Secret Beyond the Door would be a must, as she tries to talk some sense into Joan Bennett's romantic head. I think this would be a fine SUTS day.

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11 hours ago, Princess of Tap said:

I recently saw "Repeat Performance" where Natalie's characterization, as a well-chiseled harridan, spurs the plot and affects the conclusion. 

When you see solid character acting like hers, you realize how much a film depends on the supporting actors.

 

Makes me wonder....

My not being an encyclopedia of movie statistics, I wonder how many of the people we generally regard as "character actors"  have actually won a "best supporting" Oscar?  

There may be a few(or quite a few) but I really can't name any.  ( and where's that "blush" emoticon I was mentioning elsewhere? ;) )

Sepiatone

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21 minutes ago, Sepiatone said:

Makes me wonder....

My not being an encyclopedia of movie statistics, I wonder how many of the people we generally regard as "character actors"  have actually won a "best supporting" Oscar?  

There may be a few(or quite a few) but I really can't name any.  ( and where's that "blush" emoticon I was mentioning elsewhere? ;) )

Sepiatone

What an interesting topic and  one I have yet to see discussed at this  forum.      I assume character actors won about a third;    I.e. most winners of a best supporting Oscar are either up-and-coming-soon-to-be-stars ,    or established lead players (or secondary leads) or aging stars that took on a lesser role in either an ensemble type film,   or film that featured other major stars.

Of course there were character actors like Hattie McDaniel that won for Gone With The Wind and it also depends on how one defines a  character actor \ supporting player;  That same year (1939), Thomas Mitchell won best supporting actor in Stagecoach.     I don't really consider Mitchell a character actor,  but more of a secondary lead,  but maybe I'm just splitting hairs here.

 

 

 

  

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7 hours ago, JamesJazGuitar said:

That same year (1939), Thomas Mitchell won best supporting actor in Stagecoach.     I don't really consider Mitchell a character actor,  but more of a secondary lead,  but maybe I'm just splitting hairs here.

He was the first name that came to my head. He certainly gets called a character actor by some, though as you say, it may not be an entirely accurate label. '39 was a big year for him. He was also in Gone With the WindMr. Smith Goes to Washington and Only Angels Have Wings.

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3 minutes ago, sewhite2000 said:

He was the first name that came to my head. He certainly gets called a character actor by some, though as you say, it may not be an entirely accurate label. '39 was a big year for him. He was also in Gone With the WindMr. Smith Goes to Washington and Only Angels Have Wings.

Like I said I may just be splitting hairs because of how much I enjoy the acting of Thomas Mitchell and the sheer number of fine films he was in. 

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8 hours ago, Sepiatone said:

Makes me wonder....

My not being an encyclopedia of movie statistics, I wonder how many of the people we generally regard as "character actors"  have actually won a "best supporting" Oscar?  

There may be a few(or quite a few) but I really can't name any.  ( and where's that "blush" emoticon I was mentioning elsewhere? ;) )

Sepiatone

 

8 hours ago, JamesJazGuitar said:

What an interesting topic and  one I have yet to see discussed at this  forum.      I assume character actors won about a third;    I.e. most winners of a best supporting Oscar are either up-and-coming-soon-to-be-stars ,    or established lead players (or secondary leads) or aging stars that took on a lesser role in either an ensemble type film,   or film that featured other major stars.

Of course there were character actors like Hattie McDaniel that won for Gone With The Wind and it also depends on how one defines a  character actor \ supporting player;  That same year (1939), Thomas Mitchell won best supporting actor in Stagecoach.     I don't really consider Mitchell a character actor,  but more of a secondary lead,  but maybe I'm just splitting hairs here.

 

Yeah, well, you guys DO know that the BEST Supporting Actor Oscar winners could do one-arm push-ups, don't ya?!

Uh-huh, like THIS guy here...

giphy-downsized-large.gif

(...and somethin' I'll bet Thomas Mitchell could NEVER do!)

;)

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5 hours ago, Roy Cronin said:

Agnes Moorehead had the film career Natalie could have, should have had.

My view, of course. 

Well Hollywood could only make so many films;   There are only a limited number of roles for thousands,  upon thousand of actors.

I assume you're not suggesting that Welles made a mistake by having Moorehead as part of his actors ensemble instead of Schafer.

 

 

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