Imperial Cleaning

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Film Noir , pp. As a result, critics were generally unconvinced that the leading man would choose the dowdy Diane over Joan.

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In addition to stage and radio, she appeared on television from the late s to early s. The love of music influenced Scott's voice. Scott attended Marywood Seminary , a local Catholic girls' school. In late , an year-old Scott auditioned for Hellzapoppin She did blackouts and other types of sketch comedy [30] [31] during her month tour of 63 cities across the US.

Impressed by Scott's Sadie Thompson, he hired her as the understudy for Tallulah Bankhead , despite Bankhead's protests. Bankhead previously had 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.

The play ran from November 18, to September 25, Previously, Bankhead had controlled the production by not showing up for rehearsal. Now, Myerberg could simply put Scott in Bankhead's place. Finally, one day, I'd had enough. I told her to say 'please,' and after that she did. The rivalry between the two actresses is cited as an alternative to the Martina Lawrence- Elizabeth Bergner origin [36] of Mary Orr 's short story, The Wisdom of Eve , [37] the basis of the film All About Eve.

Broadway legend had it that Bankhead was being victimized by Scott, who supposedly was the basis for the fictional Eve Harrington. The continuing feud between Myerberg and Bankhead worsened Bankhead's ulcer, leading her to not renew her contract. Bankhead's final zinger to Scott was "You be as good as she Hopkins is. While Scott liked Hopkins much more than Bankhead, she was still disappointed about being passed over for the Sabina role. Scott eventually quit in disappointment.

Before quitting, Scott replaced Hopkins for one night. When Michael Myerberg pulled Grahame from the play for another experimental production in Philadelphia [44] — Star Dust [45] — no understudy was available when Gladys George took over for Hopkins.

On August 30, , Scott once again played Sabina when George was ill. Afterward, when a friend from California 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 Bros. Irving Hoffman, [49] 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. By happenstance or design, Wallis was also at the club that night.

Miriam Hopkins was ill. Scott sent Wallis her apologies, cancelling the interview. And that's when I decided to drop the 'E' from Elizabeth. Scott appeared in a Harper's photographic spread, which was allegedly admired by film agent Charles Feldman of Famous Artists Corporation.

In a telegram to Scott, he asked her to take a screen test. She was rejected by both studios. Hal Wallis saw Scott's test and recognized her potential. 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. Director Lewis Milestone is quoted in an article in the Los Angeles Sun Mirror on 8 December 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.

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. While Scott was still in Britain, shooting began on a new noir that Scott joined after she returned: Columbia originally intended Rita Hayworth for the role, [63] who was busy with The Lady from Shanghai At the age of 24, Scott's billing and portrait were equal to Humphrey Bogart's on the film's lobby posters and in advertisements.

Most often portrayed in publicity stills was the Jean Louis gown-and-glove outfit worn in the nightclub scene. It premiered in New York the week of 23 January California historian Kevin Starr described it thus:. 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 , the second noir filmed in color and a Western as well. More drama occurred behind the scenes of the film, originally titled Deadlock.

The Kay Lawrence role was originally intended to be Kristine Miller 's breakout role, [72] but Scott, ever competitive with all other actresses, [58] grabbed the role for herself.

Miller later recalled, " Wallis planned to star me in 'I Walk Alone. Laughs So, I got the second part instead. 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, a falling out happened.

Lancaster's behavior toward Scott was chilly, especially during one kissing scene, leaving Scott looking exasperated. He claimed it violated a previous freelance deal, but added that he did not want to work with Scott anymore.

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. Scott was slated to play the club secretary. Then, she replaced Ball as leading lady.

The final film, titled Easy Living , received a generally negative response when it was released. The New York Times review was uncommonly positive, though dismissive of Scott's performance. This Hitchcock-like, black-and-white noir is widely considered Scott's best film and performance.

Decades later, one film historian noted the film's staying power: At the end of , Scott shifted dramatic gears in Paid in Full During this same period, the press reported rumors of Scott's stage fright. It was all sweetness and light. 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, Scott acted in four films in 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.

Scott played her third torch-singer role in Dark City , a traditional film noir. Her boyfriend, Danny Haley— Charlton Heston in his film debut—is a bookie who is the apparent target of a vengeful brother of a dead man whom Haley swindled.

Originally, Burt Lancaster was cast as the leading man, but he refused to work with Scott again. In a May interview, Scott said she was reading the entire oeuvre of Aldous Huxley. Red Mountain is set in the s, starring Scott as Chris, the only member of her family to survive the American Civil War. Red Mountain was the second of Scott's three Westerns, though the only traditional non-noir one. Scott played her fourth and last torch-singer role in The Racket , another conventional noir.

Irene Hayes Scott is caught up in a struggle between a big-city police captain Robert Mitchum and a local crime boss Robert Ryan , who resembles the real-life Bugsy Siegel. The film was released two months after the Kefauver hearings , in which Virginia Hill , and mistress of Siegel's, [] denied having any knowledge of organized crime.

While Irene Hayes was thought to be modeled on the smoky-voiced Hill, Scott denied the rumor. Scott returned to Britain in October to film Stolen Face , a noir that presages Alfred Hitchcock 's Vertigo by several years. 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. Scott found Lewis' impersonations of her offensive, while a jealous Hal Wallis instructed 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 were cut. In April , the year-old Scott made her last film as a Paramount contractee. In Bad for Each Other , Scott played a decadent heiress who tries to dominate a poor but idealistic physician Charlton Heston. Patricia Neal was originally cast as Helen, [] but when Scott replaced Neal, Lancaster had to be replaced by Heston.

Eight months later in February , Wallis and Scott parted ways. Scott was now a freelancer. Later that month, it was announced that she would be the host of High Adventure — , a travelogue television series for CBS, but she never appeared in it. 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 comment about her screen test: 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. Lizabeth Scott has no more personality than a model in the window of a department store. Scott's style of acting, characteristic of other film actors of the s—a cool, naturalistic underplay derived from multiple sources [] —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: Otherwise, she's still the same frozen-face actress she was in Desert Fury and a couple of pictures before that.

Others, though, see Scott's acting in a different light. 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. During the Golden Age of Radio , Scott reprised her film roles in abridged radio versions. Typical were her appearances on Lux Radio Theatre: 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 for giving an ambivalent review of Gone with the Wind Rushmore became a professional anticommunist.

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. Von Wittenburg, backed out and the plan was never implemented. What Scott read was that a police raid occurred on a Hollywood Hills bungalow [] at Laurel View Drive the previous autumn.

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. The Rushmore article further stated that Scott spent her off-work hours with "Hollywood's weird society of baritone babes" a euphemism for lesbians. He also linked Scott's trip to Cannes to a Parisian woman named "Frede", "In one jaunt to Europe, Scott headed straight for Paris and the left bank where she took up with Frede, the city's most notorious Lesbian queen and the operator of a night club devoted exclusively to entertaining deviates like herself.

It was run by Marjorie Meade, Robert Harrison's year-old niece and one of the most feared people in Hollywood since her arrival in January In retaliation, Confidential published the Scott story in the next issue.

The next spring, despite Giesler's reassurances to the press, the legal efforts against Confidential went nowhere.

David quashed Scott's suit on March 7, , on the grounds that the magazine was not published in California. Despite this setback, Giesler said that he would refile in New York.

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