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Ida Lupino

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Ida Lupino
A headshot of Lupino looking up away from the camera
Lupino before performance on the radio series Cavalcade of America
Born(1918-02-04)4 February 1918
Herne Hill, London, England
Died3 August 1995(1995-08-03) (aged 77)
Los Angeles, California
Citizenship
  • United Kingdom
  • United States
Alma materRoyal Academy of Dramatic Art
Occupations
  • Actress
  • director
  • writer
  • producer
Years active1931–1978
Political partyDemocratic
Spouses
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(m. 1938; div. 1945)​
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(m. 1948; div. 1951)​
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(m. 1951; div. 1984)​
Children1
Parents
FamilyLupino
Signature

Ida Lupino (4 February 1918[1] – 3 August 1995) was a British actress, director, writer, and producer. Throughout her 48-year career, she appeared in 59 films and directed eight, working primarily in the United States, where she became a citizen in 1948. She is widely regarded as the most prominent female filmmaker working in the 1950s during the Hollywood studio system.[2] With her independent production company, she co-wrote and co-produced several social-message films and became the first woman to direct a film noir, The Hitch-Hiker, in 1953.

Among Lupino's other directed films, the best known are Not Wanted (1949), about unwed pregnancy (she took over for a sick director and refused directorial credit); Never Fear (1950), loosely based upon her own experiences battling paralyzing polio; Outrage (1950), one of the first films about rape; The Bigamist (1953), and The Trouble with Angels (1966). Her short yet immensely influential directorial career, tackling themes of women trapped by social conventions, usually under melodramatic or noir coverings, is a pioneering example of proto-feminist filmmaking.[3]

As an actress, Lupino's best known films are The Adventures of Sherlock Holmes (1939) with Basil Rathbone; They Drive by Night (1940) with George Raft and Humphrey Bogart; High Sierra (1941) with Bogart; The Sea Wolf (1941) with Edward G. Robinson and John Garfield; Ladies in Retirement (1941) with Louis Hayward; Moontide (1942) with Jean Gabin; The Hard Way (1943); Deep Valley (1947) with Dane Clark; Road House (1948) with Cornel Wilde and Richard Widmark; While the City Sleeps (1956) with Dana Andrews and Vincent Price; and Junior Bonner (1972) with Steve McQueen.

Lupino also directed more than 100 episodes of television shows in a variety of genres, including westerns, supernatural tales, situation comedies, murder mysteries, and gangster stories.[4] She was the only woman to direct an episode of the original The Twilight Zone series ("The Masks"), and the only director to star in an episode ("The Sixteen-Millimeter Shrine").[5]

Early life and family

[edit]
Lupino in 1937

Lupino was born at 33 Ardbeg Road in Herne Hill, London, to actress Connie O'Shea (also known as Connie Emerald) and music hall comedian Stanley Lupino, a member of the theatrical Lupino family, which included Lupino Lane, a song-and-dance man.[6] Her great-grandfather, George Hook, changed his name to Lupino. Her father, a top name in musical comedy in the UK, encouraged her to perform at an early age. He built a backyard theatre for Lupino and her sister Rita (1921–2016), who also became an actress and dancer.[6] Lupino wrote her first play at age seven and toured with a travelling theatre company as a child.[7] By the age of ten, Lupino had memorised the leading female roles in Shakespeare's plays. After her childhood training for stage plays, Ida's uncle Lupino Lane assisted her in moving towards film acting by getting her work as a background actress at British International Studios.[8]

She wanted to be a writer, but to please her father, Lupino enrolled in the Royal Academy of Dramatic Art. She excelled in a number of "bad girl" film roles, often playing prostitutes.[9] Lupino did not enjoy being an actress and felt uncomfortable with many of the early roles she was given. She felt that she was pushed into the profession due to her family history.[10]

Career

[edit]

Actress

[edit]
Publicity photograph of Lupino for Moontide (1942)

Lupino made her first film appearance in The Love Race (1931) and the following year, aged 14, she worked under director Allan Dwan in Her First Affaire, in a role for which her mother had previously tested.[11] She played leading roles in five British films in 1933 at Warner Bros.' Teddington studios and for Julius Hagen at Twickenham, including The Ghost Camera with John Mills and I Lived with You with Ivor Novello.

Dubbed "the English Jean Harlow", she was discovered by Paramount in the 1933 film Money for Speed, playing a good girl/bad girl dual role. Lupino claimed the talent scouts saw her play only the sweet girl in the film and not the part of the prostitute, so she was asked to try out for the lead role in Alice in Wonderland (1933). When she arrived in Hollywood, the Paramount producers did not know what to make of their sultry potential leading lady, but she did get a five-year contract.[4] While at Paramount, Lupino played the lead in a stage production of The Pursuit of Happiness at the Paramount Studio Theatre.[12]

Lupino starred in over a dozen films in the mid-1930s, working with Columbia in a two-film deal, one of which, The Light That Failed (1939), was a role she acquired after running into the director's office unannounced, demanding an audition.[11] After this breakthrough performance as a spiteful cockney model who torments Ronald Colman, she began to be taken seriously as a dramatic actress. As a result, her parts improved during the 1940s, and she jokingly referred to herself as "the poor man's Bette Davis", taking the roles that Davis refused.[13][14]

Mark Hellinger, associate producer at Warner Bros., was impressed by Lupino's performance in The Light That Failed, and hired her for the femme-fatale role in the Raoul Walsh-directed They Drive by Night (1940), opposite stars George Raft, Ann Sheridan and Humphrey Bogart. The film did well and the critical consensus was that Lupino stole the movie, particularly in her unhinged courtroom scene.[15] Warner Bros. offered her a contract which she negotiated to include some freelance rights.[11] She worked with Walsh and Bogart again in High Sierra (1941), where she impressed critic Bosley Crowther in her role as an "adoring moll".[16]

Her performance in The Hard Way (1943) won the New York Film Critics Circle Award for Best Actress.[6] She starred in Pillow to Post (1945), which was her only comedic leading role.[11] After the drama Deep Valley (1947) finished shooting, neither Warner Bros. nor Lupino moved to renew her contract and she left the studio in 1947.[17] Although in demand throughout the 1940s, she arguably never became a major star although she often had top billing in her pictures, above actors such as Humphrey Bogart, and was repeatedly critically lauded for her realistic, direct acting style.

She often incurred the ire of studio boss Jack Warner by objecting to her casting, refusing poorly written roles that she felt were beneath her dignity as an actress, and making script revisions deemed unacceptable by the studio. As a result, she spent a great deal of her time at Warner Bros. suspended.[14] In 1942, she rejected an offer to star with Ronald Reagan in Kings Row, and was immediately put on suspension at the studio. Eventually, a tentative rapprochement was brokered, but her relationship with the studio remained strained. In 1947, Lupino left Warner Brothers and appeared for 20th Century Fox as a nightclub singer in the film noir Road House, performing her musical numbers in the film. She starred in On Dangerous Ground in 1951, and may have taken on some of the directing tasks of the film while director Nicholas Ray was ill.[7]

Director, writer and producer – The Filmakers Inc.

[edit]
Lupino (left) directing The Hitch-Hiker, 1953
The Hitch-Hiker (1953)

While on suspension, Lupino had ample time to observe filming and editing processes, and she became interested in directing.[18] She described how bored she was on set while "someone else seemed to be doing all the interesting work".[14]

She and her then-husband, producer and writer Collier Young, formed an independent company, The Filmakers Inc. [sic], to "produce, direct, and write low-budget, issue-oriented films".[4][19][20] It was formed
in 1948 with Lupino as vice-president, Collier Young as president, and screenwriter Malvin Wald as treasurer.[9] The Filmakers produced 12 feature films, six of which Lupino directed or co-directed, five of which she wrote or co-wrote, three of which she acted in, and one of which she co-produced.[21] The Filmakers' mission was to make socially conscious films, encourage new talent, and bring realism to the screen.[22] Their goal was to tell “how America lives” through independent B pictures shot in two weeks for less than $200,000 with a creative “family,” “the ring of truth” emphasized by fact-based stories – a combination of “social significance” and entertainment.[23] In short, low-budget pictures, they explored virtually taboo subjects[23] such as rape in Outrage (1950) and the self-explanatory The Bigamist (1953).[21] The latter received rave reviews at the time of release, with Howard Thompson of The New York Times calling it "Filmakers' best offering, to date".[24] Lupino's best-known directorial effort, The Hitch-Hiker, a 1953 RKO release, is the only film noir from the genre's classic period directed by a woman.[25][26]

Her first directing job came unexpectedly in 1949 when director Elmer Clifton suffered a mild heart attack and was unable to finish Not Wanted, a film Lupino co-produced and co-wrote.[11] Lupino stepped in to finish the film without taking directorial credit out of respect for Clifton. Although the film's subject of out-of-wedlock pregnancy was controversial, it received a vast amount of publicity, and she was invited to discuss the film with Eleanor Roosevelt on a national radio program.[21]

Never Fear (1949), a film about polio (which she had personally experienced at age 16), was her first director's credit.[11] The film was noticed by Howard Hughes, who was looking for suppliers of low-budget feature films for distribution by his recently acquired RKO Pictures. Hughes agreed to put up financing and distribute The Filmakers’ next three features through RKO, leaving The Filmakers total control over the content and the production of the films.[27] After producing four more films about social issues, including Outrage (1950), a film about rape (while this word is never used in the movie),[28] Lupino directed her first hard-paced, all-male-cast film, The Hitch-Hiker (1953), making her the first woman to direct a film noir.

Cinematographer Ted McCord, Lupino and Dane Clark in Deep Valley (1947)

Lupino once called herself a "bulldozer" to secure financing for her production company, but she referred to herself as "mother" while on set.[21] The back of her director's chair was labeled "Mother of Us All".[4] Her studio emphasized her femininity, often at the urging of Lupino herself. She credited her refusal to renew her contract with Warner Bros. under the pretenses of domesticity, claiming "I had decided that nothing lay ahead of me but the life of the neurotic star with no family and no home." She made a point to seem nonthreatening in a male-dominated environment, stating, "That's where being a man makes a great deal of difference. I don't suppose the men particularly care about leaving their wives and children. During the vacation period, the wife can always fly over and be with him. It's difficult for a wife to say to her husband, come sit on the set and watch."[9]

Although directing became Lupino's passion, the drive for money kept her on camera, so she could acquire the funds to make her own productions.[14] She became a wily low-budget filmmaker, reusing sets from other studio productions and talking her physician into appearing as a doctor in the delivery scene of Not Wanted. She used what is now called product placement, placing Coca-Cola, United Airlines, Cadillac, and other brands in her films, such as The Bigamist. She was acutely conscious of budget considerations, planning scenes in pre-production to avoid technical mistakes and retakes, and shooting in public places such as MacArthur Park and Chinatown to avoid set-rental costs.[9] She joked that if she had been the "poor man's Bette Davis" as an actress, she had now become the "poor man's Don Siegel" as a director.[9][29]

The Filmakers production company ceased operations in 1955, and Lupino turned almost immediately to television, directing episodes of more than thirty US TV series from 1956 through 1968. She also directed a feature film in 1965, the Catholic schoolgirl comedy The Trouble With Angels (released in 1966), starring Hayley Mills and Rosalind Russell; this was Lupino's last theatrical film as a director. She continued acting as well, going on to a successful television career throughout the 1960s and '70s.[30]

Year Title The Filmakers Inc.
function 		Screenplay /
Writers 		Producers Directors
1949 Not Wanted Production Company
(Emerald Productions)		 Paul Jarrico
Ida Lupino
Malvin Wald		 Anson Bond
Ida Lupino		 Elmer Clifton
Ida Lupino (uncredited)
1949 Never Fear Production Company Ida Lupino
Collier Young		 Norman A. Cook
Ida Lupino
Collier Young		 Ida Lupino
James Anderson (assistant)
1950 Outrage Production Company Ida Lupino
Malvin Wald
Collier Young		 Collier Young
Malvin Wald		 Ida Lupino
1951 Hard, Fast and Beautiful Production Company Martha Wilkerson Norman A. Cook
Collier Young		 Ida Lupino
James Anderson (assistant)
1951 On the Loose Production Company Dale Eunson
Katherine Albert		 Collier Young Charles Lederer
James Anderson (assistant)
1952 Beware, My Lovely Presented by Mel Dinelli Collier Young
Mel Dinelli		 Harry Horner
1953 The Hitch-Hiker Present Ida Lupino
Collier Young		 Collier Young
Christian Nyby		 Ida Lupino
1953 The Bigamist Production Company
©		 Collier Young Robert Eggenweiler
Collier Young		 Ida Lupino
1954 Private Hell 36 Presents
©		 Collier Young
Ida Lupino		 Robert Eggenweiler
Collier Young		 Don Siegel
1955 Mad at the World Production Company Harry Essex James H. Anderson
Collier Young		 Harry Essex

Television

[edit]
Lupino in It Takes a Thief in 1968

Lupino's career as a director continued through 1968. Her directing efforts during these years were almost exclusively for television productions such as Alfred Hitchcock Presents, Thriller, The Twilight Zone, Have Gun – Will Travel, Honey West, The Donna Reed Show, Gilligan's Island, 77 Sunset Strip, The Rifleman, The Virginian, Sam Benedict, The Untouchables, Hong Kong, The Fugitive, and Bewitched.

After the demise of The Filmakers, Lupino continued working as an actress until the end of the 1970s, mainly in television. Lupino appeared in 19 episodes of Four Star Playhouse from 1952 to 1956, an endeavor involving partners Charles Boyer, Dick Powell and David Niven. From January 1957 to September 1958, Lupino starred with her then-husband Howard Duff in the sitcom Mr. Adams and Eve, in which the duo played husband-and-wife film stars named Howard Adams and Eve Drake, living in Beverly Hills, California.[31] Duff and Lupino also co-starred as themselves in 1959 in one of the 13 one-hour installments of The Lucy–Desi Comedy Hour and an episode of The Dinah Shore Chevy Show in 1960. Lupino guest-starred in numerous television shows, including The Ford Television Theatre (1954), Bonanza (1959), Burke's Law (1963–64), The Virginian (1963–65), Batman (1968), The Mod Squad (1969), Family Affair (1969–70), The Wild, Wild West (1969), Nanny and the Professor (1971), Columbo: Short Fuse (1972), Columbo: Swan Song (1974) in which she plays Johnny Cash's character's zealous wife, Barnaby Jones (1974), The Streets of San Francisco, Ellery Queen (1975), Police Woman (1975), and Charlie's Angels (1977). Her final acting appearance was in the 1979 film My Boys Are Good Boys.

Lupino has two distinctions with The Twilight Zone series, as the only woman to have directed an episode ("The Masks") and the only person to have worked as both actor for one episode ("The Sixteen-Millimeter Shrine"), and director for another.[32]

Themes

[edit]

Lupino's Filmakers movies deal with unconventional and controversial subject matter that studio producers would not touch, including out-of-wedlock pregnancy, bigamy, and rape. She described her independent work as "films that had social significance and yet were entertainment ... based on true stories, things the public could understand because they had happened or been of news value." She focused on women's issues for many of her films and she liked strong characters, "[Not] women who have masculine qualities about them, but [a role] that has intestinal fortitude, some guts to it."[33]

In the film The Bigamist, the two women characters represent the career woman and the homemaker. The title character is married to a woman (Joan Fontaine) who, unable to have children, has devoted her energy to her career. While on one of many business trips, he meets a waitress (Lupino) with whom he has a child, and then marries her.[34] Marsha Orgeron, in her book Hollywood Ambitions, describes these characters as "struggling to figure out their place in environments that mirror the social constraints that Lupino faced".[14] However, Donati, in his biography of Lupino, said "The solutions to the character's problems within the films were often conventional, even conservative, more reinforcing the 1950s' ideology than undercutting it."[9]

Ahead of her time within the studio system, Lupino was intent on creating films that were rooted in reality. On Never Fear, Lupino said, "People are tired of having the wool pulled over their eyes. They pay out good money for their theatre tickets and they want something in return. They want realism. And you can't be realistic with the same glamorous mugs on the screen all the time."[35]

Director Martin Scorsese noted that, "As a star, Lupino had no taste for glamour, and the same was true as a director. The stories she told in Outrage, Never Fear, Hard, Fast and Beautiful, The Bigamist and The Hitch-Hiker were intimate, always set within a precise social milieu: she wanted to "do pictures with poor, bewildered people, because that's what we are." Her heroines were young women whose middle-class security was shattered by trauma – unwanted pregnancy, polio, rape, bigamy, parental abuse. There's a sense of pain, panic and cruelty that colors every frame."[36]

Lupino rejected the commodification of female stars and as an actress, she resisted becoming an object of desire. She said in 1949, "Hollywood careers are perishable commodities", and sought to avoid such a fate for herself.[37]

Personal life

[edit]

Health

[edit]

Lupino was diagnosed with polio in 1934. The New York Times reported that the outbreak of polio within the Hollywood community was due to contaminated swimming pools.[38] She recovered and eventually directed, produced, and wrote many films, including a film loosely based upon her travails with polio titled Never Fear in 1949, the first film that she was credited for directing (she had earlier stepped in for an ill director on Not Wanted and refused directorial credit out of respect for her colleague). Her experience with the disease gave her the courage to focus on her intellectual abilities over simply her physical appearance.[39] In an interview with Hollywood, she said, "I realized that my life and my courage and my hopes did not lie in my body. If that body was paralyzed, my brain could still work industriously...If I weren't able to act, I would be able to write. Even if I weren't able to use a pencil or typewriter, I could dictate."[39] Film magazines from the 1930s and 1940s, such as The Hollywood Reporter and Motion Picture Daily, frequently published updates on her condition.[40][12] Lupino worked for various nonprofit organizations to raise funds for polio research.[41]

Lupino's interests outside the entertainment industry included writing short stories and children's books, and composing music. Her composition "Aladdin's Suite" was performed by the Los Angeles Philharmonic Orchestra in 1937.[6] She composed it while recovering from polio in 1935.[42]

Politics and religion

[edit]

She became an American citizen in June 1948[43][44] and was a staunch Democrat who supported the presidency of John F. Kennedy.[9] She was Catholic.[45]

Marriages

[edit]

Lupino was married and divorced three times. She married actor Louis Hayward in November 1938. They separated in May 1944 and divorced in May 1945.[46][47]

Her second marriage was to producer Collier Young on 5 August 1948. They divorced in 1951. When Lupino filed for divorce in September that year, she was already pregnant from an affair with future husband Howard Duff. The child was born seven months after she filed for divorce from Young.[48]

Lupino's third and final marriage was to actor Howard Duff, whom she wed on 21 October 1951.[49] Six months later, they had a daughter, Bridget, on 23 April 1952.[50] They separated in 1966 and divorced in 1983.[51][52]

She petitioned a California court in 1984 to appoint her business manager, Mary Ann Anderson, as her conservator due to poor business dealings from her prior business management company and her long separation from Howard Duff.

Death

[edit]

Lupino died from a stroke while undergoing treatment for colon cancer in Los Angeles on 3 August 1995, at the age of 77.[53] Her memoirs, Ida Lupino: Beyond the Camera, were edited after her death and published by Mary Ann Anderson.[54]

Influences and legacy

[edit]
Ida Lupino's The Hitch-Hiker (1953) was the first American film noir directed by a woman.

Lupino learned filmmaking from everyone she observed on set, including William Ziegler, the cameraman for Not Wanted. When in preproduction on Never Fear, she conferred with Michael Gordon on directorial technique, organization, and plotting. Cinematographer Archie Stout said of Ms. Lupino, "Ida has more knowledge of camera angles and lenses than any director I've ever worked with, with the exception of Victor Fleming. She knows how a woman looks on the screen and what light that woman should have, probably better than I do." Lupino also worked with editor Stanford Tischler, who said of her, "She wasn't the kind of director who would shoot something, then hope any flaws could be fixed in the cutting room. The acting was always there, to her credit."[9]

Author Ally Acker compares Lupino to pioneering silent-film director Lois Weber for their focus on controversial, socially relevant topics. With their ambiguous endings, Lupino's films never offered simple solutions for her troubled characters, and Acker finds parallels to her storytelling style in the work of the modern European "New Wave" directors, such as Margarethe von Trotta.[4]

Film critic Ronnie Scheib, who issued a Kino release of three of Lupino's films, likens Lupino's themes and directorial style to directors Nicholas Ray, Sam Fuller, and Robert Aldrich, saying, "Lupino very much belongs to that generation of modernist filmmakers."[55] On whether Lupino should be considered a feminist filmmaker, Scheib states, "I don't think Lupino was concerned with showing strong people, men or women. She often said that she was interested in lost, bewildered people, and I think she was talking about the postwar trauma of people who couldn't go home again."[30]

Martin Scorsese calls Lupino's thematic film work "essential," noting that "What is at stake in Lupino's films is the psyche of the victim. [Her films] addressed the wounded soul and traced the slow, painful process of women trying to wrestle with despair and reclaim their lives. Her work is resilient, with a remarkable empathy for the fragile and the heart-broken."[36]

Author Richard Koszarski noted Lupino's choice to play with gender roles regarding women's film stereotypes during the studio era: "Her films display the obsessions and consistencies of a true auteur... In her films The Bigamist and The Hitch-Hiker, Lupino was able to reduce the male to the same sort of dangerous, irrational force that women represented in most male-directed examples of Hollywood film noir."[56]

Lupino did not consider herself a feminist, saying, "I had to do something to fill up my time between contracts. Keeping a feminine approach is vital – men hate bossy females ... Often I pretended to a cameraman to know less than I did. That way I got more cooperation."[4] Village Voice writer Carrie Rickey, though, holds Lupino up as a model of modern feminist filmmaking: "Not only did Lupino take control of production, direction, and screenplay, but [also] each of her movies addresses the brutal repercussions of sexuality, independence and dependence."[18] By 1972, Lupino said she wished more women were hired as directors and producers in Hollywood, noting that only very powerful actresses or writers had the chance to work in the field.[4] She directed or costarred a number of times with young, fellow British actresses on a similar journey of developing their American film careers like Hayley Mills and Pamela Franklin.

Actress Bea Arthur, best remembered for her work in Maude and The Golden Girls, was motivated to escape her stifling hometown by following in Lupino's footsteps and becoming an actress, saying, "My dream was to become a very small blonde movie star like Ida Lupino and those other women I saw up there on the screen during the Depression."[57]

Accolades

[edit]
The Hard Way (1943)
  • Lupino has two stars on the Hollywood Walk of Fame for contributions to the fields of television and film – located at 1724 Vine Street and 6821 Hollywood Boulevard.
  • New York Film Critics Circle Award – Best Actress, The Hard Way, 1943
  • Inaugural Saturn Award - Best Supporting Actress, The Devil's Rain, 1975[58]
  • A Commemorative Blue Plaque is dedicated to Lupino and her father Stanley Lupino by The Music Hall Guild of Great Britain and America and the Theatre and Film Guild of Great Britain and America at the house where she was born in Herne Hill, London, 16 February 2016[59]
  • Composer Carla Bley paid tribute to Lupino with her jazz composition "Ida Lupino" in 1964.[60]
  • The Hitch-Hiker and Outrage were inducted into the National Film Registry in 1998 and 2020 respectively.[61]

Filmography

[edit]
Selected credits as actress and/or director
Title Year As actress Role As director Notes
The Love Race 1931 Yes Minor supporting role Uncredited
Her First Affaire 1932 Yes Ann Brent
Money for Speed 1933 Yes Jane
I Lived with You 1933 Yes Ada Wallis
Prince of Arcadia 1933 Yes The Princess
The Ghost Camera 1933 Yes Mary Elton
High Finance 1933 Yes Jill
Search for Beauty 1934 Yes Barbara Hilton
Come On, Marines! 1934 Yes Esther Smith-Hamilton
Ready for Love 1934 Yes Marigold Tate
Paris in Spring 1935 Yes Mignon de Charelle
Smart Girl 1935 Yes Pat Reynolds
Peter Ibbetson 1935 Yes Agnes
La Fiesta de Santa Barbara 1935 Yes Herself Short film made in Technicolor, with several celebrities appearing as themselves
Anything Goes 1936 Yes Hope Harcourt
One Rainy Afternoon 1936 Yes Monique Pelerin
Yours for the Asking 1936 Yes Gert Malloy
The Gay Desperado 1936 Yes Jane
Sea Devils 1937 Yes Doris Malone
Let's Get Married 1937 Yes Paula Quinn
Artists and Models 1937 Yes Paula Sewell / Paula Monterey
Fight for Your Lady 1937 Yes Marietta
The Lone Wolf Spy Hunt 1939 Yes Val Carson
The Lady and the Mob 1939 Yes Lila Thorne
The Adventures of Sherlock Holmes 1939 Yes Ann Brandon
The Light That Failed 1939 Yes Bessie Broke
Screen Snapshots Series 18, No. 6 1939 Yes Herself Promotional short film
They Drive by Night 1940 Yes Lana Carlsen
High Sierra 1941 Yes Marie
The Sea Wolf 1941 Yes Ruth Webster
Out of the Fog 1941 Yes Stella Goodwin
Ladies in Retirement 1941 Yes Ellen Creed
Moontide 1942 Yes Anna
Life Begins at Eight-Thirty 1942 Yes Kathy Thomas
The Hard Way 1943 Yes Mrs. Helen Chernen New York Film Critics Circle Award for Best Actress
Forever and a Day 1943 Yes Jenny
Thank Your Lucky Stars 1943 Yes Herself
In Our Time 1944 Yes Jennifer Whittredge
Hollywood Canteen 1944 Yes Herself
Pillow to Post 1945 Yes Jean Howard
Devotion 1946 Yes Emily Brontë
The Man I Love 1947 Yes Petey Brown
Deep Valley 1947 Yes Libby Saul
Escape Me Never 1947 Yes Gemma Smith
Road House 1948 Yes Lily Stevens
Lust for Gold 1949 Yes Julia Thomas
Not Wanted 1949 Yes Uncredited
Never Fear 1950 Yes
Woman in Hiding 1950 Yes Deborah Chandler Clark
Outrage 1950 Yes Country Dance Attendee Yes Uncredited
Hard, Fast and Beautiful 1951 Yes Seabright Tennis Match Supervisor Yes Uncredited
On the Loose 1951 Yes Narrator Voice, Uncredited
On Dangerous Ground 1952 Yes Mary Malden
Beware, My Lovely 1952 Yes Mrs. Helen Gordon
The Hitch-Hiker 1953 Yes
Jennifer 1953 Yes Agnes Langley
The Bigamist 1953 Yes Phyllis Martin Yes
Private Hell 36 1954 Yes Lilli Marlowe
Women's Prison 1955 Yes Amelia van Zandt
The Big Knife 1955 Yes Marion Castle
While the City Sleeps 1956 Yes Mildred Donner
Strange Intruder 1956 Yes Alice Carmichael
Teenage Idol 1958 Yes TV movie
The Trouble with Angels 1966 Yes
Women in Chains 1972 Yes Claire Tyson TV movie
Deadhead Miles 1972 Yes Herself
Junior Bonner 1972 Yes Elvira Bonner
The Strangers in 7A 1972 Yes Iris Sawyer TV movie
Female Artillery 1973 Yes Martha Lindstrom TV movie
I Love a Mystery 1973 Yes Randolph Cheyne TV movie
The Letters 1973 Yes Mrs. Forrester TV movie
The Devil's Rain 1975 Yes Mrs. Preston Saturn Award for Best Supporting Actress
The Food of the Gods 1976 Yes Mrs. Skinner
My Boys Are Good Boys 1978 Yes Mrs. Morton Final film role

Partial television credits

[edit]
As actress and/or director
Title Year As actress Role As director Episode
Mr. Adams and Eve 1957–1958 Yes Eve Adams/Eve Drake Yes Main cast (66 episodes); 1 episode 1958[62]
The Twilight Zone 1959 Yes Barbara Jean Trenton "The Sixteen-Millimeter Shrine"
Bonanza 1959 Yes Annie O'Toole "The Saga of Annie O'Toole"
Lucy-Desi Comedy Hour 1959 Yes Herself "Lucy's Summer Vacation"
Death Valley Days 1960 Yes Pamela Mann "Pamela's Oxen"
The Rifleman 1961 Yes "Assault"
Thriller 1961 Yes "The Last of the Sommervilles"
The Investigators 1961 Yes "Something for Charity"
Kraft Suspense Theatre 1963 Yes Harriet Whitney "One Step Down"
The Virginian 1963 Yes Helen Blaine "A Distant Fury"
The Twilight Zone 1964 Yes "The Masks"
Gilligan's Island 1964 Yes "Goodnight, Sweet Skipper"
Gilligan's Island 1964 Yes "Wrongway Feldman"
Bewitched 1965 Yes "A is for Aardvark"
Honey West 1965 Yes "How Brillig, O, Beamish Boy"
Gilligan's Island 1966 Yes "The Producer"
It Takes A Thief 1968 Yes Doctor Schneider "Turnabout"
Batman 1968 Yes "Doctor Cassandra" Spellcraft "The Entrancing Dr. Cassandra"
Family Affair 1969 Yes Lady "Maudie" Marchwood "Maudie"
Family Affair 1970 Yes Lady "Maudie" Marchwood "Return of Maudie"
Columbo 1972 Yes Roger Stanford's Aunt "Short Fuse"
The Streets of San Francisco 1973 Yes Wilma Jamison "Blockade"
Columbo 1974 Yes Mrs. Edna Brown "Swan Song"
Police Woman 1975 Yes Hilda Morris "The Chasers"
Charlie's Angels 1977 Yes Gloria Gibson "I Will Be Remembered"

Radio appearances

[edit]
Year Program Episode/source
1937 The Chase and Sanborn Hour
1937 Lux Radio Theatre The 39 Steps
1938 The Silver Theatre Challenge for Three
1939 The Campbell Playhouse The Bad Man
1939 The Chase and Sanborn Hour
1939 Lux Radio Theatre Wuthering Heights
1939 Woodbury's Hollywood Playhouse For All Our Lives
1940 Lux Radio Theatre The Young in Heart
1940 Good News of 1940 The Light That Failed
1940 Lux Radio Theatre Wuthering Heights
1940 Lux Radio Theatre Rebecca
1942 Charlie McCarthy Show
1942 It's Time to Smile
1942 Lux Radio Theatre A Woman's Face
1943 Lux Radio Theatre Now, Voyager
1943 Lux Radio Theatre Ladies in Retirement
1943 Duffy's Tavern
1943 Command Performance
1943 Burns and Allen
1944 Everything for the Boys The Citadel
1944 Mail Call
1944 Screen Guild Players High Sierra[63]
1944 Suspense The Sisters
1944 Suspense Fugue in C Minor
1944 This Is My Best Brighton Rock
1945 Cavalcade of America Immortal Wife
1945 Lux Radio Theatre Only Yesterday
1945 Screen Guild Players Pillow to Post
1946 Cavalcade of America Star in the West
1946 Theatre of Romance The Hard Way
1946 Encore Theatre Nurse Edith Cavell[64]
1946 Tell Me a Story The Pond
1947 Cavalcade of America Abigail Opens the White House
1947 Cavalcade of America A Lady of Distinction
1947 Cavalcade of America Kitchen Scientist
1947 Lux Radio Theatre The Seventh Veil
1947 Lux Radio Theatre Saratoga Trunk
1948 Lux Radio Theatre Daisy Kenyon
1948 Suspense Summer Night
1948 Lux Radio Theatre The Razor's Edge
1948 Hallmark Playhouse Woman with a Sword
1949 Bill Stern Colgate Sports Newsreel
1949 Suspense The Bullet
1950 Hollywood Calling
1950 Hallmark Playhouse The Love Story of Elizabeth Barrett
1953 Guest Star Fear
1953 Stars over Hollywood Chasten Thy Son[65]
1954 Lux Radio Theatre The Star
1954 Lux Radio Theatre So Big
1959 Suspense On a Country Road

See also

[edit]

References

[edit]
  1. ^ Recorded in Births Mar 1918 Camberwell Vol. 1d, p. 1019 (Free BMD). Transcribed as "Lupine" in the official births index
  2. ^ Morra, Anne (2 August 2019). "Anne Morra presents Ida Lupino's Never Fear and discusses the director's place in film history". Her Way Magazine. Retrieved 10 September 2019.
  3. ^ Kemp, Philip (2007). 501 Movie Directors. London: Quintessence. p. 230. ISBN 978-1844035731.
  4. ^ a b c d e f g Acker, Alley (1991). Reel Women – Pioneers of the Cinema, pp. 74–78. The Continuum Publishing Company, New York. ISBN 0826404995
  5. ^ Ida Lupino Biography, Turner Classic Movies. Retrieved on 4 July 2011.
  6. ^ a b c d Flint, Peter B. "Ida Lupino, Film Actress and Director, Is Dead at 77," The New York Times. 5 August 1995. Retrieved on 11 April 2016.
  7. ^ a b Ida Lupino Milestones, Turner Classic Movies. Retrieved on 11 April 2016.
  8. ^ Biographies of Paramount Players and Directors 1936–1937. New York The Museum of Modern Art Library. 1936.{{cite book}}: CS1 maint: others (link)
  9. ^ a b c d e f g h Donati, William (1996). Ida Lupino A Biography, University Press of Kentucky. ISBN 0813118956
  10. ^ Grishman, Grossman, Therese, Julie (2017). Ida Lupino, Director: Her Art and Resilience in Times of Transition. New York: Rutgers University Press. p. 5. ISBN 978-0813574929.{{cite book}}: CS1 maint: multiple names: authors list (link)
  11. ^ a b c d e f Hagen, Ray & Wagner, Laura (2004). Killer Tomatoes: Fifteen Tough Film Dames, pp. 103–114. McFarland & Company Inc., Jefferson, North Carolina. ISBN 978-0786418831
  12. ^ a b The Hollywood Reporter (Jan–Jun 1934). Media History Digital Library. Hollywood, Calif., Wilkerson Daily Corp. January 1934.{{cite book}}: CS1 maint: others (link)
  13. ^ Katz, Ephraim & Klein, Fred & Nolan, Ronald Dean (1998). The Film Encyclopedia 3rd edition, p. 858. Harper Perennial, New York. ISBN 006273492X
  14. ^ a b c d e Orgeron, Marsha (2008). Hollywood Ambitions, pp. 170–179. Wesleyan University, Middleton, Connecticut. ISBN 978-0819568649
  15. ^ Kurtti-Pellerin (Producers), (4 November 2003). Divided Highway: The Story of They Drive by Night (documentary short). Turner Entertainment Co., US: Kurtti-Pellerin.
  16. ^ Crowther, Bosley. The New York Times, film review, "High Sierra, Considers the Tragic and Dramatic Plight of the Last Gangster," 25 January 1941. Accessed: 29 January 2008.
  17. ^ Morra, Anne (2010). Modern Women: Women Artists at the Museum of Modern Art, pp. 235–237. Museum of Modern Art, New York. ISBN 978-0870707711.
  18. ^ a b Rickey, Carrie (29 October – 4 November 1980). "Lupino Noir," Village Voice, p. 43
  19. ^ Collins, K. Austin (30 September 2019). "Ida Lupino, the Mother of American Independent Film, Finally Gets Her Due". Vanity Fair. Retrieved 2 December 2020.
  20. ^ Hicks, Ted (December 2018). "Ida Lupino – Filmmaker". Films etc.
  21. ^ a b c d Hurd, Mary (2007). Women Directors & Their Films, pp. 9–13. Praeger, Westport, Connecticut. ISBN 0275985784
  22. ^ "Never Fear (The Young Lovers) 1950". MoMA Highlights: 375 Works from The Museum of Modern Art, New York. The Museum of Modern Art, New York.
  23. ^ a b Huber, Christoph (21 December 2015). "Mother of All of Us: Ida Lupino, The Filmaker". Cinema Scope.
  24. ^ H.H.T. (Henry Howard Thompson Jr.) (26 December 1953). "At the Astor". The New York Times. Retrieved 17 August 2019.
  25. ^ Muller, Eddie (1998). Dark City: The Lost World of Film Noir. New York: St. Martin's. p. 176. ISBN 0312180764.
  26. ^ Cousins, Mark (2004). The Story of Film. New York: Thunder's Mouth. ISBN 1560256125.
  27. ^ Dixon, Wheeler Winston (9 March 2015). "Ida Lupino". Senses of Cinema. Retrieved 2 December 2020.
  28. ^ James, Caryn (28 January 2019). "Why Ida Lupino's taboo-breaking films could be set today". BBC Online. Retrieved 18 July 2020.
  29. ^ Wood, Bret. "Outrage (1950)". Turner Classic Movies Online. Retrieved 10 August 2008.
  30. ^ a b Everitt, David (23 November 1997). "A Woman Forgotten And Scorned No More". The New York Times. Retrieved 6 April 2016.
  31. ^ "Mr. Adams & Eve / TVparty!/ Classic TV". www.tvparty.com.
  32. ^ Kooyman, Ben (13 March 2011). "The Twilight Zone: "The Masks" (Ida Lupino, 1964) – Senses of Cinema".
  33. ^ Weiner, Debra (1977). Kay Peary, Karen & Peary, Gerald, editors. Women and the Cinema, "Interview with Ida Lupino," pp. 169–178. Dutton, New York. ISBN 0525474595
  34. ^ "The Bigamist (Ida Lupino, 1953)". 29 January 2014 – via Vimeo.
  35. ^ Lewis, Charles E. (April 1949). Showmen's Trade Review (Apr–Jun 1949). MBRS Library of Congress. Showmen's Trade Review, Inc.
  36. ^ a b Scorsese, Martin. "The Lives They Lived: Ida Lupino; Behind the Camera, a Feminist", The New York Times. New York. December 31, 1995. Retrieved March 9, 2022.
  37. ^ Grisham, Grossman, Therese, Julie (2017). Ida Lupino, Director. Rutgers University Press. ISBN 978-0813574912.{{cite book}}: CS1 maint: multiple names: authors list (link)
  38. ^ "Opinion | 100, 75, 50 Years Ago". The New York Times. 24 June 2009. ISSN 0362-4331. Retrieved 10 April 2018.
  39. ^ a b Hollywood (Jan–Dec 1942). MBRS Library of Congress. Fawcett Publications, inc. January 1942.{{cite book}}: CS1 maint: others (link)
  40. ^ Motion Picture Daily (Apr–Jun 1934). MBRS Library of Congress. New York [Motion Picture Daily, Inc.] April 1934.{{cite book}}: CS1 maint: others (link)
  41. ^ Motion Picture Daily (Jan–Mar 1943). MBRS Library of Congress. New York [Motion Picture Daily, Inc.] January 1943.{{cite book}}: CS1 maint: others (link)
  42. ^ Radio and Television Mirror. MBRS Library of Congress. MacFaddenPublications. May 1940.{{cite book}}: CS1 maint: others (link)
  43. ^ Donati, William (1996). Ida Lupino. University Press of Kentucky. p. 143. ISBN 0813118956.
  44. ^ O'Dell, Cary (1997). Women Pioneers in Television: Biographies of Fifteen Industry Leaders. McFarland. p. 175. ISBN 0786401672.
  45. ^ Interview, Billy Graham Ministries, I Believe...The Religious Faiths of 29 Stars, 1960
  46. ^ "Ida Lupino, Louis Hayward Admit Separation". San Jose Evening News. 19 July 1944. p. 11. Retrieved 9 March 2013.
  47. ^ "Actress Ida Lupino Files Suit For Divorce". St. Petersburg Times. 5 May 1945. p. 13. Retrieved 9 March 2013.
  48. ^ "Ida Lupino To Seek Divorce From Producer". Toledo Blade. 3 September 1951. p. 2. Retrieved 9 March 2013.
  49. ^ "Actress Ida Lupino Wed to Howard Duff". Eugene Register-Guard. 22 October 1951. p. 4. Retrieved 9 March 2013.
  50. ^ "Ida Lupino Mother of 4-lb. Daughter". The Times-News. 26 April 1952. p. 9. Retrieved 9 March 2013.
  51. ^ Donati, William (24 July 2013). Ida Lupino: A Biography. University Press of Kentucky. ISBN 9780813143521. Retrieved 14 April 2023.
  52. ^ "Actress, director Lupino dies". The Daily Courier. 6 August 1995. Retrieved 9 March 2013.
  53. ^ "Ida Lupino, 77; Actress, Pioneer Director". Albany Times. Retrieved 10 June 2012.[permanent dead link]
  54. ^ "Ida Lupino: Beyond the Camera – New from BearManor Media". Turner Classic Movies. Retrieved 9 March 2013.
  55. ^ Scheib, Ronnie. "The Work of Ida Lupino Earns Some Overdue Praise". Originally published in Film Comment, Vol. 16, No. 1, Jan/Feb 1980). Retrieved March 9, 2022.
  56. ^ Koszarski, Richard (1976). Hollywood Directors, Oxford University Press, New York. ISBN 0195020855
  57. ^ Rasmussen, Frederick N. (3 May 2009). "And Then Came Bea Arthur, The Cambridge Bombshell". The Baltimore Sun. Retrieved 13 November 2018.
  58. ^ "The Academy of Science Fiction Fantasy & Horror Films". Saturn Awards. Archived from the original on 10 February 2005. Retrieved 10 June 2012.
  59. ^ "Stanley Lupino and Ida Lupino Commemorated," Archived 18 May 2019 at the Wayback Machine The Music Hall Guild of Great Britain and America. Retrieved on 6 April 2016.
  60. ^ Haga, Evan. (15 October 2008) "Paul Bley Trio: Darkly Winsome Jazz," NPR Music. Retrieved on 11 April 2016.
  61. ^ Barnes, Mike (14 December 2020). "'The Dark Knight,' 'A Clockwork Orange' and 'The Joy Luck Club' Enter National Film Registry". The Hollywood Reporter.
  62. ^ Mr. Adams and Eve (TV Series 1957-1958) - Full Cast & Crew - IMDb
  63. ^ "Those Were the Days". Nostalgia Digest. Vol. 41, no. 3. Summer 2015. pp. 32–39.
  64. ^ "Those Were the Days". Nostalgia Digest. Vol. 43, no. 3. Summer 2017. p. 33.
  65. ^ "Ida Lupino Keeps Dangerous Secret". The Pittsburgh Courier. 20 June 1953. p. 18. Retrieved 15 July 2016 – via Newspapers.com. Open access icon
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