MARILYN
MAXWELL: The Other M.M.
By Laura Wagner
She is one of the most
famous actors of all time. The mere mention of her initials, M.M., conjures
up a flood of movie memories. But Marilyn Maxwell was not as lucky as
Marilyn Monroe. Attention was showered on one, while the other, despite
her talent and breezy presence, never caught on. Yet there were a few
striking similarities between the two blonde bombshells. Neither was
taken seriously as actors, and ultimately both their lives were tragically
cut short -- Monroeâs at 36, Maxwellâs at 49.
Unlike
Monroe, Maxwell didnât fall neatly into a ãdumb blondeä image. She gave
the impression of being a cool (sometimes calculating) beauty who knew
how to have fun. Unlike most other glamour girls, she was extremely
versatile: she could sing, dance, and act, and she easily moved from
comedy to drama. She was blonde, voluptuous, and very beautiful, with
(surprise!) a pleasing personality.
ãShe was
one of those special people in this world,ä co-star (Between Two Women
and Summer Holiday) Gloria DeHaven said in 1989. ãYou never heard one
bad word about her. She was a dear, dear love. I adored her! What a
friend, what a loss!ä
Unfortunately,
Marilyn was like the other Marilyn in that her private life garnered
publicity, but didnât really help her career. Frequent co-star Bob Hope
took a strong interest in her personally and professionally, but instead
of helping her build a solid list of credits, he took up her time with
camp shows, TV, radio, and routine film roles. So close were they, she
became known to some on the Paramount lot as ãMrs. Bob Hope.ä The association
might have cost her a career, although certainly there were other factors
involved. MGM mishandled Marilyn at a crucial period in her professional
life, stifling her growth as a performer. At least Bob Hope knew she
had talent and tried to showcase it, if only in his presence.
Show business
was in her blood when she was born August 3, 1922, in Clarinda, Iowa,
birthplace of another great entertainer, big band leader Glenn Miller.
She was given the name Marvel Marilyn Maxwell by her mother who was
piano accompanist for dancer Ruth St. Denis. Her father was an insurance
man who divorced Marvelâs mother soon after her birth. Her stage-struck
mother, about whom Marilyn would later say ãtried to fulfill her ambitions
through me,ä thought the name would look good on a marquee someday,
so Marvelâs upbringing consisted of dancing lessons by St. Denis herself
and vocal studies. Her first public performance as a dancer was at age
three doing a butterfly dance at the Brandeis Theater in Omaha, Nebraska.
Her singing later was developed with a local band made up of classmates.
Instead of a normal childhood, Marvel was subjected to performing at
local Elks and Kiwanis Clubs and traveling with her mother.
By the
age of 15 Marvel was living in Fort Wayne, Indiana, and singing at a
radio station her brother managed. Author Sally Presley later told writer
Arthur Marx: ãI went to school with her at Central High in Fort Wayne,
and the thing about her I remember the most was that she had a very
pushy mother, one of those stage mothers like you read about.ä
It was
Amos Ostot, small-time regional bandleader, who heard young Marvel on
the radio and hired her for $35 a week. Pretty soon actor Buddy Rogers,
who fronted his own band, stole her away from Ostot, and a year-long
tour of the Midwest followed. Marilyn later stated that she was encouraged
by Rogersâ wife, Mary Pickford, once a great power in Hollywood. ãMiss
Pickford was so gracious and kind to me, encouraging me to try for a
place in pictures. She even helped arrange a test for me,ä of which
nothing happened. At this point in the game Marvel was just not interested
in motion pictures and continued to concentrate on her considerable
singing ability.
Marvel
got her big break when she was signed to sing with Ted Weemsâ band in
1939 after he caught her solo act at an Indianapolis night club. It
was a great orchestra for the young singer to be identified with, bringing
her to the big-time on tour and on radioâs Beat The Band, with Weemsâ
then male vocalist Perry Como.
It was
Weems who encouraged the blonde beauty to try again for a Hollywood
career, but reportedly Marilyn also told him she preferred singing to
acting. His persistence paid off and soon, maintained Marilyn to Motion
Picture magazine in 1943: ã ... It hit me - acting - the movies. Suddenly
I wanted to be an actress more than anything else in the world. So I
told Ted - and he was delighted - although he wasnât too happy about
losing me. He told me heâd always known Iâd outgrow the band eventually
- which wasnât true - because the Weemsâ orchestra was tops - the best.
Anyway, Ted suggested that I go to the Pasadena Community Playhouse,
and heâd finance me and pay my salary for a full year. It would be an
investment for him. Then, when I was signed by a studio - as he was
so sure I would be - I could pay it all back. Thatâs the kind of faith
that got me to Hollywood. Without it, I suppose I never would have made
it out here.ä
During
this time, she appeared on radioâs Best of the Week and Look Whoâs Here,
and some Soundies, but a Paramount test arranged by an agent who spotted
her failed, and she left the Pasadena Playhouse after six months, discouraged,
to go on a camp show tour. While she was entertaining the troops, MGM
was busy checking out her Paramount test, which they liked. When she
returned home she was presented with an MGM contract in 1942.
MGM started
her off right in unnoticeable bits for this standout blonde, who had
since taken her middle name of Marilyn for her stage name. In the Navy
oriented Stand By For Action (1943), she played a brief but striking
role, meeting Robert Taylor at a party. This attractive debut was followed
with Presenting Lily Mars (1943) with Judy Garland. Again not a big
role, but clearly MGM had ideas about Marilyn Maxwell, with director
Norman Taurogâs camera focused on her a great deal. Another bit: Dubarry
Was a Lady (1943), where she, along with eleven other beauties played
ãThe DuBarry Girls.ä
After this
assignment, she was finally given a substantial part, her first featured
role, in the Wallace Beery vehicle, Salute to the Marines (1943). Marilyn
Maxwell made herself noted as an attractive addition to MGMâs leading
lady roster. The war action was set in the Philippines where Marilyn
lives with father (Beery) and mother (Fay Bainter) while being courted
by two handsome men in uniform, William Lundigan and Donald Curtis.
Bainter is a pacifist who realizes (amid enemy bombing) the importance
of the fight. Marilyn comes across well in the romantic moments, and
also in the dramatic scenes.
She did
a fun skit in the all-star Thousands Cheer (1943), and this very busy
year of 1943 also cast her as heart interest to doctor Van Johnson in
Dr. Gillespieâs Criminal Case, the first of her gorgeous appearances
in the popular series. Van is ãDr. Red Adams,ä assistant to ãDr. Gillespieä
(Lionel Barrymore), who is chased by the amorous ãRuth Adlyä (spelled
in future films, Adley) played by Maxwell. The movie establishes Van
as a minor wolf testing out some lines to Donna Reed, wanting to give
her a ãcomplete examination,ä which she rebuffs. Marilyn, on the other
hand, is the aggressor, much to Vanâs delight and fright. ãAre
you available?ä she asks the smitten but cautious Johnson. He is eager
at first, but her remarks, totally provocative, leave him uttering ãHoly
smoke!ä ãOh, brother!ä and ãOh, La-dy.ä After she puts on ãlipstick
that doesnât come off,ä Van is totally hooked, at least until he realizes
that she has marriage on her mind. Van and Marilyn made a most attractive
twosome, which MGM sensed, teaming them in four pictures through the
Î40s.
Although
it was her seventh film for MGM, Swing Fever (1943) was a nice showcase
for the talented star, and with the billing ãintroducing Marilyn Maxwell.ä
Playing singer ãGinger Grey,ä Marilyn, at the insistence of boxing manager
William Gargan, romantically strings along classical composer Kay Kyser.
The reason? It seems Kyser has inherited his familyâs ãevil eye,ä which
Gargan wants Kay to use so his boxer (Nat Pendleton) can win the championship.
The ãevil eyeä is strange, and so is the coupling of Maxwell and meek
bandleader Kyser, but the film gave Marilyn a chance to take over. Her
vocal ability is constantly on display, and one number in particular
is sure to haunt your dreams: ãOne Girl and Two Boys,ä an annoyingly
catchy ditty.
Next up
was Three Men In White (1944), again in the ãDr. Gillespieä series with
Van Johnson. The relationship between the reluctant doctor and the all-too-willing
socialite was advanced. ãHow do I know whether or not I want to get
married?ä whines the tormented Van. ãCome around tonight, and Iâll show
you,ä Marilyn coos back. Gun shy, Van refuses to kiss her for fear heâll
ãhear the birdies singä and wake up married. The aggressive Marilyn
is asked to ãbehave,ä but without blinking, she quips: ãnot if I can
help it.ä Although Three Men in White concentrates on newcomer Ava Gardner
and her invalid motherâs spine problem (solved by, of all things, a
new pair of shoes!), itâs Marilyn who steals the show with her
racy dialog: ãIt doesnât wrinkle easily,ä she says of her new dress
to Van, who promptly runs away. Even with the repetition of Marilyn
pursuing and peppering Van with hot dialogue (ãI need a doctor and youâre
the doctorä), their relationship never got stale. Their exchanges were
highlights of the series, which usually relied on melodramatic illnesses
and personal problems. Marilyn Maxwell and her ãone track mindä brightened
the Gillespie films, and MGM had to know it.
Abbott
and Costello were not at their best in Lost In a Harem (1944), but for
a few fun moments. The story line is slightly fantastic as the boys,
a couple of prop men in a traveling show featuring Marilyn as singing
thrush ãHazel Moonä, get stranded in the desert amid MGMâs discarded
Kismet sets. They become hypnotized pawns of evil sultan Douglas Dumbrille,
but are recruited by Prince John Conte (in a part Peter Lawford unsuccessfully
tested for) to restore order in the kingdom. The Sultan soon falls for
Marilyn and wants to make her wife #38, but her heart belongs to the
young and very attractive prince. When one of his wives bitterly consoles
the Sultan that ãBlondes are fickle,ä Dumbrille dead pans: ãBlondes
are scarce!ä Marilyn gets one song, the bouncy, ãWhat Does It Take To
Get You?ä, which features the prophetic line: ãI can even get as far
as second base with Frank Sinatra too.ä Romantically, Marilyn would
be involved briefly with Olâ Blue Eyes in the Î40s.
Marilyn
may have been connected with Sinatra and several other actors around
Hollywood, but stunning co-star John Conte was the one who won her heart
off-screen. Conte, sometime actor (his best: The Man With The Golden
Arm in 1955), announcer, and later owner of a TV station, married Marilyn
shortly after making Lost in a Harem, but they divorced two years later,
in 1946. Handsome heart throbs such as Peter Lawford, Turhan Bey, Tony
Martin, and Michael North soon beat a path to the lucky girlâs door.
Meanwhile,
MGM didnât seem to need her, possibly because Lana Turner snagged the
parts Marilyn could have played, and, in the musical area, MGMâs warehouse
was bursting with talent. She was assigned two production numbers in
the all-star Ziegfeld Follies, which although released in 1946 was made
mostly in 1944. She recorded ãGlorifying the American Girlä with Lucille
Ball and Lucille Bremer; and ãA Trip to Hollywoodä with Ball and Jimmy
Durante, but neither was filmed for the movie and tossed out.
Instead
Marilyn did lots of radio with Frank Sinatra and Abbott and Costello,
and she was a regular from February to July of 1944 with Bing Crosby
on The Kraft Music Hall, which was excellent exposure for the young
singer. She was also doing her bit for the war effort on radio, as well
as traveling the USO route with Bob Hope.
She had
been featured on screen for three years, but 1945 saw Marilyn placing
ninth on the Quigley ãStars of Tomorrowä poll. Yet with this delayed
recognition, Marilyn made only one 1945 release, her and Vanâs last
ãDr. Gillespieä pairing, the delightful Between Two Women with Gloria
DeHaven as the second gal of the title. When Van becomes interested
in nightclub singer DeHaven, whoâs coping with psychosomatic starvation,
Marilyn becomes jealous: ãI admit that girl isnât exactly repulsive,
but anything sheâs good at I can do better, quicker, and cheaper!ä And
she means it too! Vanâs still afraid to kiss her, but it finally
happens when Marilyn buys $100,000 worth of war bonds for the privilege.
Presumably headed for the altar, the doctor is signed, sealed, and delivered
to the very patient Marilyn Maxwell at the end of her third hospital
drama.
A nice
opportunity in late 1945 was to be Nellie Bly, a play headed for Broadway
starring Marilyn as the globe-trotting female reporter. The cast was
strong, featuring the popular team of William Gaxon and Victor Moore,
with music written by Johnny Burke and James Van Heusen. After two months
on the road, MGM pulled Marilyn out of the show in Philadelphia fearing
the show would be a flop when it reached New York. They were right.
When the play opened on January 21, 1946, with Joy Hodges replacing
as ãNellie Bly,ä the show was given terrible reviews and lasted 16 performances.
Marilyn
made only three more MGMs under contract. The Show-Off (1946) was one
Marilyn didnât especially care for. George Kellyâs play was a popular
one, this was the fourth film version and tailor-made for the riotous
antics of Red Skelton as a braggart with a heart of gold. Marilyn plays
his sympathetic wife, but she later stated, ãIn The Show-Off I did not
believe in the role of ãAmyä or that any person could be so blind as
to fall for a man like that.ä Motion Picture Magazine neatly summed
up the filmâs appeal: ãIf youâre a faithful Red Skelton fan, youâll
like this; otherwise youâll find it heavy going.ä
What might
have helped secure better roles at MGM was her small but excellent part
as ãBelleä in Summer Holiday. Made in the summer of 1946, it was deemed
hard to sell and sat on the MGM shelf until 1948, by which time Marilyn
and studio had parted company.
A truly
beautiful picture, Summer Holiday was a musical adaptation of Eugene
OâNeillâs Ah, Wilderness! and succeeded in capturing a charming turn
of the century flavor. The action centers on the Miller family, headed
by Walter Huston, and newly graduated son Mickey Rooney. Heâs in love
with neighbor Gloria DeHaven, but when she is forbidden to see him,
he goes to the seedy part of town and meets ãBelle.ä
As ãBelle,ä
sixth billed Marilyn has just thirteen minutes of screen time (eight
days to shoot), but her ãpictorial and sensuousä (The New York Times)
performance demands attention. It was her best opportunity at acting
in four years at MGM. Earlier assignments were light weight, and her
charm carried her through them with ease, but Summer Holiday required
a higher sort of acting. She rose to meet the challenge, and shows us
a totally different kind of actress. ãI was happy with the script,ä
Marilyn said at the time, ãand the role of Belle was definitely a true
and believable character.ä
Assisting
her performance was director Rouben Mamoulianâs commanding use of color
to suggest Rooneyâs attitude toward ãBelle.ä Mamoulianâs approach to
this sequence was described by author Hugh Fordin in his book about
The Freed Unit at MGM: ãEager to face life in the raw, the adolescent
boy visits a bar and finds himself mesmerized by a pretty, vulgar barmaid,
who plies him with liquor to loosen his inhibitions. Mamoulian wanted
to show visually the transformation from a cheap hussy into a beautiful
dream girl as seen through the boyâs eyes.ä
Costume
designer Walter Plunkett continued: ãAt the start Marilyn was in a pale,
washed-out, pink dress that blended with the indoor complexion of the
customers. As Mickey drank more, her dress changed into a stronger shade
of pink, better made and more stylish. As he continued drinking, and
the bar became hazy with smoke, she wept, changing ever so subtly until
she was in a bright red dress, looking absolutely radiant.ä The director,
of course, faced problems with this unconventional treatment, and producer
Arthur Freed told him ãThis is over the audienceâs head - a bar is a
bar and a girl is a girl.ä
Many consider
Summer Holiday to be Marilynâs shining moment at MGM. None of her previous
sweetness was apparent, even with the two songs she sings here: ãThe
Weary Bluesä and ãYouâre The Sweetest Kid I Ever Met.ä She was right
to be proud of her tough talking, edgy ãBelle.ä
When the
film was released in 1948, audiences werenât interested, and it became
a rare flop for producer Arthur Freed, despite fine performances and
a nice score by Harry Warren and Ralph Blane. ãNone of us quite understood
why the picture didnât fare better with the public,ä composer Harry
Warren told Bob Thomas later. ãPerhaps the timing was wrong, and perhaps
it had best been done on the stage ... However, itâs good to know the
film has so many admirers. I loved doing it - it was just the kind of
picture Iâd hoped for, one in which I could be involved with the planning
and the production the way a composer is in the theater. In 30 years
of writing songs for pictures, I rarely had projects that really interested
me. This one did.ä Editing was one culprit, with many choice musical
numbers cut, diluting character development. The lone survivor of the
cuts was Marilyn with a stunning thirteen minute sequence, and critics
took notice, even though MGM didnât care by this time.
Her final
performance under contract was a completely trivial part in High Barbaree
(1947). As Van Johnsonâs wealthy (and very glamorous) girl friend she
is thrown aside in favor of June Allyson, despite Vanâs comment that
sheâs just his type: ãtall and slinky.ä It was not a fitting send off
from MGM; they had rarely given her a fighting chance in the five years
she was under contract. A mere thirteen films (six with small parts)
in five years is not the way to utilize a contract player of Marilynâs
caliber.
Then according
to Marilyn, trying to sound optimistic for the sake of her fans: ãWith
the studio cutting down itâs planned schedule ... it didnât seem as
though there was anything for me; so I went to Mr. Mayer and asked him
to release me from my contract. The whole thing was very friendly, and
the studio finally agreed to let me go.ä
Marilyn
became a free-lance artist, but before she left MGM for good she approached
her friend, director Mervyn LeRoy. She wanted to make a screen test
to show the other studios, and LeRoy offered to film the test himself.
ãHe wanted to do a very dramatic test,ä related Marilyn, ãand said that
producers wouldnât take me seriously in a dramatic role as long as I
was a blonde. So, I went to make-up, and they fitted me with a wig,
one that Lana Turner had worn in a picture. It must be a good luck wig
because the test, taken from several scenes in the movie Golden Boy
... turned out even better than I hoped.ä
Reportedly,
RKO saw the test, and the newly dark-tressed Marilyn Maxwell, deciding
she was just right for the fem lead in Race Street (1948) opposite George
Raft. It was a leading lady role with a twist, which Marilyn pulled
off effortlessly. Raft is a bookie out to get the guys who killed his
best friend. ãMaking [Race Street] was a lot of fun,ä Marilyn related
in a 1947 fan club journal, ãand RKO is a swell place to work. Everyone
was exceptionally friendly, and the cast and crew were really wonderful.
William Bendix is always great spirits and kept the cast and crew giggling
all the time. This is the first time I have ever met George Raft, and
I found him to be one of the most polished gentlemen in Hollywood ...
so different from his usual screen roles!ä
Marilyn
had begun doing night club work around this time and in 1948 appeared
with Jack Benny at the London Palladium. Joan Benny, Jackâs then-teenaged
daughter, remembered in ãSunday Nights at Sevenä: ãThe engagement at
the Palladium was a great success and sold out every performance ...
Marilyn Maxwell sang and did a skit with my father as the ãsexy dumb
blonde,ä similar to the role Marilyn Monroe later played once on his
TV show. She had made her reputation as one of Bob Hopeâs girls, visiting
our troops during the war. Max never made it big, but her name was well
known. She had a nice singing voice and a fair amount of talent. She
was soft spoken and had a sweet quality about her, yet was a great character
with a wildly funny sense of humor. Sexy and glamorous - yes, very -
but hardly dumb. I liked her because she was one of the few of the many
people who came in and out of my life who paid attention to me, gave
me credit for brains, and treated me as an equal. We became good friends
during that trip, and she would often come to my room to chat. She was
a neat lady.ä
Besides
Summer Holiday, Marilynâs next, Champion (1949), contains her best remembered
performance and her top acting moment. Star Kirk Douglas came into his
own as an actor with this small independent picture playing his first
anti-hero, boxer ãMidge Kellyä whoâs rise to the top is achieved through
the destruction of those closest to him.
Marilyn
plays her ãGrace Diamondä with a self-possessed but sexy air, as she
wraps Kirk around her pretty little finger. Her character thrives on
money, particularly if a macho boxer is attached. Looking cool in furs
(by Marcus and Kessler) and seductive with a cigarette holder, Marilyn
puts her point across to Kirk after slapping him: ãIâm expensive, awful
expensive. I didnât want you to think you could buy me cheap.ä Whoâs
Kirk to argue? The assured beauty gets the boxer so mixed up that his
manager (Paul Stewart) cracks, ãHe got himself a new manager - a blonde.ä
Judging from their steamy scenes in Champion, itâs no surprise Marilyn
and Douglas had an affair off-screen during filming.
Yet, when
Kirk becomes full of himself, their relationship sours; and Kirk finds
another blonde to play with: Lola Albright. Marilynâs confidence turns
to hopelessness as she tries fiercely to hold Douglasâ attention. Her
best scenes follow when he throws her over. At first she is demanding
to Douglas: ãYouâre not going to shake me,ä threatening to expose his
true nature. Catching her fingers in his arm, Kirk tells the wincing
Marilyn, very quietly: ãNo, youâre not going to do that. Youâre going
to be a very good girl. Because if youâre not, Iâll put you in the hospital
for a long time.ä Marilynâs desperation (ãIâll do anything!ä) and resentment
toward Douglas make these scenes the best acting of her career.
The combined
efforts of producer Stanley Kramer, the gritty unrelenting realism of
Mark Robsonâs direction, and the performances of the players (including
Ruth Roman and Arthur Kennedy) helped make Champion the sleeper of the
year. It did wonders for Kirk Douglasâ career, but it should have done
the same for Marilyn Maxwellâs. Sadly, her downfall started after her
wonderful work in this picture.
Back at
MGM for Key to the City (1950), her old home lot was again putting her
in support, this time to Clark Gable and Loretta Young. It was a small
but standout role which The New York Times found ãlushly attractive.ä
Gable and Young are mayors who meet during a San Francisco convention,
while Marilyn has the inspired role of Sheila, an ãAtom Dancerä (like
a bubble dancer, but more explosive) to whom Gable is briefly attracted.
Lending her bubbly presence to the proceedings, Marilyn steals her scenes,
especially with one particularly suggestive dance. The Hollywood Reporter
raved, ãMarilyn Maxwell is terrific as the other woman.ä
Her only
other role of 1950 was in Universal-Internationalâs Outside The Wall,
where Marilyn plays a gal with a yen for cold hard cash. Sheâs again
manipulating her leading man, this time ex-con Richard Basehart, who
is trying to go straight. Minor as the film was, itâs still a hoot watching
Marilyn attempting to destroy her love interest
on film, before he dimly realizes whatâs going on. The New York Times,
for one, was not pleased with the conventional proceedings and thought
Marilyn ãas the siren ... as obvious as her frontal expanse.ä Obvious
to The Times but fun viewing for her fans, who reveled in her performance.
Marilyn
tried marriage again in January of 1949 to restauranteur Anders (Andy)
MacIntyre, but the couple were divorced by 1951. She told reporters
at the time that he drank, but privately the finger was being pointed
in the direction of comedian Bob Hope.
In June
of 1950 Marilyn joined Hope to entertain in Korea, becoming the first
woman to perform for the troops there. Even though the two had known
each other previously, many believe the relationship started on this
tour. Hope was quoted in the early Î50s on the kind of women who attracted
him: ã ... I guess my top favorites are the fun girls, the ones who
love to clown - among them, Dorothy Lamour, Marilyn Maxwell, Lucille
Ball, Jane Russell. I like the ones who quip back.ä Of the actresses
named, only Marilyn had a personal relationship with the comedian, which
was opined by many who knew Hope to be very serious.
In addition
to the Korean tour, Marilyn was co-starred with Bob for the first time
on screen in The Lemon Drop Kid (1951), directed by Sidney Lanfield.
She plays ãBrainey Baxter,ä (a role Jan Sterling allegedly turned down),
a singer and long suffering girlfriend of obnoxious race-track tout
Hope. Damon Runyon, whose story the movie was based on, obviously approved
of Marilynâs casting, later raving: ã[Sheâs] one of those gals who sets
a guyâs pulse to racing by the merest glance in his direction.ä
It was a nice, strictly supporting
part for Marilyn. She gets two songs to sing, one a duet of the classic
Christmas song ãSilver Bellsä with Hope, a nice moment as the two walk
down Broadway singing. The number was added after Hope saw a rough cut
of the film and wasnât happy with certain scenes. Frank Tashlin did
the rewrites and directed the few inserted scenes, including ãSilver
Bells.ä
Bob Hope
and Marilyn Maxwell were constantly together, and there was talk. The
rumors prompted Louella Parsons to speak out: ãIn an exclusive interview
with Dolores Hope, I have learned that thereâs absolutely no truth to
the current rumors that Bob Hope and his leading lady, Marilyn Maxwell,
are serious about each other just because they have been seen together
so much. ÎOur marriage is stronger than ever,â Mrs. Hope assured me.ä
Alas, working
with Hope on TV, in movies, and at special functions did little for
Marilynâs screen career. She managed to appear in New Mexico (1951),
a low budget western with Lew Ayres, but it was a dull venture. MM plays
ãCherry, a well known entertainer ... in the theater,ä who shows up
in the middle of an Indian/Cavalry war. The only bright spot in the
film, tediously directed by Irving Reis, was Marilyn singing and dancing
(in the dark, mind you, as they wait for the Indians to attack) the
song ãSoldier, Soldier, Wonât You Marry Me Now.ä The Indians were very
considerate, and delayed their attack until after the song.
Marilyn
finally made another film in 1953, but again it was with Bob Hope at
Paramount. Off Limits was a mild comedy of a fight manager (Hope) in
the Army training a boxer (Mickey Rooney). Marilyn plays Rooneyâs aunt
(inspired casting), owner of ãThe Pink Owlä bar, who disapproves. She
gets to sing the catchy ãI Learned All About Love,ä which she does nicely.
Marilyn later reprises the song as a duet with Bob who does a tap dance
on top of the piano - until he falls off.
Marilyn
was at her sassy best in East of Sumatra (1953), an otherwise absurd
Universal release co-starring virile Jeff Chandler. ãI came for tin,
not trouble,ä Jeff growls to Anthony Quinn, the blue turbaned king of
an uncharted island laden with unmined tin worth millions. Marilyn is
engaged to Jeffâs boss John Sutton. Between hair-do changes, she sashays
around in improbably glamourous gowns, and drives both men crazy. Marilynâs
romantic scenes with Chandler (whom she was also seeing off-screen)
were impressively intense, but undermined the believability of his attraction
to native girl Suzan Ball. Marilyn gave the heavy-handed script, written
by Frank Gill, Jr., a fun, light touch, while talented director Budd
Boetticher improved things with an impressive final fight scene (ãThe
Fight of Kingsä) between Quinn and Chandler involving knives and burning
torches.
Columbia
employed a top-billed Marilyn Maxwell in the cheap Paris Model (1953),
a curiosity at best. The cast was above par: Tom Conway, Paulette Goddard,
Cecil Kellaway, Barbara Lawrence, and Florence Bates. The film was broken
into four episodes, all of which center on the same dress. In Marilynâs
sequence she plays a wife trying to help her husband (Robert Bice) by
playing up to his boss (Cecil Kellaway).
Producer/screenwriter
Jerry Davis became Marilynâs third and final husband on November 21,
1954, after which her relationship with Bob Hope ended completely. She
and Davis had a son Matthew Paul on April 28, 1956, her only child.
This marriage too ended in divorce in 1960.
On movie
screens, Marilyn was seen as a gangster moll in New York Confidential
(WB 1955), which Variety thought ãstacks up as one of the better made
[crime exposes], thanks to a well fashioned story and good performances
by a cast of familiar names.ä The Newark Evening News made slight mention:
ãMiss Maxwell is seen briefly but decoratively ...ä Broderick Crawford
plays ãthe big boss,ä supposedly a composite of real-life mobsters,
whoâs also Maxwellâs amour. Crawford takes ãtrigger manäRichard Conte
under his wing in the Syndicate, but lives to regret it.
Her last
film role in the Fifties was the inane Rock-A-Bye Baby (1958) with Jerry
Lewis. Her role as a movie star was certainly no stretch, but her lightness
and sparkle made up for the scriptâs shortcomings. Glamourous star Marilyn
calls on her childhood sweetheart, lowly working man Lewis, to take
care of her triplets while sheâs away shooting a picture in Egypt. Jerry,
the lovable bungling snook, runs a gamut of predictable gags as he struggles
to care for the babies. Marilyn has one outstanding moment in the film,
her production number ãThe White Virgin of the Nile,ä a campy bit of
nonsense featuring her in a spectacular Cleopatra costume, all in sequins.
It was a breath of fresh air in a musical as moldy as Jerryâs vocal
cords. Except for one vocal each to Marilyn and Connie Stevens (as MMâs
sister in love with Lewis), Jerry gets the bulk of the Harry Warren/Sammy
Cahn score, to no oneâs surprise or enjoyment. At least, if only briefly,
Marilyn strutted down the Nile in style.
Besides
movie work in the 1950s, Marilyn was busy doing nightclubs. One memorable
Las Vegas act she put together involved a tiger named ãButchy.ä The
act ended after the animal got too frisky.
Television
audiences saw quite a bit of MM on variety shows, and specials like
Best Foot Forward (NBC, 1954), Burlesque (for Shower of Stars, CBS,
1955; with Dan Dailey, Jack Oakie, and Joan Blondell), Playhouse 90
(CBS, 1957), among other notable shows.
She was
given her own TV series in 1961, in of all things, Bus Stop, which bore
scant likeness to William Ingeâs play or the Monroe film of 1956. The
action centered on the Sherwood Diner, owned by Marilynâs character.
There were high hopes for the show, but it was not to be. Explained
Marilyn on why she finally left the show: ãIt was a great experience
working every week and improving my craft, but after 13 weeks I had
to withdraw. It turned out I was doing little more than direct people
to the washroom and serve them coffee. In 13 weeks I had only three
rousing good episodes! But it was just as well. The show went off the
air.ä Not before controversy touched down. The episode which attracted
much publicity and outrage (some ABC affiliates refused to air the episode)
was A Lion Walks Among Us, starring Fabian. The problem was ãexcessive
violence.ä The scene of Fabian attacking an old man with an axe caused
a crackdown within the industry.
More TV
spots continued into the Î60s on game shows, where she was especially
welcome because of her quick wit. She also worked on popular series
like Gunsmoke, 77 Sunset Strip, Wagon Train, and Burkeâs Law. On a telethon,
hosted by singer Jack Smith, viewers were treated to Marilynâs wild,
but straight forward, personality. ãWe were on the telethon together,ä
Jack Smith recalls today. ãMarilyn was working the phones, and I went
back to talk to her on camera. We were talking, and she says to me,
ÎAre you having fun?â And I said, of course, I was, I always enjoy doing
telethons. She said, ÎNo, you were looking down my dress.â I said, ÎI
wasnât! ... I would never ...â Marilyn looked at me, very seriously
and said, ÎWell, you should!â Thatâs the way she was, a great sense
of humor. Very nice girl.ä
Finally,
a film role happened in 1963 when old friend Bob Hope cast her in Criticâs
Choice. She was just what the lame movie needed. Hope is a Broadway
critic, not unlike Walter Kerr, who writes with an acid pen. ãYouâve
been closing shows single handedly,ä one character tells him. When his
wife (Lucille Ball) writes a play, he is expected to change his ways.
Marilyn plays Hopeâs ex-wife, an actress and victim of his bad reviews:
ãThe truth is, Ivy Londonâs clothes give a better performance than she
did.ä He should talk. His movie is dull, dull, dull, until our
blonde tornado rustles up trouble with the Hope-Ball marriage. For some
reason, not made clear in the film, Marilyn wants old Bobby back. ãI
miss you too,ä Hope tells her, ãOn my masochistic days.ä Huh? Anyway,
Marilyn breezes in and out of the narrative, but never stays long enough
to resuscitate it. She sparkles, she shines, she gets Bob Hope drunk,
and steals this not-worth-stealing movie.
In addition
to TV, she played in stock in such shows as Can Can and Bells Are Ringing
and even, in the late Î60s, headlined a burlesque show where she stripped!
About this strange career choice, she told the press: ãThe point of
it all was that it was satirical and funny, and I got a good reception
from the audience.ä
Marilyn was seen in two film
roles in 1964: Stage To Thunder Rock, as the prostitute daughter of
Lon Chaney, Jr. (howâs that?!), and an ordinary role in The Lively Set.
The latter was a teenage drag racing movie that simply did nothing to
further Marilynâs lagging film career.
Arizona
Bushwackers (1968), like Stage to Thunder Rock made four years earlier,
was one of producer A. C. Lylesâ star-studded westerns made for Paramount.
Marilyn had a fun role as a saloon girl who ãknows where all the bodies
are buried,ä as confidant to her boss, bad guy Scott Brady. Howard Keel
shows up in town to become sheriff, amid spy activities, and becomes
immediately attracted to the sassy lass.
She worked
steadily in the early Î70s. Marilyn was seen on TV in The Debbie Reynolds
Show; Outsider; OâHara, U.S. Treasury; and Men at Law. She appeared
in the country music yarn From Nashville With Music (1969); as herself
in the cameo filled feature The Phynx (1970); and her last Wild Women
(1970), a TV movie. Marilynâs co-star, in this western about five female
convicts, was Marie Windsor, who remembered to author Don Stanke in
1972, that ãMarilyn Maxwell is a great dame, whoâs always had it kind
of tough.ä Windsor, incidentally, took over Marilynâs part in Support
Your Local Gunfighter (1971), after shooting began.
Things
were looking up for the actress/singer. Marilyn was preparing another
nightclub act, and two projects were being offered: a part in a movie
called Mamaâs Boy and a recurring role on a soap opera.
Then on
March 20, 1972, the startling news came out over the UPI wire: ãMarilyn
Maxwell, who starred in numerous song-and-dance movies in the 1940s
and later on television comedy shows, died today at her home at the
age of 49.
ãMiss Maxwell,
who had been under treatment for high blood pressure and a pulmonary
ailment, was found in the bathroom by her son, Mathew, 15 years old,
when he returned home from school in the afternoon, the police said.ä
Hollywood
was stunned by the loss of such a well liked personality. Her funeral
was held at the Beverly Hills Community Presbyterian Church, which was
packed with her show business friends. Bob Hope delivered the eulogy,
with great emotion: ãIf all her friends were here today, weâd have to
use the Coliseum. Marilyn had an inner warmth and love for people ...
and the thousands of servicemen she entertained over the years felt
this. Who would have thought that this little girl from Clarinda, Iowa,
would do this much and go as far as she did?
ãWho
knows why some of us are called earlier than others? Maybe God needed
a lovely gal to sing and cheer him up, and so he called her ... I must
say it was a great job of casting.ä
Bob
Hopeâs heartfelt comments were shared by those who knew her on and off
screen. While never a big star, Marilyn Maxwell somehow became a favorite
of both movie fans and Hollywood professionals. Men found her likable
for obvious reasons, but even women liked her -- they couldnât help
but like her. In this respect, at least, that other Marilyn couldnât
even come close to Marilyn Maxwell.
(My thanks to: Doug
McClelland, Eleanore Starkey, Hal Snelling, Charles Stumpf, Tom Wagner,
Dan Van Neste, Jack Smith, Errol Hagen, and Gene Massimo of Fan*Fare.)
The
Films of Marilyn Maxwell
As Marvel Maxwell:
1.
This Is No Laughing Matter. 1942. Soundie. MM and Ted Fio Rito and his
Orchestra.
2.
Tea on the Terrace. 1942. Soundie. MM and Ted Fio Rito.
3.
Dreamsville, Ohio. 1942. Soundie. MM, Buddy Rogers, and Hal Borne and
his Orchestra.
4.
Goodbye, Mama (Iâm Off to Yokohama). 1942. Soundie. MM, Johnny Johnston,
and Hal Borne and his Orchestra.
5.
Havinâ a Time in Havana. 1942. Soundie. MM, Bud Mercer and Spike Jones.
As Marilyn Maxwell:
6. Stand By For Action. 1943. MGM.
Robert Z. Leonard. Robert Taylor, Brian Donlevy, Charles Laughton, Walter
Brennan, Henry OâNeill, Chill Wills, Douglass Dumbrille, Richard Quine,
Douglas Fowley, William Tannen, Dick Simmons, MM as ãAudrey Carr.ä
7.
DuBarry Was a Lady. 1943. MGM. Roy Del Ruth. Red Skelton, Lucille Ball,
Gene Kelly, Virginia OâBrien, Rags Ragland, Zero Mostel, Tommy Dorsey
and his Orchestra (including Dick Haymes and Jo Stafford). MM as one
of the ãDuBarry Girls.ä
8.
Presenting Lily Mars. 1943. MGM. Norman Taurog. Judy Garland, Van Heflin,
Richard Carlson, Fay Bainter, Spring Byington, Marta Eggerth. MM as
chorus girl.
9.
Salute to the Marines. 1943. MGM. S. Sylvan Simon. Wallace Beery, Fay
Bainter, MM as ãHelen Bailey,ä William Lundigan, Donald Curtis, Ray
Collins, Reginald Owen, Keye Luke.
10.
Thousands Cheer. 1943. MGM. George Sidney. Kathryn Grayson, Gene Kelly,
Mary Astor, John Boles, Ben Blue, Frances Rafferty, Mickey Rooney, Judy
Garland, June Allyson, MM as herself, Gloria DeHaven, Virginia OâBrien,
Frank Morgan, John Conte, Lucille Ball, Red Skelton, Jose Iturbi, Lena
Horne, Bob Crosby, Kay Kyser, Margaret OâBrien, Ann Sothern, Marsha
Hunt, Donna Reed, Eleanor Powell.
11.
Dr. Gillespieâs Criminal Case. 1943. MGM. Willis Goldbeck. Lionel Barrymore,
Van Johnson, Donna Reed, MM as ãRuth Edly,ä John Craven, Keye Luke,
Margaret OâBrien, William Lundigan, Alma Kruger, Nat Pendleton, Walter
Kingsford, Marie Blake. Also known as Crazy To Kill.
12.
Swing Fever. 1943. MGM. Tim Whelan, Kay Kyser, MM as ãGinger Gray,ä
William Gargan, Nat Pendleton, Curt Bois, Morris Ankrum, Lena Horne,
Maxie Rosenbloom, Andrew Tombes.
13.
Three Men in White. 1944. MGM. Willis Goldbeck. Lionel Barrymore, Van
Johnson, MM as ãRuth Edley,ä Keye Luke, Ava Gardner, Rags Ragland, Alma
Kruger, Walter Kingsford, Marie Blake, Nell Craig, George Reed.
14.
Lost in a Harem. 1944. MGM. Charles Riesner. Bud Abbott, Lou Costello,
MM as ãHazel Moon,ä John Conte, Douglass Dumbrille, Lottie Harrison,
J. Lockard Martin, Milton Parsons, Jimmy Dorsey and his Orchestra, Tor
Johnson, Jody Gilbert.
15.
Between Two Women. 1945. MGM. Willis Goldbeck. Van Johnson, Lionel Barrymore,
MM as ãRuth Edley,ä Gloria DeHaven, Keye Luke, Keenan Wynn, Alma Kruger,
Marie Blake, Nell Craig, Walter Kingsford, Leon Ames.
16.
The Show-Off. 1946. MGM. Harry Beaumont. Red Skelton, Marjorie Main,
MM as ãAmy,ä Virginia OâBrien, Eddie Anderson, George Cleveland, Leon
Ames, Marshall Thompson, Jacqueline White.
17.
High Barbaree. 1947. MGM. Jack Conway. Van Johnson, June Allyson, Thomas
Mitchell, MM as ãDiana Case,ä Cameron Mitchell, Henry Hull, Claude Jarman,
Jr., Geraldine Wall, Paul Harvey.
18.
Summer Holiday. 1948. MGM. Rouben Mamoulian. Mickey Rooney, Gloria DeHaven,
Walter Huston, Frank Morgan, MM as ãBelle,ä Jackie ãButchä Jenkins,
Agnes Moorehead, Selena Royle, Michael Kirby, Shirley Johns, Anne Francis,
Virginia Brissac, Howard Freeman. Made in 1946.
19. Race Street. 1948. RKO. Edwin L. Marin. George Raft,
MM as ãRobbie Lawrence,ä William Bendix, Henry Morgan, Frank Faylen.
Gale Robbins, Cully Richards, Mack Grey, Russell Hicks, Richard Powers,
William Forrest, Jim Nolan, George Turner, Richard Benedict, Dean White,
Freddie Steele.
20.
Champion. 1949. UA. Mark Robson. Kirk Douglas, MM as ãGrace Diamond,ä
Arthur Kennedy, Ruth Roman, Harry Shannon, Paul Stewart, Luis Van Rooten,
Lola Albright.
21.
Key to the City. 1950. MGM. George Sidney. Clark Gable, Loretta Young,
MM as ãSheila,ä Frank Morgan, Raymond Burr, Lewis Stone, James Gleason,
Raymond Walburn, Pamela Britton, Clinton Sundberg, Marion Martin, Bert
Freed, Emory Parnell, Clara Blandick.
22.
Outside The Wall. 1950. Universal-International. Crane Wilbur. Richard
Basehart, MM as ãCharlotte,ä Signe Hasso, Dorothy Hart, Joseph Pevney,
John Hoyt, Henry Morgan, Lloyd Gough, Mickey Knox.
23.
The Lemon Drop Kid. 1951. Paramount. Sidney Lanfield. Bob Hope, MM as
ãBrainey Baxter,ä Lloyd Nolan, Jane Darwell, Andrea King, Fred Clark,
William Frawley, J. C. Flippen, Harry Bellaver, Sid Melton, Harry Shannon,
Tor Johnson, Mary Murphy, Ben Weldon.
24.
New Mexico. 1951. UA. Irving Reis. Lew Ayres, MM as ãCherry,ä Robert
Hutton, Raymond Burr, Andy Devine, Don Buka, Ted de Corsia, Peter Brice.
25.
Off Limits. 1953. Paramount. George Marshall. Bob Hope, Mickey Rooney,
MM as ãConnie Curtis,ä Marvin Miller, Stanley Clements, Eddie Mayehoff,
John Ridgely, Norman Leavitt, Jack Dempsey, Tom Harmon, Joan Taylor,
Carolyn Jones, Mary Murphy, Mike Mahoney.
26.
East of Sumatra. 1953. Universal-Interntional. Budd Boetticher. Jeff
Chandler, MM as ãLory Hale,ä Anthony Quinn, Suzan Ball, Peter Graves,
John Sutton, J. C. Flippen, Scat Man Crothers, Aram Katcher, Eugene
Yglesias.
27.
Paris Model. 1953. Columbia. Alfred E. Green. MM as ãMarion Parmalee,ä
Paulette Goddard, Barbara Lawrence, Eva Gabor, Tom Conway, Robert Bice,
Cecil Kellaway, Florence Bates.
28.
New York Confidential. 1955. WB. Russell Rouse. Broderick Crawford,
Richard Conte, Anne Bancroft, MM as ãIris,ä J. Carroll Naish, Onslow
Stevens, Barry Kelley, Mike Mazurki, Celia Lovsky, Mickey Simpson, Ian
Keith, Steven Geray.
29.
Rock-A-Bye-Baby. 1958. Paramount. Frank Tashlin. Jerry Lewis, MM as
ãCarla Naples,ä Connie Stevens, Baccaloni, Reginald Gardiner, Hans Conreid,
Ida Moore, Isobel Elsom, Alex Geary, Gary Lewis, Judy Franklin.
30.
Criticâs Choice. 1963. WB. Don Weis. Bob Hope, Lucille Ball, MM as ãIvy
London,ä Rip Torn, Jessie Royce Landis, Jim Backus, Ricky Kelman, Marie
Windsor, John Dehner.
31.
The Lively Set. 1964. Universal. Jack Arnold. James Darren, Pamela Tiffin,
Doug McClure, Joanie Sommers, MM as ãMarge Owens,ä Charles Drake, Peter
Mann, Carole Wells, Greg Morris, Russ Conway, Ross Elliott, Mickey Thompson,
James Nelson, Duane Carter, Billy Krause, Ron Miller.
32.
Stage to Thunder Rock. 1964. Paramount. William F. Claxton. Barry Sullivan,
MM as ãLeah Parker,ä Scott Brady, Lon Chaney, John Agar, Wanda Hendrix.
33.
Arizona Bushwhackers. 1968. Paramount. Lesley Selander. Howard Keel,
MM as ãMolly,ä Yvonne DeCarlo, John Ireland, Scott Brady, Brian Donlevy.
34.
From Nashville With Music. 1969. Bradford. Eddie Crandall. MM, Leo G.
Carroll, (Pedro) Gonzalez-Gonzalez, Marty Robbins, Merle Haggard, Buck
Owens.
35.
The Phynx. 1970. WB. Lee H. Katzin. A. Michael Miller, Ray Chippeway,
Dennis Larden, Lonny Stevens, Lou Antonio, Michael Ansara, George Tobias,
Joan Blondell, MM as herself, Rich Little, Pat McCormick, Bob Williams,
Patti Andrews, James Brown, Busby Berkeley, Dick Clark, Xavier Cugat,
Leo Gorcey, Pat OâBrien, Maureen OâSullivan, Rudy Vallee, Clint Walker,
Richard Pryor, Butterfly McQueen, Martha Raye, Patsy Kelly, Edgar Bergen,
Johnny Weismuller, Ed Sullivan, Dorothy Lamour, Huntz Hall, Louis Hayward,
Cass Daley, Andy Devine, Ruby Keeler, Fritz Feld, George Jessel, Guy
Lombardo, Joe Louis, Jay Silverheels.
36. Wild Women. 1971.
ABC-TVM. Don Taylor. Hugh OâBrian, Anne Francis, MM as ãMaude Webber,ä
Marie Windsor, Sherry Jackson, Robert F. Simon, Richard Kelton, Cynthia
Hull, Pepe Callahan, Ed Call, John Neris, Loie Bridge, Troy Melton,
Jim Boles.ð
