A Shining Light
belongs in that very select group of gifted actresses who were
able to build a remarkably long career by being a shining light
in mediocre, or even
hopelessly bad, films. The limitations of her career didn’t
hurt her personal life either. She is a remarkably sensible
woman with a good marriage and a healthy attitude about life,
dismissing any regrets about her career with the comment: “How
could I be bitter when I’ve loved every bit of what I have
been doing in films?!”
She was born December 11, 1922, in Marysvale,
Utah. First child of Etta and Lane Bertelsen, she was christened
Emily Marie. She was 11 when brother Jerry was born and 17 when
her sister Louise arrived, by which time, Emily Marie was
already in her first year at Brigham Young University.
Marysvale is a farming community of perhaps 200
residents, and Marie, a lifelong lover of animals, became aware
of animal abuse at a very early age: “The way animals were and
are abused appalls me to this very day,” she told this writer.
“For instance, it was very rare for anyone there with dogs to
allow them into the house. Often these “pets” had to sleep
outdoors in sub-zero weather even while their owners expected
the animals to be their “best friends.” Sometimes those dogs
had to eat snow just to get moisture.”
But despite “fighting with other kids about
this,” Marie recalls having had a lot of friends. Of course,
she was less than popular with many of them when she graduated
from high school in three years. School, she says, is something
she loved from the beginning. Math she hated (and still does),
but she was particularly good in spelling, English, and art.
There was no art teacher when Marie was in high school, but the
principal, favorably impressed with her work, gave her two books
on art and told her if she learned to draw and paint well, he’d
give her scholastic credit for her work. In junior high, the
lady who now stands at 5’9” was even then the tallest girl
in her class and for a time was captain of her basketball team
“because of my height.”
Lessons didn’t end at school. By the time the
youngster was 11, her parents were driving her to Richfield,
Utah (30 miles away) for weekly dancing or dramatic lessons.
Marie recalls with gratitude how her parents always encouraged
her in this, and she feels they knew even then that she would be
in show business. This possibility dawned on Marie herself even
earlier. By age 8, her maternal grandmother, whom she called “Gunga”
and who had been postmistress at Marysvale for 33 years,
regularly treated the child to (silent) movies which left the
youngster enthralled. It wasn’t long before Marie was play
acting on the family porch, either by herself or with other kids
in her neighborhood, in improvised plays.
Hollywood seems to have been her primary goal
even before her two years at Brigham Young where, because of her
very real aptitude for acting, she was “permitted to appear in
upperclass plays.” By 1939 she entered and won first place in
a “Queen of Covered Wagon Days” contest.
Then, with her parents and “Gunga,” she went
to New York hoping to be accepted as a student by actress-drama
coach Mme. Maria Ouspenskaya. But by then the latter had
relocated in Hollywood. Back in Marysvale, the local Chamber of
Commerce “unofficially” gave Marie that year’s “Miss
Utah” title which enabled her to enter (and ultimately win)
The Jesse Laskey Radio Talent Show at Salt Lake City. Her prize
in this then-annual “Gateway to Hollywood” contest was $100,
and she soon made contact with Mme. Ouspenskaya through friends
of her parents who were acquainted with the drama coach.
Marie’s parents drove her to Hollywood in 1940.
She was interviewed and accepted as a student by Ouspenskaya.
Her parents returned to Marysvale, and during Marie’s first
weeks in Hollywood, she stayed with family friends. She then
moved to the famed Hollywood Studio Club (other residents have
included Donna Reed, Ruth Roman,
and Marilyn Monroe) where she stayed “three years the first
time; then a year more at a later time.”
Marie was introduced to producer LeRoy Prinz. He
was favorably impressed with her youth, beauty, and ambition,
and used his influence to get her a membership card in the
Screen Actors Guild - enabling her to make her movie debut as a
co-ed showgirl (in a student production) in the Frances Langford
film All-American Co-Ed (Columbia, 1941). By this time
she had rechristened herself “Marie Windsor,” and made her
next film appearance in RKO’s Weekend For Three (‘41)
“as an extra with one line.” In the same studio’s Playmates
(‘41) she appeared momentarily with John Barrymore, who later
signed a photo for her which she still has. She stayed on at RKO
for Call Out the Marines (‘42) as one of two girls on a
double date with Victor McLaglen and Edmund Lowe. She had
several scenes as a nurse in Monogram’s Smart Alecks, a
Dead End Kids’ opus in which Leo Gorcy kissed her at the
fadeout; and then she appeared in Columbia’s Parachute
Nurse (“but my role can’t have been much because I don’t
even remember what it was!”). She does remember a scene with
Donna Reed and Barry Nelson in Eyes in the Night (MGM,
‘42) in which Marie played a stage actress, and she then
appeared in a party scene with Lucille Ball in The Big Street
(RKO, ‘42). Miss Windsor very adroitly (and silently)
played the princess in The Lady or the Tiger (MGM, ‘42),
a nine-minute short based on the classic Frank R. Stockton
Warners then cast her as Jack Benny’s “dream
girl” in George Washington Slept Here. Marie recalls
being on salary for three weeks for this film: “Then there
were script changes, and my part was written out of the picture.”
Miss Windsor then had a brief scene in Three
Hearts For Julia (MGM, ‘43) opposite actor Lee Bowman, who
remained a good friend until his death. Her next “brief moment
on screen” was as a service wife (opposite actor Dick Simmons)
in Pilot No. 5 (MGM, ‘43), followed by an appearance as
one of several professional dancers in Bob Hope’s Let’s
Face It (Paramount, ‘43). Then Marie received an offer to
tour (in ‘43) with “Henry Duffy’s Merry-Go-Rounders,”
which Marie describes as “a last stab at vaudeville.” She
was straight woman for a comic in six skits. The show opened in
Detroit, progressed on to Buffalo and then to Washington, D.C.,
where it closed.
Marie then went to New York where she met a
Captain Eddie Byron who had seen her show in Washington and who
urged her to meet radio producer Jerry Devine. The latter was to
cast her in more than 400 radio shows, including a nine month
stint on the soap opera Our Gal Sunday between the years
1943-45. Miss Windsor also landed a small part in the
Broadway-bound play Stardust, which folded in
Philadelphia. She also auditioned for the Guthrie
McClintic-Katharine Cornell stage production of Antigone:
“Miss Cornell told me I was too young and lacked proper stage
diction. This I regard as a classic example of my not being
properly prepared for a part I very much wanted. But I treasure
the very sweet and apologetic note I later received from Miss
During Miss Windsor’s last year in New York,
she replaced Karen Stevens as the femme heavy in the play Follow
The Girls. Six months later she was spotted by an MGM talent
scout who signed her to a studio stock contract.
Marie, who recalls herself as “a gal with a lot
of beaux but no great desire to marry any of them,” changed
her mind when, on April 20, 1946, she wed band leader Ted
Steele: “But he was still in love with his first wife, so we
rarely lived together. I soon sought and obtained an annulment
and decided to really concentrate on my work.”
Her first assignment at Metro was as a man-crazy
starlet on a Hollywood-bound train in Clark Gable’s The
Hucksters, based on the explosive best seller by Frederic
Wakeman. This was released in ‘47 as were three more of her
Metro films: Romance of Rosy Ridge in which Marie was a
pioneer girl whose family home caught fire; Song of the Thin
Man, which presented her as “a rich bitch ... had a very
good scene in a night club with William Powell, Phil Reed, Leon
Ames, and Jayne Meadows”; and Unfinished Dance
(Technicolor) in which Miss Windsor played a glamorous saleslady
in the glamorous hat department of a glamorous department store.
Marie then played a script girl in On An
Island With You (MGM, ‘48, Technicolor) which was shot
mostly at Cypress Gardens, Florida. She recalls a particularly
unhappy incident during the production of Island: “We
were back from Florida locations and had to do ‘pick up’
shots at the studio. Nobody alerted me to this, so I went to the
beach that day. Somehow the studio tracked me down, and did I
ever get hell for something that simply was not my fault.”
Windsor had her best screen exposure to that date
in Metro’s Technicolor Three Musketeers (‘48), as the
silent, stealthy, conniving lady-in-waiting to Queen Anne
(Angela Lansbury) and as court informer to Cardinal
Richelieu (Vincent Price). She was then one of several love
smitten girls who was loved and left by Frank Sinatra in MGM’s
The Kissing Bandit (‘48, Technicolor). Then for
Enterprise she played the second female lead in Force of Evil
(which Metro released in ‘48). Marie played Roy Roberts’
sultry, promiscuous wife in this story about the numbers racket.
For the first time she received (featured) billing and was
pictured in the advertising.
“In ‘48,” the actress recalls, “when I
left Metro, I tried to go back to radio, but somehow just didn’t
do well at it. Then I underwent 17 hours of aptitude testng at
UCLA and learned that I could have been a mechanic; this
certainly was due to helping Dad years earlier, when he worked
on cars at his garages and service stations. The tests also
showed I could have been a painter, an art form I love because
it is the most satisfyingly peaceful work I’ve ever done. But
painting can be too lonely ... I like being with people too much
to have ever made that my life’s work.”
Work was what she found in abundance when she won
the role of George Raft’s leading lady in Outpost in
Morocco (U.A., ‘49). Both critics and audiences liked her
as the sympathetic Princess Cara, a desert lass hopelessly and
tragically in love with Legionnaire Raft. But Marie hated
herself “and my terrible French accent” when she then played
a showgirl in Preston Sturges’ Beautiful Blonde From
Bashful Bend (20th-Fox, ‘49, Techicolor).
But her next, Hellfire (Republic, ‘49,
Trucolor), opposite William Elliott, was something else
altogether; “Bill Elliott saw the test I’d made as well as
the George Raft film,” Marie remembers, “and when he learned
I was a horsewoman, he fought with the studio to use me instead
of one of their contract players. He later taught me to twirl
guns, and I did a lot of stunt work in this western that
normally an actress simply would not do.”
Hellfire is one of Miss Windsor’s three
favorites of all her films, and small wonder! She describes her
role of Doll Brown as “rich, rangy ...” but what the actress
doesn’t say is that she had to portray a young woman who’d
suffered betrayal; who’d lost all caring about anyone except
her still innocent younger sister; that to pay-her-way while
trying to locate the girl, Doll had turned outlaw and traitor to
the rugged but gentle prairie preacher (William Elliott) who had
tried to help her; that she realized the enormity of her
transgressions when, in an ironic but believable turn of events,
she nearly killed the man (Forrest Tucker) whom her sister had
married. Doll then had a final chance to run, but her better
instincts got in her way and, heeding the “Sky Pilot’s”
words, she turned instead to God for help.
It is too glib and easy to describe Hellfire
as “a tear-jerker.” For actress Windsor’s understanding of
her misguided hellion/heroine, along with the bitterness, the
anger, the humor, and the ultimate warmth with which she
revealed all the facets of this girl’s character, inspired the
same gratitude a viewer could feel for Bette Davis in Dark
Victory or Now, Voyager or Eleanor Parker in The
But neither Hellfire nor two more
star-making films to come - Narrow Margin and The
Killing - were really pushed by their distributors. Any of
them could have propelled Windsor to superstardom if they’d
been more widely seen. Instead the lady
had her hands full just surviving in the Hollywood rat race.
For survival was more than just a word to her:
“I never got great salaries and was constantly concerned with
rent and car payments. I never had enough self confidence. I’d
have been so much better in simply every film I ever did. Of
course, in later years, I’d studied acting more than ever
before - mostly with the late Stella Adler, who was marvelous! -
but in my earlier years, I couldn’t afford to do this.”
Marie says she always worried about front office
reaction to her work and then about audience reactions: “I
really don’t know of any serious actor who ever felt
otherwise. Bette Davis once said, ‘Acting is harder than
digging ditches,’ while the late Bob Mitchem, on the other
hand, had observed ‘Acting? Well, it sure beats working!’
But dear ‘Mitch’ was one of the fortunate few who really
didn’t have to try very hard to be effective. He was born with
that ability. And while I may have been ‘born’ with my
ability too, I had to work very had to develop it. So, I
certainly subscribe to what Bette said about acting being very
Certainly Miss Windsor had to work to be
effective in her next, a bit of frontier frippery titled The
Fighting Kentuckian (Republic, ‘49). John Wayne (who
produced) was the hero, Vera Ralston was the heroine, and Marie
Windsor was the chief heavy in a ham-fisted flick that made a
lot of noise but little sense. Far better was Dakota Lil
(20th-Fox, ‘50, Cinecolor), which gave Marie her first
above-title co-star billing. She was a glamorous cabaret singer
(dubbed by Marni Nixon) whose lucrative sideline was
counterfeiting. While not a great film, it was consistently
lively, humorous, and action-packed, and Windsor came across
with a sexy performace that was, by turns, hard-boiled and
She had another good film in The Showdown
(working title: Sleep All Winter) (Republic, ‘50).
Again teamed with William Elliott, Marie portayed a tavern
keeper/adventuress who proved to be warmly sympathetic in this
action-filled western where the love interest, for once, made
sense and was not hauled in by its heels.
In Frenchie (U-I, ‘50, Technicolor)
Marie appeared as a respected (western) townswoman who secretly
nursed a most unladylike letch for Marshal Joel McCrea. Shelley
Winters was Windsor’s rival for his affections, and the two
engaged in a brawl which is best described as a fur flying cat
fight. No stunt women were used; Windsor and Winters nursed many
bumps and bruises after their brawl and, of fellow actress
Winters, Marie recalls: “A fascinating girl with a great deal
of temperament but fun to know!”
Fan magazine publicity was coming Marie Windsor’s
way, and she was often photographed on dates with Scott Brady,
Clark Gable, Stacy Harris, and others. She also told one fan
writer that, “for the Right Guy,” she would always put her
personal life ahead of her career.
That career was progressing with its share of ups
and downs. A “down” in the form of Double Deal (RKO,
‘50) cast Marie as a good girl (for a change) being romanced
by Richard Denning and menaced by Fay Baker. Marie got top star
billing (her first) for this less-than-epic saga of intrigue in
the Oklahoma oil fields. But Little Big Horn (Lippert,
‘51) was good and might have been better if the budget
conscious front office hadn’t pulled the plug on this film
when the director ran one day over schedule. Windsor was cavalry
commander Lloyd Bridges’ wife, lonely and bored with frontier
life and in love with cavalryman John Ireland. She had two
excellent confrontation scenes with both actors at the outset
and was saddened that, because of the shutdown, two other
equally good scenes, in which the romantic conflict was
resolved, never went before the cameras.
Marie’s next was the forgettable Hurricane
Island (Columbia, ‘51, Cinecolor). This low budget epic
had Jon Hall as an American-accented Spanish explorer; Miss
Windsor as a bloodthirsty pirate; and the Columbia ranch
hopefully got up to resemble the Florida Everglades where a
search for the Fountain of Youth had to wait out a hurricane.
Marie calls this “a most inferior film, which ‘B’ pictures
don’t have to be!”
Two Dollar Bettor (Realart, ‘51) was low
budget too but worthwhile as law abiding family man John Litel
finds himself victmized by conniving crooks Marie Windsor and
Steve Brodie. By now Windsor was so firmly established on screen
as an evil woman, that there were public protests:
“Fans would send me Bibles with specific verses underscored
and accompanied by hand written warnings that ‘the devil would
get me and I’d go to hell’ if I didn’t ‘reform.’”
One threatening letter so unnerved Marie that she turned it over
to local police, “who had quite a time getting me to calm down
about it ...
“ ... and, of course, a lot of people, on first
meeting me, are surprised if not disappointed when I don’t
come on like a bitch. This never bothered me. In fact, I was
flattered to think I may have been so convincing in those roles
that people really believed it was me, Emily Marie, up there on
screen. Regrettably, I do sometimes have to fight a tendency to
be bitchy. I don’t like this in myself and after such
occasions, I’m always overwhelmed with guilt feelings. This
has taught me that being pleasant is always so much more
productive, for I know well the rewards for being good-natured.
Some actresses seem to thrive on chaos, and I’ve often
wondered if they felt they had to be that way in order to
perform well?” She further feels she has a good sense of humor
and is apt to make jokes at her own expense. She calls people
who ridicule others “sadly sick” but is happy she can make
people laugh at her witticisms about herself.
Her next role in Japanese War Bride (working
title: East Is East) (20th-Fox, ‘52) was no laughing
matter: “She was the bitchiest dame I’ve ever played, and
she really deserved the slapping around she got (from Cameron
Mitchell).” King Vidor, who helmed this film, is one of Marie’s
favorite directors: “He really understands actors well enough
to allow us to ‘create’ on our own. If he felt we weren’t
right, he’d always know what to do!”
Windsor feels a director “must always have
definite ideas of his own. I work best with those who’ve had
enough experience with actors to know not to belittle them and
who will instill confidence - like Stanley Kubrick on The
Killing. Most actors are insecure enough already without
having a director who adds to that.” (“Burt Kennedy, for
whom I did Mail Order Bride, Good Guys and Bad Guys, and Support
Your Local Gunfighter always had a lot of faith in me, and
he’s great both on a one-to-one working level and in scenes
requiring a lot of action. Andy McLaglen [One More Train To
Rob and Cahill, U.S. Marshal], Richard Fleischer [Narrow
Margin)], John Farrow [Unholy Wife], Harry Keller [Day
of the Bad Man], Ralph Levy [Bedtime Story], Don
Taylor [Wild Women], and Howard Koch [Girl in Black
Stockings] are other special favorites - for reasons as
individual as each of these men are, personally and
More than insecurities about her work have
bedevilled this blue-eyed, brunette. Her height, 5’9”, had
always been a problem. She often towered over potential leading
men and feels if it had not been for this, she might have had
greater success as a romantic leading lady. “I knew I had a
great figure, but I never regarded myself as beautiful. My
forehead is sometimes too high, but bangs could correct this. I
thought my nose was too prominent so I had this corrected via
plastic surgery in 1959.
“But I’ve often questioned my decision to
have my nose reshaped ... I thought perhaps I’d be offered
more sympathetic roles if this feature was less acquiline.
Afterward, I did get more of those roles and a lot of people,
including my husband, liked the change. But now I’m not sure I
wouldn’t have gotten those roles anyway. About that time,
stronger features became fashionable on the screen. My present
nose contour isn’t bad; it’s just that I wish I’d been
more secure and had accepted myself as I was.
“I feel the same way about my name. Nowadays my
real surname, Bertelsen, would have been great, and it certainly
fits me more than Windsor. But in the earlier days, studios and
agents insisted you change your name even if it wasn’t too
long for a marquee. These examples prove to me I’ve survived
in this industry more on guts than I ever did on
Certainly the actress’ next two films should
have bolstered her self confidence: The Sniper (Columbia,
‘52) and Narrow Margin (working title: Target)
(RKO, ‘52). In the former Marie was effectively enticing as a
bar room pianist gunned down early on by deranged sniper Arthur
Franz. Marie was determined not to fake her piano playing so she
took lessons for six weeks, learned her compositions and was
able to have her hands photographed while she played - even if
the music itself was dubbed. And in Narrow Margin, filmed
two years earlier “but held back by Howard Hughes for a great
promotional campaign which never materialized,” Windsor had
her second star-making role as a Dragon Lady-type siren who is
the endangered widow of a gangster ... or is she? Margin
is 70 minutes of believably heart-stopping action - mostly
aboard a train racing through the night - and both Windsor and
Charles McGraw as the detective who was her equal in toughness
earned Academy Award nominations they never got. Margin
has become a great cult favorite and deservedly so.
But Outlaw Women (Lippert, ‘52,
Cinecolor) will never be anyone’s favorite. It’s a lot of
nonsense about a gang of female toughs who rule a western town,
and not even top-billed Marie Windsor could make it work. Nor
was The Jungle (Lippert, ‘52, Sepiatone) an award
contender; but it did benefit from seven weeks of location
shooting in India. A very exotic Miss Windsor as a humane East
Indian princess helped a lot too!
In the summer of ‘52 Miss Windsor interrupted
her career to go to Korea for several weeks as one of many
celebrities sponsored by “The Hollywood Coordinating
Committee.” She visited hospital wards; wrote letters for
servicemen too badly wounded to fend for themselves, collected
phone numbers and addresses of many wives, sweethearts, and
parents; and, upon returning home, made 30 long distance calls
and wrote even more letters on behalf of “those wonderful
guys.” She has one album devoted entirely to her trip to
Korea, and she allowed me to copy in part one letter from a
mother worried about her wounded son but reassured by Marie’s
letter: “ ... Your letter arrived on my birthday, and God
bless you, my dear! For you have given this grateful mother the
finest birthday gift she could ever have!”
Marie’s next film was The Tall Texan
(Lippert, ‘53) a good western in which she lost her greed for
gold as she succumbed to virile Lloyd Bridges in the title role.
Of the late Bridges she says: “A thoroughly pleasant man ...
very intelligent and creatively ambitious in organizing his
career. He was also a very dear friend.”
Warners’ Trouble Along The Way is what
Marie Windsor caused John Wayne in this ‘53 comedy-drama about
a football coach and the three very different women in his life
(working title: Alma Mater). Marie liked the late “Duke”
Wayne: “He had a terrific sense of humor. He was warm,
friendly, always good with both the cast and crew and a real
pro!” In City That Never Sleeps (Republic, ‘53),
Marie was at her most seductive as a treacherous society matron
who betrayed both her husband (Edward Arnold) and her criminal
lover (William Talman). Of co-star Gig Young, whose tragic death
made headlines several years ago, Marie observed, “Gig was
bubbly ... warm ... humorous ... kind of a funny, even silly,
guy with a big heart. But he only seemed like a free soul ...
even then I suspected that somewhere inside of himself, he felt
Marie went from a small supporting role as a
temperamental stage star in So This Is Love (Warners, ‘53,
Technicolor) to female lead in the lowercase sci-fi Cat Women
of the Moon (Astor Pictures, ‘53), of which the title says
it all, to yet another temperamental performer in The Eddie
Cantor Story (Warners, ‘53, Technicolor). She then went to
Honolulu to film Hell’s Half Acre (Republic, ‘54) in
which she memorably played a slattern. Then she returned to the
Old West for Randolph Scott’s Bounty Hunter (Warners,
‘54, WarnerColor) as an engagingly crooked saloon keeper. She
recalls Scott as: “An elegant gentleman ... very serious and
professional about his work and very pleasant to be around.”
In August of ‘54, actor Billy Bakewell and his
wife persuaded Marie to accept a blind date with realtor Jack
Hupp. The foursome went to The Luau in Beverly Hills. Marie
liked Hupp immediately, “But I asked Billy, ‘Are you sending
me a kid?’ because Jack was so tall and skinny at that time.
But I fell for him that very night. We played tennis the next
day, and after our third day, just a day later, neither of us
went with anyone else.”
Genial, jovial Jack Hupp, former college
basketball star and recently retired Beverly Hills
realtor-broker (self-employed), recalls his first date with
Marie somewhat differently: “Suddenly there was this girl! She
was beautiful and king-size! At The Luau, Billy asked her if she
liked me. ‘I like him,’ Marie replied, giving me a great
kiss on the side of my face ... she was so natural and easy and
pleasant to be with, and not in the least bit coy.”
Emily Marie Bertelsen Windsor and Jack Rodney
Hupp were married on November 30, 1954 (in 1992 a widely read
magazine article erroneously gave the year as “1943” and
instead of “Hupp,” misspelled Jack’s name as “Hubb”).
Hupp was asked if marriage with Marie had been difficult to
adjust to: “Not at first. But I’ve always said having had my
first marriage (by which Jack has a son, Chris) go haywire, I
was gun shy and afraid that might happen again ... finally, one
day, Marie told me, ‘Every time we argue, you get uptight.
Look! I love you, and you love me, and we’re going to stay
married! But that doesn’t mean I’ll agree with every
damn-fool idea you ever have!’”
The Hupps, who are still married and who live
quietly in Beverly Hills, became parents for the only time on
January 11, 1963, when their son Richard Rodney was born. Mrs.
Hupp says motherhood wasn’t difficult for her to adjust to:
“I’d been trying for all of the eight years we’d been
married to have a child, and finally I did. But wouldn’t you
know! Ricky was the kind of kid who wanted up at 4:30 or 5 in
the morning, and that did exhaust me! I’d also say having Jack’s
son Chris living with us from his 13th year on helped in raising
Jack is the son of silent screen actor Earl
Rodney, and his wife says: “He has always been most supportive
about my career; also I don’t think my schedules ever
presented much of a problem for the boys.” Many of Marie’s
starring roles have been in program pictures, which never have
long schedules; and her supporting roles in A films usually
haven’t taken long either. However, “There was a six month
period in the ‘50s when I was on the tv serial, Full Circle.
I worked at least three days every week. This meant I was up at
4 AM and not home before 6 PM. (The actress also guest starred
in more than 200 other tv shows, including The Rogues,
Batman, Perry Mason, Red Skelton Hour, Maverick, 77 Sunset
Strip, Stories of the Century (as Belle Starr), The
Whistler, Ford Theatre, Cheyenne, Meet McGraw, Pursuit, Markham,
The Californians, Rawhide, The Alaskans, Bracken’s World
(Marie, playing a script supervisor, made semi-regular
appearances), Charlie’s Angels (three guest
appearances), Simon and Simon (three guest appearances), Alias
Smith and Jones, Fantasy Island, The Lloyd Bridges Show (not
to be confused with Bridges’ earlier tv series, Sea Hunt),
and three guest slots for Murder, She Wrote.
Since her marriage, Marie acquired a license to
sell real estate (“I had to take a very tough eight-hour exam
for it.”) However, Marie had no intention of neglecting her
acting career. The latter continued with Silver Star
(Lippert, ‘55) in which she was Earle Lyons’ loyally
warm-hearted sweetheart. Then Windsor turned comic villainess
for Abbott and Costello Meet The Mummy (U-I, ‘55): her
character’s name, Madame Rontru, seemed as campy as the rest
of the film, which has become a cult favorite (other cult
favorites of her films are, in a much more serious vein, Narrow
Margin and The Killing).
The actress was next top billed in No Man’s
Woman (Republic, ‘55) wherein she played a villainous art
critic, who is murdered by one of several likable, and likely,
suspects. Two-Gun Lady (Associated Film Releasing Corp.,
‘56) wasn’t good, but with pros like Peggie Castle (in the
title role), William Talman as a lawman, and Marie as a saloon
girl, it wasn’t all bad either!
Filmed before The Killing, but released
later was Swamp Women (Favorite Films, ‘56), a bomb
about some tough female convicts searching for diamonds in the
Louisiana bayous. Even if it had been a good film, Marie would
have been less than thrilled with her top-billed participation:
“We found the location work very tough. Not ony was housing
under par, but during the shooting, we women had to do a lot of
rough stuff such as fighting and wading through swamps. The mud
under the water would be as high as our knees. We saw many
poisonous snakes swimming around us, and I daresay there were
many we didn’t see! On dry land, we had to jump off trucks and
perform activities usually done by stunt people, of whom there
were none in this company. Roger Corman directed this, and I’ve
always admired his integrity and his ability to get the job
done. He is an excellent director, as he has proved so many
times since we made this film.”
Yet Marie’s greatest concern at that time was
that her agent had committed her to do The Killing. So if
Swamp Woman went over schedule (and for a time it looked
as if it might), Marie likely would have missed out on The
Killing, which many consider to be her best film. This was
still another star-making role which, sadly, didn’t have that
end result. In this story of a daring race track heist, Windsor
played Sherry, a money-hungry hellcat whose treachery upset the
entire scheme. Of this girl, Marie observed: “I never believed
that Sherry meant to be so cruel, but she felt that life just
hadn’t given her a fair shake, and she was determined that it
would ... so I tried to approach her from that point of view.”
A very successful approach it was, too: “I’d
say my happiest moment as an actress came when I learned I’d
won the Look Magazine Best Supporting Actress Award for
1956 in The Killing. “Then,” she laughed wryly, “
came one of my most disapointing experiences when I learned that
would be the first year they wouldn’t have a big movie awards
bash here at the Cocoanut Grove in the Ambassador Hotel. A
magazine representative simply dropped by the house one night to
give me my plaque.”
(On January 19, 1983, Marie was awarded a richly
deserved “Star” on The Hollywood Walk of Fame. She also won
The Los Angeles Theatre Critics’ Best Actress Award for a play
she starred in called The Bar Off Melrose. Off-screen,
further recognition came when the Screen Actors Guild (SAG) gave
Marie the Ralph Morgan Award for her “25 years of
distinguished service on the SAG board of directors.” The SAG
also voted her a Lifetime Membership on its board of directors.
By 1992, Marie had resigned from the board, but she also was
named Honorary Chairperson of the SAG Film Society, which she
co-founded with Barbara Barron several years earlier. This
citation was presented at the Academy on October 12, 1992, which
Marie and her husband Jack attended. Also shown at this occasion
were prints of both Narrow Margin and The Killing.)
“Disappointing” best describes some of Marie’s
films following The Killing:; all were bolstered by her
professionalism, but several were unworthy of her efforts: The
Parson and The Outlaw (Columbia, ‘57, Technicolor), in
which Marie sported an amusing Spanish accent in this tiresome
“epic” about Billy the Kid; Unholy Wife (RKO/U-I, ‘57,
Technicolor), in which Marie had a good if too brief role as a
hooker (at the outset); Girl in Black Stockings (U.A.,
‘57) was a fair murder mystery, with Windsor very sympathetic
in an enigmatic role; The Story of Mankind (Warners, ‘57,
Technicolor) a “spectacle” that certainly was and in which
Marie played Josephine to Dennis Hopper’s Napoleon; Day of
the Bad Man (U.I., ‘58, Technicolor), nothing new but well
done with Windsor both spirited and moving in her loyalty to a
condemned killer; Island Women (U.A., ‘58), a film
about frustrated love which Marie would rather forget even if it
does contain her sharply etched portrait of a neurotic,
love-starved spinster; Paradise Alley (aka Stars in
the Back Yard) (Sutton Pictures Corp. ‘61) filmed in ‘57
and not to be confused with a Sylvester Stallone film of the
same name. Marie played a stripper in this (though she certainly
didn’t “strip” in the film) and remembers it fondly for
the many veteran actors with whom she worked; Critic’s
Choice (Warners, ‘63, Technicolor), with Marie on briefly
but very glamorously as one of Lucille Ball’s sisters; The
Day Mars Invaded Earth (20th-Fox, ‘64), an imaginative,
unappreciated sci-fi in which scientist Kent Taylor, his wife
Marie Windsor, and their family are “reinhabited” by angry
Martians; Bedtime Story (working title: King of the
Mountain) (Universal, ‘64, Technicolor), comedy with
Windsor all too briefly bewitching as a foolish wealthy woman
who falls for con man David Niven; Mail Order Bride (MGM,
‘64, Technicolor), pleasantly offbeat western with Marie
warmly wistful as a lonely tavern keeper who fears life is
passing her by but who is due for a happy surprise; Chamber
of Horrors (Warners, ‘66, Technicolor), suspenser with
Windsor charming as a Madam and Tony Curtis in a guest spot as
one of her guests; The Good Guys and The Bad Guys
(Warner-Seven Arts, ‘69, Technicolor), amusing western with
Marie very likable as a wised up tavern keeper; Wild Women
(A Movie-For TV, ‘70, color), western satire-drama with Marie
and Marilyn Maxwell stealing the show as comic ex-cons; Support
Your Local Gunfighter (U.A., ‘71, Technicolor), another
comic western with Windsor and Joan Blondell neatly spoofing
their Madam roles; One More Train To Rob (working title: Latigo)
(Universal, ‘71, Technicolor), a so-so western with Marie as a
frontier Madam with eyes for hero George Peppard; Cahill,
U.S. Marshal (working title: Wednesday Morning)
(Warners, ‘73, Technicolor), Miss Windsor’s best in too
long; she was wonderfully warm and winsome as a frontier widow
in love with Marshal John Wayne; Manhunter (a
Movie-for-TV, ‘74, color), suspense film with Windsor as yet
another Madam; The Outfit (MGM ‘74, color), favorably
reviewed but quickly withdrawn film about the Mafia had Marie
playing a bar keeper in a small country town; Apple Dumpling
Gang (Disney, ‘75, color), with Marie incredibly cast as a
Madam; the studio was stunned too and cut all of her footage but
promised to have her back for another film; Hearts of the
West (MGM, ‘75, color), a nostalgia piece with Miss
Windsor in character makeup as a ‘20s matron amused but
flattered by the aggressive attentions of much younger Jeff
Bridges; Freaky Friday (Disney, ‘77, color), with Marie
very funny as a freaked out high school typing teacher; Salem’s
Lot (a movie-for-tv in two parts, ‘79, color), a good
thriller with Miss Windsor at her sympathetic best as a boarding
house keeper; and the unreleased Perfect Woman made for
cable tv, in which Marie plays “a comic prime minister on
another planet”; Lovely But Deadly which cast her as
the wealthy aunt of a troubled young girl; and Commando Squad
(Trans World Entertainment, color) in which audiences found
Marie wonderfully amusing a a gal who operates a Hollywood
book-and-poster store as a front for gunrunning. A Variety
critic agreed that Marie was “hilarious” in her role.
Tragedy struck Marie Windsor Hupp in May of 1996.
Of that time, Marie told me: “For many years my inherited
arthritis had given me problems. In May of ‘96 I had to take
these problems very seriously. I’d had an MRI and had been
told at that time that I had a lot of disease in my fourth
lumbar. For more than a year the pain continued to worsen,
despite physical therapy and medication. I was given shots of
cortisone in my spine (this was called ‘an epidermal treatment’).
“Even then, the pain did not subside. It got so
excruciating that I would be in tears. At one point, my husband
Jack called our doctor, who quickly consulted my neurologist.
Jack was told to have me hospitalized at once; then a back
surgeon was called in.
“I was soon on a gurney being wheeled into an
operating room. Jack followed us down the hall. He told me later
that I’d called out to him, ‘Don’t forget to feed the dog.’
“After surgery and my time in intensive care, I
was deposited in my room and I realized I was without back pain,
but that I couldn’t move my legs. After a few basic questions,
several doctors asked me to move my foot, pointing it up toward
the ceiling. To their disappointment and my horror, I couldn’t
even move my toes.
“I then had a heavy schedule of physical
therapy, trying to teach me how to stand, to wash and dress
myself, etc. I was given exercises while in bed to strengthen
the muscles in my legs and back - because I didn’t have enough
strength to stay in a sitting position.
“In the midst of all this, I got pneumonia,
followed by an infection they couldn’t seem to locate. They
kept shuffling me from room to room and floor to floor,
depending on what state of health I was in.
“Somewhere along the way, it was decided that a
psychiatrist should come in to talk with me with my growing
state of depression. My doctor wanted me to see a Dr. Zoloff,
and that did help.
“I was told that each head of the doctors
treating me for various problems would meet to report how I (and
other patients) were progessing. It finally became clear to me
that they had no hopes of my ever walking again. I kept begging
to return home, reasoning I could get therapy there and would
heal faster at home.
“I won’t go into great detail about what
followed. I was allowed to go home. Our wonderful son Richard
and my wonderful husband Jack arranged for two practical nurses
to take care of us!
“I say ‘us’ because Jack wasn’t in good
health either. He had been diagnosed as having ‘an essential
tremor’ (or Parkinson’s Disease) and Perifial Neuropathy.
“From May to September I was hospitalized three
times. While at home, [my doctor] would send nurses to take
blood samples and to use portable x-ray machines.
“I not only needed a good therapist; I also
needed someone strong to lift me into a wheel chair. Finally, I
found John Koegel, who not only could lift me but who was also a
fine therapist. He arranged for a piece of equipment that was
something like a hammock. The nurses could then put this under
me (while in bed) and then hoist me up and swing me over to my
wheel chair. After several months, John could help me stand for
a few seconds.
“Eventually, with the help of our nurses, I
could stand for a few minutes and take a few steps with a walker
and then a cane ... and what a great moment it was when I was
able to drive and go to the market! Later, when my doctor and my
neurologist examined me, they seemed truly amazed (and they
still are!) that I can actually walk.”
Presently, Marie is at work on her autobiography,
tentatively titled “Three Steps Down From Selma” (the title
was suggested by Charles Nelson Reilly, but Marie says she is
open to other suggestions).
In looking back on her career, the actress says
she finds “it is fun being Marie Windsor,” that being
recognized in public is gratifying and that she never resented
“I believe like Burt Reyolds who on a really
great tv interview with Barbara Walters said we have to take
what goes with the territory ... that this includes signing
autographs and being gracious to the fans who’ve made our
In contemplating other actresses whose careers
followed a path similar to Marie’s, such as the late Marilyn
Maxwell (“She was real, full of fun, really a regular gal ...
absolutely no phoniness!”), Virginia Grey, Angela Greene, and
Ann Doran, Marie remarked: “I can’t speak for any of those
other ‘girls,’ but I suspect they all had at least one thing
in common with me ... that we never had an important industry
man in our lives, who could have pushed our careers. For it’s
just as true that many more successful actresses knew such men
who loved them. That’s not a put-down, and certainly not all
successful actresses make it big because of that. People
sometimes ask if I’m not bitter because I didn’t go further
in my career, and I can truthfully say no. How could I be bitter
when I’ve loved every bit of what I’ve been doing in films?!”
And, speaking as a wife, mother, daughter,
sister, and friend: “Happiness is having warm and loving
parents, which I did. It’s also having good health (Dear God!
How important that is!); peace of mind where family and friends
are concerned; good food, and a comfortable but not lavish home
to live in; a lack of monetary problems; and having a husband
and son who have joie de vivre ...
“ ... And I’ve got it all - except
satisfaction in my work, but that’s only because I don’t
work often enough to suit me.”
The Films of Marie Windsor
(The titles of these films are listed
according to release date only, as shown in Film Daily
and/or Weekly Variety.)
1. All-American Co-Ed. (1941-United Artists, 50 m.)
Directed by LeRoy Prinz. Produced by Prinz and Hal Roach.
Screenplay by Cortland Fitzsimmons and Kenneth Higgins. With
Frances Langford, Johnny Downs, Marjorie Woodworth, Noah Perry,
Jr., Esther Dale, Harry Langdon, Allan Lane, Lillian Randolph,
2. Weekend For Three. (1941, R.K.O., 65 m.) Directed
by Irving Reis. Produced by Tay Garnett. Screenplay by Dorothy
Parker and Alan Campbell. With Dennis O’Keefe, Jane Wyatt,
Philip Reed, Edward Everett Horton, ZaSu Pitts, Franklin
Pangborn, Marion Martin, Hans Conreid, Marie Windsor.
3. Playmates. (1941, R.K.O., 94 m.) Directed by and
produced by David Butler. Screenplay by James V. Kern. With Kay
Kyser, Lupe Velez, John Barrymore, May Robson, Patsy Kelly,
Peter Lind Hayes, Alice Fleming, Ginny Simms, Ish Kabibble,
4. Call Out The Marines. (1942, R.K.O., 67 m.)
Directed by Frank Ryan and William Hamilton. Produced by Howard
Benedict. Screenplay by Frank Ryan. With Victor McLaglen, Edmund
Lowe, Binnie Barnes, Paul Kelly, Robert Smith, Dorothy Lovett,
Franklin Pangborn, Corinna Mura, Marie Windsor, The King’s
Men, Six Hits and a Miss.
5. Smart Alecks. (1942, Monogram, 88 m.) Directed by
Wallace Fox. Produced by Sam Katzman and Jack Dietz. Screenplay
by Harvey Gates. With Leo Gorcey, Bobby Jordan, Huntz Hall,
Gabriel Dell, Bobby Stone, Stan Clements, Roger Pryor, Gale
Storm, Joe Kirk, Marie Windsor.
6. Parachute Nurse. (1942, Coumbia, 65 m.) Directed by
Charles Barton. Produced by Wallace MacDonald. Screenplay by
Rian James. With Marguerite Chapman, William Wright, Kay Harris,
Louise Allbritton, Frank Sully, Marjorie Reardon, Catherine
Craig, Forrest Tucker, Marie Windsor.
7. Eyes in the Night. (1942, MGM, 80 m.) Directed by
Fred Zinnemann. Produced by Jack Chertak. Screenplay by Gus
Trasper and Howard Emmett Rogers. With Edward Arnold, Ann
Harding, Donna Reed, Horace (Stephen) McNally, Allen Jenkins,
John Emery, Barry Nelson, Marie Windsor, Stanley Ridges,
8. The Big Street. (1942, RKO, 88 m.) Directed by
Irving Reis. Produced by Damon Runyon. Screenplay by Leonard
Spigelglass. With Henry Fonda, Lucille Ball, Barton MacLane,
Agnes Moorehead, Sam Levine, Ray Collins, Louise Beavers, Marie
Windsor, Ozzie Nelson & His Orchestra.
9. The Lady or The Tiger. (1942, an MGM Miniature, 9
m.) Directed by Fred Zinnemann. Produced by Dick Goldstein.
Screenplay by Herman Boxer.
10. Three Hearts For Julia (1943, MGM, 89 m.) Directed
by Richard Thorpe. Produced by John W. Considine, Jr. Screenplay
by Lionel Hauser. With Ann Sothern, Melvyn Douglas, Lee Bowman,
Richard Ainley, Felix Bressart, Reginald Owen, Mariette Canty,
11. Pilot No. 5 (1943, MGM, 70 m.) Directed by George
Sidney. Produced by B. P. Fine. Screenplay by David Hertz. With
Franchot Tone, Marsha Hunt, Gene Kelly, Van Johnson, Alan
Baxter, Marilyn Maxwell, Marie Windsor, Dick Simmons.
12. Let’s Face It. (1943, Paramount, 76 m.) Directed
by Sidney Lanfield. Produced by Fred Kohlmar. Screenplay by
Harry Tugend. With Bob Hope, Betty Hutton, ZaSu Pitts, Eve
Arden, Marjorie Weaver, Dona Drake, Raymond Walburn, Joe Sawyer,
13. The Hucksters. (1947, MGM, 115 m.) Directed by
Jack Conway. Produced by Arthur Hornblow, Jr. Screenplay by
Luther Davis. With Clark Gable, Deborah Kerr, Sydney
Greenstreet, Adolphe Menjou, Ava Gardner, Keenan Wynn, Edward
Arnold, Gloria Holden, Douglas Fowley, Marie Windsor.
14. Romance of Rosy Ridge. (1947, MGM, 105 m.)
Directed by Roy Rowland. Produced by Jack Cummings. Screenplay
by Lester Cole. With Van Johnson, Janet Leigh, Thomas Mitchell,
Marshall Thompson, Selena Royle, Charles Dingle, Dean Stockwell,
Guy Kibbee, Elizabeth Risdon, Jim Davis, James Bell, Paul
Langton, Marie Windsor.
15. Song of the Thin Man. (1947, MGM, 86 m.) Directed
by Edward Buzzell. Produced by Nat Perrin. Screenplay by Perrin
and Steve Fisher. With William Powell, Myrna Loy, Keenan Wynn,
Dean Stockwell, Philip Reed, Patricia Morison, Leon Ames, Gloria
Graham, Jayne Meadows, Bess Flowers, Don Taylor, Warner
Anderson, Bruce Cowling, Connie Gilchrist, William Bishop, Marie
16. Unfinished Dance. (1947, MGM, 101 m.) Directed by
Henry Koster. Produced by Joe Pasternak. Screenplay by Miles
Connolly. With Margaret O’Brien, Cyd Charisse, Karin Booth,
Danny Thomas, Esther Dale, Thurston Hall, Harry Hayden, Mary
Eleanor Donahue, Marie Windsor.
17. On An Island With You. (1948, MGM, 107 m.)
Directed by Richard Thorpe. Produced by Joe Pasternak.
Screenplay by Dorothy Kingsley. With Esther Williams, Peter
Lawford, Ricardo Montalban, Jimmy Durante, Cyd Charisse, Xavier
Cugat, Leon Ames, Marie Windsor.
18. Three Musketeers. (1948, MGM, 125 m.) Directed by
George Sidney. Produced by Pandro S. Berman. Screenplay by
Robert Ardrey. With Lana Turner, Gene Kelly, June Allyson, Van
Heflin, Angela Lansbury, Frank Morgan, Vincent Price, Gig Young,
Keenan Wynn, John Sutton, Patricia Medina, Richard Stapley,
Byron Foulger, Richard Simmons, Marie Windsor, Robert Warwick.
19. The Kissing Bandit. (1948, MGM, 102 m.) Directed
by Laslo Benedek. Produced by Joe Pasternak. Screenplay by
Isobel Lennart and John B. Harding. With Frank Sinatra, Kathryn
Grayson, J. Carrol Naish, Mildred Natwick, Ricardo Montalban,
Ann Miller, Cyd Charisse, Marie Windsor.
20. Force of Evil. (1948, Enterprise/MGM, 78 m.)
Directed by Abraham Polonsky. Produced by Bob Roberts.
Screenplay by Polonsky and Ira Wolfert. With John Garfield,
Beatrice Pearson, Thomas Gomez, Roy Roberts, Marie Windsor,
Howland Chamberlain, Paul McVey, Beau Bridges, Paul Fix.
21. Outpost in Morocco. (1949, United Artists, 92 m.)
Directed by Robert Florey. Produced by Samuel Bischoff and
Joseph N. Ermolieff. Screenplay by Charles Grayson and Paul de
Sante-Colombe. With George Raft, Marie Windsor, Akim Tamiroff,
John Litel, Eduard Franz, Crane Whitley, Damian O’Flynn.
22. Beautiful Blonde From Bashful Bend. (1949, 20th
Century-Fox, 77 m.) Direction, production, and screenplay by
Preston Sturges. With Betty Grable, Cesar Romero, Rudy Vallee,
Olga San Juan, Marie Windsor.
23. Hellfire. (1949, Republic, 90 m.) Directed by R.
G. Springsteen. Produced by William J. O’Sullivan. Screenplay
by Dorrell and Stuart McGowan. With William Elliott, Marie
Windsor, Forrest Tucker, Jim Davis, H. B. Warner, Paul Fix,
24. The Fighting Kentuckian. (1949, Republic, 100 m.)
Direction and screenplay by George Waggner. Produced by John
Wayne. With John Wayne, Vera Ralston, Philip Dorn, Oliver Hardy,
Marie Windsor, John Howard, Hugo Haas, Grant Withers, Odette
25. Dakota Lil. (1950, 20th Century-Fox, 88 m.)
Directed by Leslie Selander. Produced by Edward L. Alperso.
Screenplay by Maurice Geraghty. With George Montgomery, Rod
Cameron, Marie Windsor, John Emery, Wallace Ford, Jack Lambert,
26. The Showdown. (1950, Republic, 86 m.) Directed by
Dorrell and Stuart McGowan. Produced by William J. O’Sullivan.
Screenplay by Richard Wormser. With William Elliott, Walter
Brennan, Marie Windsor, Henry Morgan, Rhys Williams, Jim Davis,
Leif Ericson, William Ching, Nacho Galindo.
27. Frenchie. (1950, Universal-International, 81 m.)
Directed by Louis King. Produced by Michel Kraike. Screenplay by
Oscar Brodney. With Joel McCrea, Shelley Winters, John Russell,
John Emery, Paul Kelly, Elsa Lanchester, Marie Windsor, George
Cleveland, Regis Toomey, Frank Ferguson.
28. Double Deal. (1950, RKO, 65 m.) Directed by Abby
Berlin. Produced by James T. Vaughn. Screenplay by Lee Berman
and Charles S. Belden. With Marie Windsor, Richard Denning,
Taylor Holmes, Fay Baker, James Griffith.
29. Little Big Horn. (1951, Lippert Pictures, 86 m.)
Direction and screenplay by Charles Marquis Warren. Produced by
Carl K. Hittleman. With Lloyd Bridges, John Ireland, Marie
Windsor, Reed Hadley, Jim Davis, Wally Cassell, Hugh O’Brien,
King Donovan, Barbara Woodall.
30. Hurricane Island. (1951, Columbia, 70 m.) Directed
by Lew Landers. Produced by Sam Katzman. Screenplay by David
Mathews. With Jon Hall, Marie Windsor, Marc Lawrence, Romo
Vincent, Edgar Barrier, Karen Randle, Jo Gilbert, Lyle Talbot.
31. Two Dollar Bettor. (1951, Realart, 73 m.) Produced
and directed by Edward Levin. Screenplay by Howard Emmett
Rogers. With John Litel, Marie Windsor, Steve Brodie, Barbara
Logan, Robert Sherwood, Isabel Randolph.
32. Japanese War Bride. (1952, 20th Century-Fox, 91
m.) Directed by King Vidor. Produced by Joseph Bernhard.
Screenplay by Catherine Turney. With Shirley Yamaguchi, Don
Taylor, Cameron Mitchell, Marie Windsor, James Bell, Louise
Lorimer, Philip Ahn, Sybil Merritt, Lane Nakano, Orley Lindgren.
33. The Sniper. (1952, Columbia, 87 m.) Directed by
Edward Dmytryk. Produced by Stanley Kramer. Screenplay by Edward
and Edna Anhalt. With Adolphe Menjou, Arthur Franz, Marie
Windsor, Frank Faylen, Richard Kiley, Mabel Paige, Geraldine
Carr, Jay Novello.
34. The Narrow Margin. (1952, RKO, 70 m.) Directed by
Richard Fleischer. Produced by Stanley Rubin. Screenplay by Earl
Felton. With Charles McGraw, Marie Windsor, Jacqueline White,
Queenie Leonard, David Clark, Peter Virgo, Don Beddoe, Paul
Maxey, Henry Hervey, Gordon Gebert.
35. Outlaw Women. (1952, Lippert Pictures, 76 m.)
Directed by Samuel Newfield and Ron Ormond. Produced by Ormond.
Screenplay by Orville Hampton. With Marie Windsor, Richard
Rober, Alan Nixon, Carla Balenda, Jacqueline Fontaine, Jackie
Coogan, Maria Hart, Lyle Talbot, Brad Johnson.
36. The Jungle. (1952, Lippert Pictures, 74 m.)
Directed by William Berke. Produced by Berke and Ellis Dungan.
Screenplay by Carroll Young. With Rod Cameron, Cesar Romero,
Marie Windsor, Sulchana, David Abraham.
37. The Tall Texan. (1953, Lippert Pictures, 82 m.)
Directed by Elmo Williams. Produced by Frank T. Woods.
Screenplay by Samuel Roecca. With Lloyd Bridges, Lee J. Cobb,
Marie Windsor, Luther Adler, Samuel R. Herrick, Sid Saylor.
38. Trouble Along The Way. (1953, Warners, 110 m.)
Directed by Michael Curtiz. Produced by Melville Shavelson.
Screenplay by Shavelson. With John Wayne, Donna Reed, Charles
Coburn, Sherry Jackson, Marie Windsor, Tom Helmore, Dabs Greer,
Leif Erikson, Chuck Connors.
39. City That Never Sleeps. (1953, Republic, 90 m.)
Directed and produced by John H. Auer. Screenplay by Steve
Fischer. With Gig Young, Mala Powers, Edward Arnold, William
Talman, Chill Wills, Marie Windsor, Paula Raymond, Wally
Cassell, Ron Hagerthy.
40. So This Is Love. (1953, Warners, 101 m.) Directed
by Gordon Douglas. Produced by Henry Blanke. Screenplay by John
Monk, Jr. With Kathryn Grayson, Merv Griffin, Walter Abel,
Rosemary DeCamp, Jeff Donnell, Douglas Dick, Ann Doran, Margaret
Field, Mabel Albertson, Fortunio Bonanova, Marie Windsor, Noreen
41. Cat Women of the Moon. (1953, Astor Pictures, 64
m.) Directed by Arthur Hilton. Produced by Al Zimbalist and Jack
Robin. Screenplay by Roy Hamilton. With Sonny Tufts, Victor
Jory, Marie Windsor, Bill Phipps, Douglas Fowley, Carol
Brewster, Suzanne Alexander, Susan Morrow.
42. The Eddie Cantor Story. (1953, Warners, 116 m.)
Directed by Alfred E. Green. Produced by Sidney Skolsky.
Screenplay by Jerome Weidman. With Keefe Brasselle, Marilyn
Erskine, Aline MacMahon, Arthur Franz, Alex Gerry, Gerald Mohr,
William Forrest, Richard Monda, Marie Windsor, Douglas Evans,
Ann Doran, Hal March.
43. Hell’s Half Acre. (1954, Republic, 91 m.)
Directed and produced by John H. Auer. Screenplay by Steve
Fischer. With Wendell Corey, Evelyn Keyes, Elsa Lanchester,
Marie Windsor, Nancy Gates, Leonard Strong, Jesse White, Keye
Luke, Philip Ahn.
44. The Bounty Hunter. (1954, Warners, 79 m.) Directed
by Andre de Toth. Produced by Sam Bischoff. Screenplay by
Winston Miller. With Randolph Scott, Dolores Dorn, Marie
Windsor, Howard Petrie, Henry Antrim, Robert Keys, Ernest
Borgnine, Dubb Taylor, Paul Picerni.
45. The Silver Star. (1955, Lippert Pictures, 73 m.)
Directed by Richard Bartlett. Produced by Earle Lyon. Screenplay
by Bartlett and Ian MacDonald. With Edgar Buchanan, Marie
Windsor, Earle Lyon, Lon Chaney, Richard Bartlett, Barton
MacLane, Morris Ankrum, Steve Rowland.
46. Abbott and Costello Meet The Mummy. (1955,
Universal-International, 79 m.) Directed by Charles Lamont.
Produced by Howard Christie. Screenplay by John Grant. With Bud
Abbott, Lou Costello, Marie Windsor, Michael Ansara, Dan
Seymour, Kurt Katch, Richard Karlan, Peggy King, The Mazzonne
Dancers, The Chandra-Kay Dancers.
47. No Man’s Woman. (1955, Republic, 70 m.) Directed
by Franklin Adreon. Produced by Rudy Ralston. Screenplay by John
K. Butler.With Marie Windsor, John Archer, Patric Knowles, Nancy
Gates, Jil Jarmyn, Richard Crane, Fern Hall, Louis Jean Heydt,
48. Two-Gun Lady. (1956, Associated Film Releasing
Corp., 75 m.) Directed and produced by Richard Bartlett.
Screenplay by Norman Jolley. With Peggie Castle, William Talman,
Marie Windsor, Earle Lyon, Joe Besser, Robert Lowery, Barbara
Turner, Ian MacDonald, Norman Jolley.
49. The Killing. (1956, United Artists, 83 m.)
Directed by Stanley Kubrick. Produced by James B. Harris.
Screenplay by Kubrick and Jim Thompson, With Sterling Hayden,
Coleen Gray, Vince Edwards, Jay C. Flippen, Marie Windsor, Ted
de Corsia, Elisha Cook, Joe Sawyer, Tim Carey, Jay Adler, Joseph
50. Swamp Women. (1956, Favorite Films Release, 70 m.)
Directed by Roger Corman. Produced by Bernard Woolner.
Screenplay by David Stein. With Marie Windsor, Beverly Garland,
Touch (Mike) Connors, Carole Mathews, Susan Cummings.
51. The Parson and The Outlaw. (1957, Columbia, 71 m.)
Directed by Oliver Drake. Produced by Robert Gilbert. Screenplay
by Drake. With Tony Dexter, Sonny Tufts, Marie Windsor, Jean
Parker, Buddy Rogers, Robert Lowery, Madalyn Trakey, Bob Steel,
Bob Duncan, Jack Lowell.
52. Unholy Wife. (1957, RKO/released by
Universal-International, 94 m.) Directed and produced by John
Farrow. Screenplay by Jonathan Latimer. With Diana Dors, Rod
Steiger, Tom Tryon, Beaulah Bondi, Marie Windsor, Arthur Franz,
Luis Van Rooten, Joe DeSantis, Argentina Brunetti.
53. Girl in Black Stockings. (1957, United Artists, 73
m.) Directed by Howard W. Koch. Produced by Aubrey Schenek.
Screenplay by Richard Landau. With Lex Barker, Anne Bancroft,
Mamie Van Doren, Ron Randell, Marie Windsor, John Dehner, John
Holland, Gerald Frank, Stuart Whitman.
54. The Story of Mankind. (1957, Warners, 100 m.)
Direction and screenplay by Irwin Allen. Produced by Allen and
George E. Swink. With Ronald Colman, Vincent Price, Hedy Lamarr,
The Marx Brothers, Virginia Mayo, Agnes Moorehead, Peter Lorre,
Charles Coburn, Cedric Hardwicke, Marie Windsor, Dennis Hopper,
Helmut Dantine, Reginald Gardner, Marie Wilson.
55. Day of the Bad Man. (1958,
Universal-International, 81 m.) Directed by Harry Keller.
Produced by Gordon Kay. Screenplay by Lawrence Roman. With Fred
MacMurray Joan Weldon, John Ericson, Robert Middleton, Marie
Windsor, Edgar Buchanan, Eduard Franz, Sip Homeier, Ann Doran.
56. Island Women. (1958, United Artists, 72 m.)
Directed by William Berke. Produced by Berke and Eugene
Gutowski. Screenplay by Philip Yordan. With Marie Windsor, Vince
Edwards, Marilee Earle, Leslie Scott, Irene Williams, Kay
57. Paradise Alley (a.k.a. Stars in the Back Yard)
(1961, Sutton Pictures Corp., 80 m.) Direction, production, and
screenplay by Hugo Haas. With Carol Morris, Billy Gilbert, Marie
Windsor, Hugo Haas, Chester Conklin, Margaret Hamilton, Corinne
58. Critic’s Choice. (1963, Warners, 100 m.)
Directed by Don Weiss. Produced by Frank P. Rosenber. Screenplay
by Jack Sher. With Bob Hope, Lucille Ball, Marilyn Maxwell, Rip
Torn, Jessie Royce Landis, Marie Windsor, Jim Backus, Ricky
Kelman, Joan Shawlee.
59. The Day Mars Invaded Earth. (1964, 20th
Century-Fox, 70 m.) Directed and produced by Maury Dexter.
Screenplay by Harry Spalding. With Kent Taylor, Marie Windsor,
William Mims, Betty Beall, Lowell Brown, Gregg Shank.
60. Bedtime Story. (1964, Universal, 99 m.) Directed
by Ralph Levy. Produced by Stanley Shapiro. Screenplay by
Shapiro and Paul Henning. With Marlon Brando, David Niven,
Shirley Jones, Dodie Goodman, Aram Stephan, Parley Baer, Marie
Windsor, Rebecca Sand, Frances Robinson.
61. Mail Order Bride. (1964, MGM, 86 m.) Direction and
screenplay by Burt Kennedy. Produced by Richard E. Lyons. With
Buddy Ebsen, Keir Dullea, Lois Nettleton, Warren Oates, Barbara
Luna, Marie Windsor, Bill Smith, Paul Fix, Jimmy Mathers, Denver
62. Chamber of Horrors. (1966, Warners, 99 m.)
Directed and produced by Hy Averback. Screenplay by Stephen
Kandel. With Cesare Danova, Patrick O’Neal, Wilfred
Hyde-White, Laura Devon, Marie Windsor, Suzy Parker, Tun Tun,
Philip Bourneuf, Tony Curtis.
63. The Good Guys and The Bad Guys. (1969,
Warner-Seven Arts, 90 m.) Directed by Burt Kennedy. Produced by
Ronald M. Cohen. Screenplay by Cohen and Dennis Shryack. With
Robert Mitchum, George Kennedy, Martin Balsam, David Carradine,
Lois Nettleton, Marie Windsor, Tina Louise, John Carradine,
Douglas V. Fowley.
64. Wild Women. (1970, A Movie-For-TV, 90 m.) Directed
by Don Taylor. Produced by Aaron Spelling and Lou Macheim.
Screenplay by Macheim and Richard Carr. With Hugh O’Brian,
Anne Francis, Marilyn Maxwell, Marie Windsor, Sherry Jackson,
Robert F. Simon, Richard Kelton, Cynthia Hull, Pepe Callahan.
65. Support Your Local Gunfighter. (1971, United
Artists, 92 m.) Directed by Burt Kennedy. Produced by Bill
Finnegan. Screenplay by James Edward Grant. With James Garner,
Suzanne Pleshette, Jack Elam, Joan Blondell, Harry Morgan, Marie
Windsor, Henry Jones, John Dehner, Chuck Connors, Dub Taylor.
66. One More Train to Rob. (1971, Universal, 108 m.)
Directed by Andrew V. McLaglen. Produced by Robert Arthur.
Screenplay by Don Tait and Dick Nelson. With George Peppard,
Diana Muldaur, John Vernon, France Nuyen, Marie Windsor, Steve
Sandor, Soon-Taik Oh, Richard Loo.
67. Cahill - U.S. Marshall. (1973, Warners, 102 m.)
Directed by Andrew V. McLaglen. Produced by Michael Wayne.
Screenplay by Harry Julian Frank and Rita M. Fink. With John
Wayne, George Kennedy, Gary Grimes, Neville Brand, Clay O’Brien,
Marie Windsor, Morgan Paul, Don Vadis, Royal Dano.
68. Manhunter. (1974, A Movie-for-TV, 90 m.) Directed
by Walter Grauman. Produced by Quinn Martin and Adrian Samish.
Screenplay by Samuel H. Rolfe. With Ken Howard, Gary Lockwood,
Tim O’Connor, James Olson, Stefanie Powers, John Anderson,
L.Q. Jones, Ford Raney, R. G. Armstrong, Marie Windsor, Lew
Askew, Ben Frank, Robert Patton, Mary Cross.
69. The Outfit. (1974, MGM, 103 m.) Direction and
screenplay by John Flynn. Produced by Carter De Haven. With
Robert Duvall, Karen Black, Joe Don Baker, Robert Ryan, Timothy
Carey, Marie Windsor, Jane Greer, Richard Jaeckel, Sheree North,
Felix Orlandi, Elisha Cook, Anita O’Day.
70. Hearts of the West. (1975, MGM, 103 m.) Directed
by Howard Zeiff. produced by Tony Bill. Screenplay by Rob
Thompson. With Jeff Bridges Andy Griffith, Donald Pleasance,
Blythe Danner, Alan Arkin, Alex Rocco, Marie Windsor, Richard B.
Shull, Herbert Edelman.
71. Freaky Friday. (1977, Disney-Buena Vista, 95 m.)
Directed by Gary Nelson. Produced by Ron Miller. Screenplay by
Mary Rodgers. With Barbara Harris, Jodie Foster, John Astin,
Patsy Kelly, Marie Windsor, Iris Adrian.
72. Salem’s Lot. (1979, Made-for TV in two segments,
180 m.) Directed by Tobe Hooper. Produced by Sterling
Silliphant. Screenplay by Paul Monash. With James Mason, David
Soul, Lance Kerwin, Bonnie Bedellia, Lew Ayres, Marie Windsor,
Julie Cobb, Elisha Cook, Clarissa Kaye, Ed Flanders.
73. The Perfect Woman. (1980, A Movie-for-Cable TV, 90
m.) Direction and screenplay by Allan Sandler and Robert
Emenegger. Produced by Ann Spielberg. With Fred Willard, Joanne
Nail, Rudy Vallee, Marie Windsor, Cameron Mitchell, Barbara
Minkus, Peter Kastner, Barry Gordon.
74. Lovely But Deadly. (1981, Elm Productions, Ltd.,
104 m.) Directed by David Sheldon. Produced by Sheldon, Doro
Vlado Hreljanovic, and Michael O’Donnell. Screenplay by
Sheldon and Patricia Joyce. With Lucinda Dooling, John Randolph,
Mel Novak, Richard Herd, Marie Windsor, Mark Holden, Michael O’Leary,
75. Commando Squad. (1987, Transworld Entertainment,
89 m.) Directed by Fred Olen Ray and co-produced by Ray and Alan
Amiel. Screenplay by Michael D. Sonye. With Brian Thompson,
Kathy Shower, William Smith, Sid Haig, Robert Quarry, Marie
Windsor, Russ Tamblyn, Ross Hagen.