The Universal-International School of Art and Life

 

Thought Balloon for Kid at Lower Left: OMG, It's Really Piper Laurie!

Where Stars Below Stars Still Get To Be Stars

To be a movie star at Universal-International was to be a fake movie star, said Piper Laurie, who knew from fifties sentence served alongside forever second stringers that was youth under yoke of U-I’s contract system, last of a breed declining elsewhere in the industry. Paramount had its “Golden Circle” that would not last, MGM developing talent beyond point where this could be successfully done, and Columbia … well, Columbia had John Derek. The 50’s was faint chance to be an acting hopeful, at least an actor built from the ground up, which many of U neophytes were. From truck driver to star was myth propagated there, no myth actually, as it worked for Rock Hudson, who as Roy Fitzgerald did manual work until fame whispered in his ear plus promise of time, as much as was needed, for him to season like beef on a spit and become an actor many if not most would respect. Same for Tony Curtis, who wanted to learn, yearned to improve, and did. Audie Murphy had steppingstone of war heroism to become a western favorite, all five foot six and ferocious of him. The women were attractive (had to be) and capable, increasingly so with back-bending work and constant publicity trials. Being a star was more advertising your stardom so as to confirm being a star, or soon to be a star as asserted non-stop on radio/TV stations across the land, theatre lobbies where card tables or countertops supplied surface to sign glossy stills, these and more done at ten to one ratio of time in front of cameras doing what you imagined was the job you were signed for. No one’s conception of stardom was borne out by reality of attaining it. For nearly all there was disillusion of one sort or other, but it was a living, and did beat driving trucks.

Don't Kid with Audie On or Off Screen --- He'd Soon Kill You as Look at You

I’ve been watching a lot of Universal-International lately, much of it pleasing, all of it better than I might have expected. Thing about U-I is how humble a shop it was, few aspiring toward grandeur, none for award or prestige. Big stars came there to slum and take percentage of what down-market vehicles drew them, support supplied by junior varsity that was contract players all in a row to earn meager checks they were at least temporarily grateful to get. Many went from astounded by luck just being there to surly/restless for eighty-hour weeks and grueling travel (again, for publicity). Like quitting a lousy job to run away and join the circus, U-I big-top was surfeit of cotton candy to become indigestible. Over-exploited talent would read of actors elsewhere who made good movies and became better actors for doing so, an outcome seemingly foreclosed to Universal players. Tony Curtis was friends with Marlon Brando, shared digs with him a while, long enough to realize Brando had a real professional’s job while Tony wore bell slippers and kissed Piper Laurie, who he disliked both for being “Piper Laurie” and ruthlessly careerist as he was. Piper had complaints too, like U-I executives stopping by her lone table at the commissary to inspect meals and say she’d got too much, them acute-aware of weight she fought throughout U tenure. So were these youngsters mere meat for processing to theatres and more, drive-ins? Yes for most part, and they knew it. Wise or lucky ones got out, moved up, at least kept working, this possible for their having names, remembered less for movies they’d been in than fact they were or had once been, “movie stars,” if faux ones. To such slander I differ however, because seeing U-I hires today is to acquire regard for labor performed competent, theirs a modesty we can admire for doing as instructed and never over-doing, this pleasing contrast to souped-up products of suddenly fashionable technique that would severely date much of young folk acting in the fifties.

Best Meets Brightest, Both Knowing Who Acting's Expert Applicator Was

To modest I’ll add humble, this assured by Universal care in casting veteran back-up to insecure up-and-comers who had less experience than looks. A John McIntire or Ernest Borginine was rod up the back for Curtis or Audie, and the perceptive among neophytes knew it. Where Rock Hudson needed expertise to perform alongside, there was Charles Coburn (Has Anybody Seen My Gal) or someone as seasoned. The girls felt lucky playing opposite Tyrone Power or James Stewart when either deigned to visit Universal, memories from Piper Laurie, Julie Adams, Lori Nelson, happiest for kind/courteous Ty or Jim who treated them as pros and insisted on first name basis throughout shoots. These were examples to aspire to, cash they collected a goal, but how was that attained by one silly pirate or harem yarn after another? Universal meant formula rigidly applied. Yes, they spent and took serious a Stewart or Power property, but where top-lining Tony and Piper (four undistinguished times), there was little but hard sell of his wavy hair and her cottage cheese enabled curves. There always was promise of bigger things ahead. Mamie Van Doren lived on such promise until she realized none would be fulfilled. When peak of accomplishment was Star In the Dust co-starring John Agar, it was time for Mamie to fold and head elsewhere. U-I youth were clubby for sharing same struggles. Rock would cuss out brass, never to their faces, but co-labor admired his pluck and knew someday he’d tell Mr. Muhl what for. Meanwhile they all took lessons in horsemanship, sword play, dance, diction, you name self-improvement route. Mamie said frankly that this was where she got what amounted to a high school education. So did Tony. He’d pose for stills in cap and gown, despite not actually earning them. That’s OK, cause there were more smarts got at U-I than any public school could teach.

Rock and Piper ... Local Greenbriar Friend Married a Woman Who Was Named After Piper

I looked at Ride a Crooked Trail (1958), Audie Murphy versus Walter Matthau, Audie underplaying to Walter’s near-Fieldsian hanging judge, an all but comic read. Matthau came of Broadway and acting lab background, a bull in china shop that was U-I. Murphy meanwhile played close to vest and never let thesping show. Lack of confidence? Maybe (his character is named “Joe Maybe”), but Audie was Zen enough to let Walter knock down furniture toward being the bigger noise, settled star Murphy more amused than chagrined by attempt at theft of scenes. He had no pretense toward acting, Audie’s subdued style and characters believable the more to my inexpert reckoning and perhaps gratification of other modern viewers. Boys at Universal all did boxer movies, thus Murphy for World in My Corner (his trainer John McIntire), Jeff Chandler as Iron Man, and Tony Curtis twice (Fists and Fury, The Square Jungle). What was to dread for distaffs was banish to a Francis or Kettle picture. One or other was always in works, and no ingenue at U-I was spared them. Mamie Van Doren thought they were poison, a very definition of utility work. Add to misery was having to do publicity with the mule, sometimes go on stage with him/her, all for $260 a week Mamie drew. Was she better off as Joan Olander of plain beginnings? Mamie fought off crude advances by U-I helmsmen like Jesse Hibbs, no Vidor or Walsh, but with busier hands. What a life, but Mamie got last laughs by outliving virtually everyone she’d come in contact with.

Mamie Wonders If Jeff Will Get Fussy Again As Was Norm

Like or loathe them, the Kettles and Francis were low risk teaching auditoriums for talent, little if nothing at stake, chance of inviting scorn nil apart from just being in a Kettle/Francis. But were other parts so much better? Mamie did Yankee Pasha with Jeff Chandler, him with a “fussy, little old lady quality.” They were all fussy, of course, worrisome option tolling like chapel bells, with always a front office ringing them, or not. Few could be sure if this month might be their last month. Certainly none wanted ticket back to obscurity they came from. Little reminders shone often through the glitter. Tony Curtis was distinctly turned off Shelly Winters as she reminded him of nagging Mama back in the Bronx, but then Mama and Schwartz brood left same Bronx to move in with Tony/Bernie soon as he had it made, so back he was plunged to old life despite being now “Tony Curtis.” Everyone on contract had some past to escape, sixteen-hour workdays faint hardship beside what they had come from. Disappointments were borne stoically. Piper Laurie worked like a Trojan for a dance segment in The Golden Horde, only to find someone doubled her for the final print. She’d cope also with Mamie trying to cop center stage for numbers they shared in Ain’t Misbehavin,’ a U-I musical MGM need never have worried about. Premieres were a balm, even when they weren’t for your own movie. The Glenn Miller Story upon Grand Open drew U’s junior league and permitted fans to ogle stars of tomorrow. Attendance of course was compulsory. Who knows, maybe someday said juniors would appear in pictures big as The Glenn Miller Story. Annoyance was going on the road to pump someone else’s product, a bigger guest name at U-I maybe who couldn’t be bothered.

Being a Star Often Meant Getting Within Smelling Distance of Francis

Classy features were rare at Universal, done often as not by director Douglas Sirk, him applying grace where melodrama needed it, the helmer a magnet after profound success that was Magnificent Obsession in 1954. Sirks were where contract youngsters could shine brightest. Rock Hudson crossed his Rubicon with Magnificent Obsession, so back he’d be for more of approximate same. Nibbling round edges were others of his former category, Gregg Palmer sensitive and whispering his lines to Barbara Rush, both willing to stand down for leads that were Hudson and freelance noise Jane Wyman. Rock was a first breakout of his class and proved U-I star creation could work with luck and earnest application. Polite players they were, none tried filching scenes from their betters in command, thus William Reynolds in All That Heaven Allows or There’s Always Tomorrow never intruding upon Wyman, Barbara Stanwyck, Fred MacMurray, even Rock Hudson now that latter had graduated into leads. Hudson would see to that even if Universal bosses did not. Grant Williams had his moment in Written on the Wind, withdrew into wings with hopes he’d have another if fortune smiled (it would, with The Incredible Shrinking Man). Junior Mints who’d grow into Pom Poms elsewhere would look back amused at salad (or cottage cheese) days at Universal. Burt Reynolds wove U-I anecdotes into his talk show repertoire, telling how he and Clint Eastwood got the sack on a same day for equally obscure reasons. Latter had begun lowly as jet pilot putting the kibosh on Tarantula in 1955. Who among eager class dreamed Clint would go farthest of all? U-I output apart from famed ones, like the Sirks, are hard to track, let alone see proper. Kino has released oodles on Blu-Ray while others languish on You Tube as gift from fans to fans, which is how I lately saw Running Wild, exploitation that played double with Tarantula on first-runs, reason alone to seek it out, plus Mamie Van Doren doing spirited dance to Bill Haley and Comets (recorded), Running Wild another U-I ghost awaiting resurrection on disc or streaming.