When I was a kid in the ‘60s there was a science-fiction horror show called THE OUTER LIMITS (Stephen King has since called it “the best show of its kind ever on TV”). One of the episodes was entitled “The Guests.” It was about a drifter who stumbles into an old Victorian house where the residents never grow old. If they try to leave, they age rapidly and turn to dust. One of the “guests” is a Norma Desmond-like silent film actress who pathetically clings to the idea she’s still a star. In one particular scene, she slithers over to the drifter, gives him a peck on the lips, and says, “I had to do that. It was my madcap heart.” There’s a slight pause. Then, “’My Madcap Heart’ was the name of my first bad picture. Did you think I was sincere?” At that moment I became smitten with Gloria Grahame.
Going back a few more years, to the late ‘40s and ‘50s: a style of film emerged in Hollywood that is today called “film noir” (“noir” being French for “dark”). These films were much more downbeat and cynical than the buoyant adventures, musicals, and romances that proliferated until the end of WW2. They were B&W crime pictures that usually featured a hard-boiled detective and a tough, sassy “dame.” The cameras made heavy use of shadows, cigarette smoke, rain-soaked city streets, and train yards. Most film noirs were low-budget ‘B’ movies featuring actors generally unrecognized today except by hardcore film buffs. A few ‘A’ movies included DOUBLE INDEMNITY (Barbara Stanwyck), THE BIG SLEEP (Bogart and Bacall), and TOUCH OF EVIL (Orson Welles). If you’ve ever seen Leslie Nielsen in the hilarious NAKED GUN series, well, film noir is what those comedies are spoofing.
Mention the name Gloria Grahame to any male film noir buff and he’ll hyperventilate and gush “Ahhh yes…the girl with the novocaine lip!” Grahame is today considered one of the queens of film noir. She only made about eight noirs, but they are some of the best and most beloved of the genre. Grahame was somewhat ahead of her time. Her looks and acting had a sleaziness closer to today’s femme fatales. There was always a hint of the forbidden about her. I’ll put it bluntly: she oozed sex.
She also made a number of movies outside of film noir. Her most visible roles were as town flirt Violet Bick in the Christmas classic IT’S A WONDERFUL LIFE starring Jimmy Stewart; and as plucky Ado Annie Carnes in the film version of OKLAHOMA! The last-named was made in 1955 and is responsible for driving Grahame’s movie career to a halt. Not so much because she was tone deaf, couldn’t sing, and was miscast in a family musical, but because her truculent behavior (she crushed the cowboy hat of a co-star) pissed off everyone on the set. The word went out that Grahame was “difficult,” and producers and directors stayed away.
But there were a couple other reasons her career dried up. One was her boisterous private life. She had four stormy marriages and divorces. She is also rumored to have slept with her 14-year-old stepson (they later married and had two kids – after he turned 21!). She also had a series of surgeries on her mouth and chin to make herself look sexier – long before plastic surgery became fashionable. During one operation in Germany, the doctor accidentally severed a nerve, rendering her upper lip immobile and earning her the sobriquet that titles this essay. Needless to say, Hollywood distanced itself even further from her.
In the ‘60s and early ‘70s Grahame popped up occasionally on popular television shows – like THE OUTER LIMITS – usually portraying a washed-up actress or conniving stepmother. She had some cameo film roles in the ‘70s, as well as leading roles in drive-in exploitation trash with titles like MAMA’S DIRTY GIRLS and MANSION OF THE DOOMED. She also did a lot of stage work (her first love). Grahame died in 1981 from complications due to breast cancer.
November 28 (tomorrow) is her birthday, and Turner Classic Movies (TCM) is honoring her by showing a bunch of her movies. So those of you unfamiliar with Gloria Grahame, and who can access TCM, can see why longitudes is making such a fuss. If you can only see a few movies, on TCM or elsewhere, I recommend CROSSFIRE (Robert Mitchum), IN A LONELY PLACE (Humphrey Bogart), and THE BIG HEAT (Glenn Ford and Lee Marvin). All three are not only excellent examples of film noir, but my girlfriend Gloria is at her absolute best. I’ll allow you to feast your eyes for a while. Just don’t get too close.