By Donald Spoto
The actress Teresa Wright (1918–2005) lived a wealthy, advanced, very good existence opposed to the backdrop of golden age Hollywood, Broadway and tv. there has been no indication, from her astonishingly difficult—indeed, horrifying—childhood, of the luck that may persist with, nor of the common acclaim and admiration that observed her in all places. Her marriages—to the writers Niven Busch (The Postman continually earrings Twice; Duel within the Sun) and Robert Anderson (Tea and Sympathy; I by no means Sang for My Father)—provide a great deal of the drama, heat, poignancy and heartbreak of her existence story.
“I by no means desired to be a star,” she informed the famous biographer Donald Spoto at dinner in 1978. “I sought after merely to be an actress.” She begun performing on the degree in summer season inventory and repertory on the age of eighteen. whilst Thornton Wilder and Jed Harris observed her in an ingénue function, she was once selected to understudy the a part of Emily within the unique creation of Our Town (1938), which she then performed in traveling productions. Samuel Goldwyn observed her first starring position on Broadway—in the old creation of Life with Father—and without delay he provided her an extended contract.
She was once the single actress to be nominated for an Academy Award for her first 3 photos (The Little Foxes; The satisfaction of the Yankees; and Mrs. Miniver), and he or she received for the 3rd movie. motion picture lovers and students to this present day respect her functionality within the classics Shadow of a Doubt and The top Years of Our Lives. The situations of her tenure at Goldwyn, and the drama of her breaking that agreement, ceaselessly replaced the therapy of stars.
Wright’s kinfolk and heirs appointed Spoto as her approved biographer and provided him particular entry to her letters and papers. significant aiding gamers during this tale comprise Robert Anderson, Alfred Hitchcock, William Wyler, Karl Malden, Elia Kazan, Jean Simmons, Dorothy McGuire, Bette Davis, George Cukor, Marlon Brando, George C. Scott, the artist Al Hirschfeld, Stella Adler, and extra.
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Additional info for A Girl's Got To Breathe: The Life of Teresa Wright
Why not come out to Hollywood for a test? ” “Oh, I couldn’t,” said Teresa before she could take back her own words. “I don’t want to make movies. I want to be a legitimate actress”—this to an established star who already had won her first Academy Award. Teresa did not report Hepburn’s reaction to this gaffe. But the notion of casting her in a role eventually assumed by Jane Russell—a production in which Hughes was transfixed by tricky ways of presenting Russell’s opulent bust—was both ludicrous and hilarious.
And food and coffee. And new-ironed dresses and hot baths, and sleeping and waking up. Oh, Earth, you’re too wonderful for anybody to realize you. And then she turns to the Stage Manager: “We don’t have time to look at one another,” Emily says (“through her tears,” Wilder writes in the stage directions). ” The play’s profoundest, most poignant moment occurs when George Gibbs comes to the grave of his wife, Emily, who has died in childbirth. The “dead,” detached and serene, are seated in chairs as a graveyard.
And Howard Hughes crashed and burned a plane. ” Modest though it was, the apartment quickly bore the stamp of Teresa’s personality. 52. 1939–1941 43 During her first months in town, and often when she had free days during production, Goldwyn subjected Teresa to the usual studio buildup and the rigors of the publicity machine. At an early session, a photographer told her to run her hands through her hair, to look up at a key light, to lick and part her lips alluringly, to recline in a nearly diaphanous silk gown on a chaise—and to look bored .
A Girl's Got To Breathe: The Life of Teresa Wright by Donald Spoto