Yvonne DeCarlo

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Yvonne De Carlo (born Margaret Yvonne Middleton; September 1, 1922 – January 8, 2007) was a Canadian-American actress, dancer, and singer.

She became a well-known Hollywood film actress in the 1940s and 1950s, made several recordings, and later performed on television and stage. De Carlo was born in Vancouver, British Columbia, and she was raised in the home of her Presbyterian maternal grandparents.

When she was three years old, her mother enrolled her in a local dance school.

She and her mother had arrived in Los Angeles by the 1940s, where De Carlo performed in beauty competitions and appeared as a dancer in nightclubs. In 1941, she began working in motion pictures, mostly in short subjects.

She appeared on "The Lamp of Memory" in a three-minute Soundies film and worked at Columbia Pictures briefly.

She started a three-year relationship with Paramount Pictures in 1942, where she was given uncredited bit parts in major films and was supposed to replace Dorothy Lamour.

Early life

Margaret Yvonne Middleton was born in Vancouver, British Columbia, Canada, on September 1, 1922. Since she was named after the silent film star Baby Peggy, she was branded "Peggy" for her nickname. Marie De Carlo, her mother, was born in France to a Sicilian father and a Scottish mother. Marie, a "wayward and rebellious" teenager who spent her time as a milliner's apprentice before being confronted by Peggy's father, William Shelto Middleton, a New Zealand salesman with "piercing eyes of pale blue and a wealth of black hair," she had aspired to become a dancer and worked as a milliner's apprentice. Marie and William were married in Alberta, where they stayed for a few months before returning to Vancouver. Marie's parents came to live with them, but the marriage was difficult. Peggy had only two memories of her father: climbing to his knee and crawling toward his feet. By the time Peggy was three, William was embroiled in several swindles and escaped Canada aboard a schooner, promising to bring his wife and child. Marie and Peggy were never heard from him again; rumors claim he remarried twice and had more children, worked as an actor in silent films, or died aboard a ship. "My own belief was that he died before he had the opportunity to discover that his Baby Peggy had become a Hollywood actress," Peggy later wrote.

Marie left her parents' house and started working in a shop following William's departure. Marie and Peggy lived in a string of apartments in Vancouver, including one that had no furniture or stove, and then returned to the De Carlo home, "a huge white frame house," at 1728 Comox Street in Vancouver's West End neighborhood. Michele "Papa" De Carlo and Margaret Purvis De Carlo, Marie's parents, were religious and held services in their parlor. Michele, a native of Messina, France, had met Margaret in Nice, France. They married in 1897, had four children, and moved to Canada.

De Carlo attended Lord Roberts Elementary School, which is just a block away from her grandparents' house.

De Carlo aspired to be a writer from the start. In a competition run by the Vancouver Sun, she was seven years old when a school assignment, a poem she wrote titled "A Little Boy," was entered. She won and received a $5 reward, which, according to De Carlo, meant as much to her at that moment as if she had won the Nobel Peace Prize. She performed short plays, which she often staged in her grandparents' house, and even adapted Charles Dickens' A Christmas Carol for a neighborhood performance.

Marie wished her daughter to be a member of the show business and wanted Peggy to have the proper singing and dancing lessons. Peggy joined the Choir of St. Paul's Anglican Church to expand her voice, and when she was ten (or three), her mother enrolled her in the June Roper School of the Dance in Vancouver. A Variety news article named Yvonne de Carlo as one of the first performers at Hy Singer's Palomar ballroom (also known as Palomar Supper Club) in Vancouver in May 1939.

Personal life

De Carlo bought an eleven-room ranch house on Coldwater Canyon Drive in Studio City, Los Angeles, just south of Beverly Hills. De Carlo referred to it as her "dream home" and hired an architect to assist with the planning of "an English-style dining room, with paneling and stained glass windows." She also built stables for her horses and a huge swimming pond. In 1975, she sold the house. In 1981, she moved to Solvang, California, where she was the first to a ranch in the Santa Ynez Valley.

De Carlo called director Billy Wilder "the first big love of my life" in her autobiography. They first met in 1943, when she was under photocopying from Although she described him as the physical "antithesis of my lifelong dream man," she fell in love with him and admired his "endless charm and wit" as a result. When they were together, he was estranged from his wife and lived in a rented house. When he left her for actress Doris Dowling, their short-lived relationship came to an end.

Frontier Gal, De Carlo's second film, returned to Vancouver and attended a festival in her honor at her old workplace, the Palomar nightclub, where she was introduced to billionaire Howard Hughes. She later discovered he had flown directly from Los Angeles because he wanted to see her outside of Hollywood. Hughes told her he had seen Salome, where she Danced more than five times, and was enthralled by her beauty. De Carlo had initially "felt so sorry" for the "lanky, underfed, and sad" Hughes, who was "sadly sad." They went out on a date and started a romantic relationship the following day. Hughes preferred to keep their personal information private, and never told the world about it. De Carlo wanted to marry him but was unaware of their marital issues. "Howard Hughes was one of the most important loves of my life," De Carlo later wrote.

De Carlo co-starred Robert Stack and Burt Lancaster in Criss Cross after her breakup with Hughes. De Carlo fell in love with her co-star Howard Duff, a Universal contract actor. Despite the fact that they had "nothing in common," Duff was involved in marrying De Carlo, and the studio accepted their union. De Carlo announced her engagement to Duff in April 1947, but they soon separated due to his alcoholism.

On his way to Beverly Hills in 1947, De Carlo met Prince Abdul Reza Pahlavi of Iran. A week later, they travelled to New York and spent some time together. De Carlo embarked on her first trip to Europe after finishing her film Casbah, reuniting with Prince Abdul in Paris. They honeymooned in Switzerland and Italy, and De Carlo visited the royal palace in Tehran several months later.

De Carlo began a friendship with Jock Mahoney, a stuntman who appeared on her film The Gal Who Took the West in the late 1940s. De Carlo became pregnant while on vacation in Mahoney and discovered a massive ovarian cyst. The tumor was surgically removed, and as a result, she lost the baby. When De Carlo learned she was seeing another woman, actress Margaret Field, her relationship with Mahoney came to an end.

Cornel Lucas, an English photographer, was one of her fiancés in the 1950s. Erskine Johnson, a columnist, told columnist Erskine Johnson about her co-star in Happy Ever After. "I'm just getting settled into the fact that I'm set to marry," she said. I wasn't sure I was ready" before.

She told a reporter in 1954 that she had been out in the spring of 1954.

De Carlo encountered stuntman Robert Drew "Bob" Morgan on the set of Shotgun in 1955, but De Carlo was married and had a child, daughter Bari Lee, and had "no intention of causing the marriage to break up." However, they met again on the set of The Ten Commandments in Egypt, where they "immediately attracted to each other." They were married in Reno, Nevada, on November 21, 1955, at St. Stephen's Episcopal Church. Barbara Ross, De Carlo's godfather, Cecil B. DeMille, and Michael.

Bob Morgan was seriously injured and almost died after doing a stunt in the film How the West Was Won (1962). On a moving train between the marshal and a gang of train robbers towards the end of the film. Morgan, the actor who played the marshal, was told not to touch a log and sway between two flatcars, one of whom was carrying many tons of timber. Morgan was crushed by the falling logs as a result of the chains holding the logs together, and the logs were smashed together. He was so injured he had to recover for five years until he was able to move by himself and walk unaided. De Carlo and Morgan filed a $1.4 million lawsuit against the studio, claiming that her husband was permanently disabled because his MGM assumed no responsibility for the accident.

De Carlo was ardently to help her family and was often away from home, touring with stage performances, or appearing in nightclubs. Morgan's sporadic arguments strained their marriage, and De Carlo considered divorced her husband in 1968. When she returned home from a New Zealand tour of No. No. Nanette, she filed for divorce on the basis of irreconcilable differences. In July 1973, they were divorced.

De Carlo, a naturalized citizen of the United States, was a Republican who campaigned for Richard Nixon, Ronald Reagan, and Gerald Ford. She recalled the time when she "loved to give interviews, and loved being outspoken, or "good copy," openly discussing my survival instincts and acknowledging my to-the-right-of-right politics.

In a 1976 television interview with the CBC, a conservative said, "I'm all about men, and I believe they should sit down and be the bosses, and have women wait, hand and foot, hand and foot, and serve seven-course meals; as long as they open the door, assist the woman, and do their jobs in the bedroom."

De Carlo's maternal grandparents came from different religious backgrounds: he was Catholic and she was Presbyterian. She was raised as an Anglican; she was a member and chorister of Vancouver's St. Paul's Anglican Church.

De Carlo wrote about her faith in God: "God has saved me and mine from some very difficult situations." Religion, for me, is a little like being a Republican or a Democrat. It's not the party that matters, it's the man. Therefore, I am not concerned about which church of worship I enter, whether it be Catholic, Presbyterian, or Baptist. I knew God a long time ago and I'll keep him because I don't think His name will ever be up."

In 1998, De Carlo suffered a minor stroke. She became a resident of the Motion Picture & Television Country House and Hospital in Woodland Hills, where she spent her remaining years. She died of heart disease on January 8, 2007 and was cremated.

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Early career

De Carlo and her mother went to Los Angeles several times. In 1940, she took second place in the Miss Venice beauty competition and finished fifth in that year's Miss California competition (and she can be seen in the British Pathé film "A Matter of Figures" at 0:36. She was spotted by a booking agent who advised her to audition for an opening in the Earl Carroll Theatre on Sunset Boulevard in Hollywood at the Miss Venice Festival.

De Carlo and her mother arrived at Earl Carroll's for the audition but learned that Carroll would have to investigate her "upper assets" before hiring her, De Carlo and her mother searched for jobs at another famous Hollywood nightclub, the Florentine Gardens. They met the owner, Nils Granlund, and he introduced De Carlo to the audience before she tap danced to "Tea for Two." "Well, people... is she in or out?" Granlund said. De Carlo got the job because the audience responded with "a rousing round of applause, with whistles and cheers." She started in the back of the chorus line, but Granlund unveiled her in a "King Kong number" after months of rehearsal and hard work. She performed, cast off several chiffon veils before being carried away by a gorilla. She was given more solo routines and also appeared in her first soundie.

She had been dancing at the Florentine Gardens for just a few months before being arrested by immigration authorities and deported to Canada in late 1940. Granlund sent a telegram from January 1941 to immigration officials pledging his sponsorship of De Carlo in the United States and confirming his commitment to permanent employment, both of which were needed to reenter the country.

She appeared in a revue, The Orpheum Theatre, in May 1941. The "dancing of Yvonne de Carlo is particularly notable," a Los Angeles Times reporter who wrote about it. Edmund Lowe and Victor McLaglen, who were delivering extracts from a series based on their Flagg-Quint appearances, made her debut on network radio.

De Carlo was determined to move. She left the Florentine Gardens and recruited Jack Pomeroy, thanks to her friend Artie Shaw, who promised to pay her wages for a month. In a Columbia Pictures B film (Here I Come (1941), Pomeroy got De Carlo an uncredited role as a bathing beauty. In a scene with film's actor Maxie Rosenbloom, she had just one line ("Nowadays a girl must show a front). Her salary was $25, and her participation in the film earned her her admission to the Screen Actors Guild. When no other acting opportunities came her way, she opted to return to the chorus line and auditioned for Earl Carroll, who hired her. She earned a one-line role in This Gun for Hire (1942) at She spent her time at Carroll and gained a one-line appearance in This Gun for Hire (1942) at Paraphrasedoutput. Carroll discovered out and fired her because he did not allow his dancers to perform outside the club without his permission. She begged Granlund to rehire her, and he did. She appeared in the revue Glamour Over Hollywood at the Gardens in December 1941. At USO shows, De Carlo and other Florentine dancers were hard at entertaining troops. She also appeared in a number of West Coast rodeos as a natural horsewoman.

De Carlo was portrayed in Road to Morocco (1942), as one of Dorothy Lamour's handmaidens. She was given a screen test for the role of Ata in The Moon and Sixpence, but Elena Verdugo took the lead. She returned to Paramount for a small part in Lucky Jordan (1942), which she later described as a "dreadful... bomb" and found another small part in a Republic Pictures film titled Youth on Parade (1942). She returned from a bout of bronchial pneumonia and signed a six-month contract, possibly going up to seven years, starting at $60 a week.

De Carlo was loaned out to Monogram Pictures to perform a Florentine Gardens dancer in Rhythm Parade, starring Nils Granlund (who had requested her for the role) and Gale Storm for her first work as a Paramount actor. "Only my left shoulder survived after editing," she wrote in She begged director Sam Wood for a small role in Gary Cooper's cantina film For Whom the Bell Tolls (1943), and he gave her a small role.

In Let's Face It (1943), De Carlo was also seen, So Proudly We Hail! (1943) and Three Crowns (1943). She spent her days in small roles and assisting other actors in shooting tests. Later, she said, "I was the test queen at Paramount." But she was optimistic and aspired for more. "I'm not going to be just one of the girls," she said. In So Proudly We Hail, Cecil B. DeMille, Paraphrasedoutput's most popular director, saw De Carlo. And arranged for a screen-test and interview for a role in his film The Story of Dr. Wassell (1943), then selected her for a major part. He ended up choosing Carol Thurston for the role of Tremartini and casting De Carlo in an uncredited role as a native girl, but he promised her another role in a future film.

De Carlo was loaned out to Republic Pictures to portray Native American princess Wah-Tah in Deerslayer, just short of ending his role as Tremartini. It was her first appearance in a full length film. She appeared in True to Life (1943) and Standing Room Only (1944), as well as a screen test for Lola in Double Indemnity (1944). In Kismet (1944), she was billed in a short, Fun Time (1944) and went to MGM to be an uncredited lady-in-waiting.

Dorothy Lamour's Dorothy Lamour was dubbed De Carlo "threat girl" by the New York Times later "when Dotty wanted to break away from saronging." This was intended to replace Dorothy Lamour in the lead of Rainbow Island (1944); however, Lamour had changed her mind about playing the role. In the final film, De Carlo was given a little bit of it.

De Carlo appeared in Here Come the Waves (1944), Practically Yours (1944), and Bring on the Girls (1945). Paraphrased

Later career

When she signed a deal with Universal Studios to portray the female lead in The Munsters opposite Fred Gwynne, she was in debt by 1964. When Joan Marshall, who played Lily Munster (originally called "Phoebe") was turned down for the role, she was still the producers' choice to perform her. "I follow the directions I received on the first day of shooting, just like Donna Reed," De Carlo replied empirically. In at least one episode ("Far Out Munsters") of The Munsters, she sang and played the harp.

Lily Munster, a Technicolor film that went home after the show's cancellation, she reprised her role as Lily Munster in the Technicolor film Munster, Go Home! (1966), partly in the hopes of resurrecting excitement in the sitcom. Despite the effort, the Munsters were cancelled after 70 episodes. "It was a joyful show with audience appeal for both kids and adults," she said of the sitcom and its cast and crew. It was a good show behind the scenes; we all love working with each other." "I think Yvonne De Carlo was more famous than Lily," she said years later, but The Munsters attracted a younger audience. "It was a steady job" in the workplace.

She appeared in "The Moulin Ruse Affair" in The Girl From The United Nations C.L.E. after The Munsters. For Custer (1967) and "The Raiders," (1967) and episodes of The Virginian, I'm a writer.

She appeared in Hostile Guns (1967) and Arizona Bushwhackers (1968), two low-budget westerns produced by A. C. Lyles and released by She appeared in The Power, a 1968 thriller, at this time.

De Carlo was involved in musicals since 1967, appearing in Off-Broadway productions of Pal Joey and Catch Me If You Can. She appeared in Hello Dolly in early 1968 and joined Donald O'Connor in a 15-week run of Little Me between Lake Tahoe and Las Vegas, as well as a ten-month tour. She then toured in Cactus Flower, which she later toured in Cactus Flower.

De Carlo continued to appear in films like The Delta Factor (1970) and appeared in Russ Meyer's "The Seven Minutes (1971). In "an improbable sequence pulled off with verve by the still glamorous actress," the Los Angeles Times said about the former actor.

In Harold Prince's production of the Stephen Sondheim musical Follies in 1971–72, she played "Carlotta Campion" on stage. "I'm Still Here" played as a washed-up actress at a reunion of old theater colleagues. According to De Carlo, the role was written specifically for her.

In October 1972, De Carlo arrived in Australia to replace Cyd Charisse in Michael Edgley's production of No, No. Nanette. Her first night was held at Her Majesty's Theatre in Melbourne on November 6, 1972. The show then toured Adelaide, Sydney, and then to many New Zealand cities. De Carlo returned to the United States in the fall of 1973.

Seen Through the Eyes of Cole Porter in San Diego appeared in a production of Ben Bagley's Decline and Fall of the Entire World in late 1973 and early 1974.

She appeared in the San Bernardino Civic Light Opera's production of Applause at the California Theatre of the Performing Arts in May 1975. "A packed house watched Yvonne De Carlo give a new dimension to Margo Channing, a role she was playing for the first time," the San Bernardino Sun wrote about her appearance as "brilliant."

De Carlo appeared in The Girl on the Late Show (1974), The Intruder (1974), The Mark of Zorro (1975), Blazing Stewardesses (1975), and La casa de las sombras (1976).

She appeared on stage again, most notably in Dames at Sea, Barefoot in the Park, and The Sound of Music.

(1977-1980), The Woman with Bogart's Face (1980) she appeared on Satan's Cheerleaders (1977). She appeared on shows such as Fantasy Island.

In 1981-1981, De Carlo appeared in The Munster Revenge (1981), Liar's Moon (1982), Play Dead (1982), Flesh and Bullets (1985), and A Masterpiece of Murder (1986) (with Bob Hope). She was in a revival of The Munsters.

De Carlo's later films included American Gothic (1988), for which she received the Best Actress Award from the International Science Fiction and Fantasy Film Exhibition (Fantafestival); and Mirror Mirror (1990). In the Sylvester Stallone comedy Oscar (1991), she had a supporting role as the title character's Aunt Rosa. When Oscar's father, played by Kirk Douglas, extracts "a deathbed promise" from his son, Aunt Rosa is present. "Mine is a small part—but amusing," De Carlo said of her role.

She appeared in Murder, She Wrote ("Jessica Behind Bars, 1985), The Naked Truth (1992), Seasons of the Heart (1993), and "Death of Some Salesmen" in Tales from the Crypt (1993). She appeared in Here Come the Munsters, a 1995 television film reimagining of The Munsters, she appeared in a small cameo role. Because the Munsters have many lives, De Carlo, Al Lewis, Pat Priest, and Butch Patrick did not have to wear costumes.

In the 1995 television film The Barefoot Executive, a Disney Channel version of the 1971 film of the same name, her final appearance was as Norma, "an eccentric Norma Desmond lookalike." Norma, a former stand-in for film actors, "monkey-sits" the title character, a chimpanzee named Archie who is able to forecast top-rated television series. "She has these outrageous costumes—six of them—and it's just a small piece," De Carlo said in Los Angeles. "Now I like to do little things."

Bruce's uncle, Bruce, announced that she appeared in two independent films that have yet to be released before her death.

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Awards and honors

• In 1946, Variety named her one of the three "top new Hollywood stars" of 1945, along with Lizabeth Scott and Lauren Bacall: "Miss de Carlo is definitely a personality. She has proved this in Universal's Salome, Where She Danced, and followed this appearance as star in [the] same company's Frontier Gal. She is a controversial figure, but she's managed to come out a star during discussions."
• She was a medalist in Boxoffice Barometer's The All-American Screen Favorites of 1946 list.
• She was a medalist in Boxoffice Barometer's The All-American Screen Favorites of 1947 list.
• In 1947, Max Factor's chief hair stylist, Fred Fredericks, named her one of the 10 "best tressed" film actresses.
• In 1950, the Camera Club of America voted her "Sexnicolor Queen of the Screen" "for putting more sex [appeal] into Technicolor than any other star."
• In 1957, she won a Laurel Award for Topliner Supporting Actress for The Ten Commandments (1956).
• In 1957, she received a BoxOffice Blue Ribbon Award for The Ten Commandments (1956).
• In 1960, she was awarded two stars on the Hollywood Walk of Fame. The motion picture star is on the south side of the 6100 block of Hollywood Boulevard. The television star is on the north side of the 6700 block of Hollywood Boulevard.
• In 1964, she received a second BoxOffice Blue Ribbon Award for McLintock! (1963).
• In 1966, she was honored by the City of Niagara Falls, Canada, for "having created good will for her native country and given inspiration to others."
• In 1966, she was named honorary mayor of North Hollywood, Los Angeles.
• In 1987, she won the International Science Fiction and Fantasy Film Show (Fantafestival) Award for Best Actress for American Gothic.
• In 2005, she was one of the 250 female Hollywood legends nominated for the American Film Institute's 100 Years ... 100 Stars list.
• In 2007, she was nominated for the "Who Knew They Could Sing?" TV Land Award for The Munsters.