Judy Holliday Biography: No Dumb Blonde (part 2)

The Marrying And Mothering Kind

In a year filled with extreme highs and lows, Judy learned that she was pregnant just days before her scheduled testimony in Washington. Although unplanned, Judy and husband David were resolved to keep the child. Blacklist or not, Judy still had her contract with Columbia Pictures to fall back on...thanks to the support of Harry Cohn. The studio had a vested interest in the fate of their new star and they aided Judy in every way they could throughout this turbulent period. Shortly before testifying in Washington, Columbia released Judy's next film entitled The Marrying Kind. Once again, it would be George Cukor taking his place in the director's chair, much to Judy's delight. She was less enthusiastic about her abrasive co-star, newcomer Aldo Ray. Their lack of off-screen chemistry not withstanding, the film was well received and Judy shined once again. For her emotionally-charged performance as "Florence Keefer," Judy garnered the praise of the critics, but failed to gain a second Oscar nomination. On November 10, 1952, Judy gave birth to her first and only child, a son named Jonathan.

Lemmon And Lawford

By January of 1954, it seemed that Judy had survived the blacklisting period. Offers for radio and television slowly began to come her way. The fifth and final Holliday-Cukor collaboration was released to the public in the form of It Should Happen To You. It cast her opposite Jack Lemmon, who was making his film debut. Unlike Aldo Ray, Judy and Jack became fast friends and excellent acting partners. Rumors began to circulate that Judy had drifted into an affair with her co-star, but it wasn't Lemmon they were referring to. The film also starred Peter Lawford, and it wasn't long before reports of their interludes reached Judy's husband David. Their marriage had already been under a lot of strain and this was one of the unfortunate results. Though her marriage was on very shaky ground, her career and popularity began to rebound. In February of 1954, Judy made one of her first big television appearances in The Huntress and Columbia was so pleased with the teaming of Holliday with Lemmon, that they immediately paired them again in another film. The film's virtually unpronounceable title of Phffft would become renown for being one of the worst movie titles in film history. With this film, Judy had to deal with some things she hadn't dealt with for quite a while. Chief among them was working with a director other than George Cukor. Mark Robson would be the man in the director's chair for this project. Also, Judy felt the pressure of female competition on the set, when Columbia cast their latest starlet, Kim Novak, in a supporting role. It was well known in Hollywood circles that the studio was grooming Novak to eventually replace Judy as its top comic actress. Ironically for Judy, the film's story centered around a couple who are recently divorced. In reality, even though her relationship with Peter Lawford ended quickly, both she and David knew their marriage was dire straits. Attempts to save what was left of their union were failing rapidly.

The Girl In The Solid Gold Cadillac

Columbia reaffirmed their commitment to Judy when they purchased the film rights to the popular play The Solid Gold Cadillac for her to star in. Though she did not originate the stage role, she was able to bring her own unique comic gifts and delightful charm to the part of "Laura Partridge." The film is about a good natured, small stockholder (10 shares), who turns a million dollar company inside-out, exposing corruption and nepotism by its board of directors. Much to her chagrin, it did cast her opposite Paul Douglas, with whom she had spent many tempestuous nights on stage while performing Born Yesterday. Despite this, she was able to put aside her personal dislike and deliver another excellent performance. Upon completion of the filming, she returned to New York. Once back, Judy discovered David was having an affair. The physical and emotional distance between them had become too much and the couple chose to separate.

Life Among The Ruins

Throughout her adult life, Judy had waged an on-going battle with depression. Following the break up of her marriage, Judy's inner demons began to take hold of her. She sank into a deep tear-laden depression. The unyielding pressure of her career and her failed marriage coupled with having to care for her mentally unstable mother and her young child, began to take their toll on her. The only escape she could find would be in her work. She gathered herself together to star in the film Full Of Life opposite Richard Conte. For the first time, critics lavished their praise less on Judy and more on someone else. The critics agreed that portly opera star-turned-supporting actor Salvatore Baccaloni stole the film playing Judy's strong willed, Italian father-in-law. Judy probably didn't mind the lack of attention much, (she was known for being very generous towards her fellow actors) besides she seemed to have found the cure for her blues...love.

Just In Time

While in California filming Full of Life, Judy met and fell in love with Sydney Chaplin, son of the film icon Charlie Chaplin. Their sudden romance swept them back to New York where Judy was making preparations for her return to Broadway in the Comden-Green-Styne musical Bells Are Ringing. The story centers around a lonely switchboard operator of an answering service who is a wiz at solving the problems of her clients, but seems unable to get her own life in order. Judy insisted that Sydney be cast as her leading man in the play. It was not a popular choice with director Jerome Robbins, Betty Comden or Adolph Green, but she got her way. The play opened on November 29, 1956 and just 3 days later, Judy and the rest of the cast recorded the Bells Are Ringing original cast album. Although she did not possess a classic singing voice, Judy was quite musical. Given the proper song and accompaniment, she could produce a rare gem. Such was the case with the melancholy ballad The Party's Over. Written expressly for her, it was her song in every way...especially in the troubled times that lay ahead. It, along with the character of Billie Dawn, would become two of the foremost things associated with the name Judy Holliday. In 1957, Judy and Sydney each took home a Tony award for their performances in show. The success of the Bells Are Ringing cast album would open a new creative outlet for her. In March of 1958, Judy returned to the recording studio to make her first solo album. Entitled Trouble Is A Man, it was comprised of 12 of her favorite tunes from stage, film and television. The songs range from Am I Blue? to An Occasional Man. Because she was still appearing in Bells Are Ringing most every night, she had to record the album in 3 separate and exhaustive recording sessions. Following their messy break-up, Sydney Chaplin decided not to renew his Bells Are Ringing contract, and Hal Linden was brought in to replace him for the remainder of the show's run. Much like Born Yesterday more than a decade earlier, Bells Are Ringing went on to enjoy a long run, lasting two plus years before closing on March 7, 1959.

I'm Going Back...

Following the death of studio boss Harry Cohn, Columbia Pictures and Judy decided by mutual agreement not to pursue the seventh and final film of her 1950 contract. This left the door open for Judy to return to MGM Studios in 1960 to make the film version of Bells Are Ringing. It would be her first non-Columbia film since she made Adam's Rib for MGM in 1949. Sadly though, it would also prove to be her final big screen appearance. Dean Martin was cast as her leading man and Vincente Minnelli was on board to direct. The movie featured two new songs, Better Than A Dream and Do It Yourself, plus 9 other songs retained from the original stage show. The set was not a happy one though. Judy and Minnelli had frequent disagreements. Complicating matters even further was that Judy felt ill and miserable during much of the filming.

Holliday With Mulligan

In the film version of Bells Are Ringing, Judy goes on a disastrous blind date with a young man. That young man was played by jazz musician Gerry Mulligan. The two had met during the Broadway run of the play and had an instant attraction for one another. This relationship may have been the most satisfying of all of her relationships. They spent every moment they could together, along with Judy's son, Jonathan. Both had been married and divorced before, so neither pushed for marriage. They were content to just enjoy what they had together. Following the release of Bells Are Ringing, Judy undertook her most ambitious project to date, a dramatic play based on the life of actress Laurette Taylor, called Laurette. The play was plagued right from the start. Major script problems and clashes with the director had everyone on edge. The play was failing and rumors pegged the troubled production to close out of town any day. Just as the play began to show signs of coming together, the show's star took ill and the play was shut down. The official reason given was that Judy Holliday had a "bronchial infection." In reality, she had a benign tumor removed from her throat and much more seriously, she had been diagnosed with breast cancer. A mastectomy was performed on her left breast and everyone in her inner-circle prayed that the cancer had not spread. Despite being in a deep depression from the traumatic events, Judy gave into the encouragement of friends and family and made a guest appearance on Perry Como's television show just a few months after the surgery. The public didn't know of her condition, but she knew and she was ill at-ease being in front of a camera. Judy loved the creative aspect of show business and not being apart of that was only depressing her even more. Gerry Mulligan seemed to have the solution. They began writing songs together...he the music and she the lyrics. It had been something that they had been fooling around with since they met, but now it was a tonic of sorts and it seemed to lift her spirits. Some of these songs appear on the album Holliday With Mulligan that they recorded together in 1961 (it would not released until 1980 however).

The Final Curtain Call

A bad investment, hospital bills, a growing son and very little income, all helped expedite Judy's return to acting. In the three years since her operation, she had become more comfortable with her body image and the acting bug was beginning to bite her once again. The time seemed right for her to make her return. The vehicle was a play called Hot Spot. The script was weak, but it played to her strengths - light, satirical comedy laced with energetic musical numbers. Director Morton Da Costa took ill during the tryout performances and had to leave the production. Several directors took a stab at it before Herbert Ross eventually took the helm. Under his guidance the once sloppy production pulled together some of its loose ends...enough at least for it open on Broadway. The reviews were largely unkind to all but Judy and the production continued solely on the strength of her name and performances. Eventually, even the name of Judy Holliday could not keep the much maligned show off the scrap heap. When the final curtain touched the stage floor on May 25th, 1963, it signaled the end of Judy Holliday's all too brief career.

The Party's Over

In the months following the demise of Hot Spot, Judy's health once again began to decline. She started having pain in her right breast and feared that the cancer had returned. After a series of tests, she was told that it wasn't cancer, but an inflammation of her sternum. In fact, the unpleasant truth was that the cancer had indeed spread and that her condition was terminal. Knowing Judy's history of depression, her friends, family and physicians "conspired" (though they did so with the best of intentions) not to tell her that she was dying...at least not right away. Fearing the traumatic news and subsequent depression would actually shorten what little time she had left, they did their best to make her as happy as possible for as long as possible. Within a couple of months nobody had to tell Judy anything. The ravaging effects of the disease were painfully and brutally obvious. On May 26, 1965 she was admitted to Mount Sinai Hospital where she drifted in and out of consciousness for 12 days. On June 7, 1965 at five o'clock in the morning, Judy Holliday passed away at the age of forty-three.

Her Legacy

Unfortunately, the public's memory of Judy Holliday seems to fade a little more with each passing decade since her death. Her short, but very distinguished career ultimately fails to perpetuate the level of recognition she deserves. By most accounts her very best work was done on stage, night after night in footlights. Thus, her greatest performances exist only in the memories of those privileged enough to witness them firsthand. For the rest of us, what remains are a handful of films and a few musical recordings. But to anyone who has seen her perform, the warmth of her smile, the playfulness of her voice, and the radiant glow of her eyes will always be her most enduring legacy.