"I was so cold the other day, I almost got married."
"In Hollywood all the marriages are happy, it's trying to live together afterwards that causes all the problems."
"Now that I'm over sixty I'm veering toward respectability."
"Every now and then, when you're on stage, you hear the best sound a player can hear. It's a sound you can't get in movies or in television. It is the sound of a wonderful, deep silence that means you've hit them where they live."
Career Highlights: The Night of the Hunter, Elvis, Blume in Love
First Major Screen Credit: Knickerbocker Holiday (1944)
Biography
American actress Shelley Winters was the daughter of a tailor's cutter; her mother was a former opera singer. Winters evinced her mom's influence at age four, when she made an impromptu singing appearance at a St. Louis amateur night. When her father moved to Long Island to be closer to the New York garment district, Winters took acting lessons at the New School for Social Research and the Actors Studio. Short stints as a model and a chorus girl led to her Broadway debut in the S.J. Perelman comedy The Night Before Christmas in 1940. Winters signed a Columbia Pictures contract in 1943, mostly playing bits, except when loaned to United Artists for an important role in Knickerbocker Holiday (1944). Realizing she was getting nowhere, she took additional acting instructions and performed in nightclubs.
The breakthrough came with her role as a "good time girl" murdered by insane stage star Ronald Colman in A Double Life (1947). Her roles became increasingly more prominent during her years at Universal-International, as did her offstage abrasive attitude; the normally mild-mannered James Stewart, Winters' co-star in Winchester '73 (1950), said after filming that the actress should have been spanked. Winters' performance as the pathetic factory girl impregnated and then killed by Montgomery Clift in A Place in the Sun (1951) won her an Oscar nomination; unfortunately, for every Place in the Sun, her career was blighted by disasters like Behave Yourself (1951).
Disheartened by bad films and a turbulent marriage, Winters returned to Broadway in A Hatful of Rain, in which she received excellent reviews and during which she fell for her future third husband, Anthony Franciosa. Always battling a weight problem, Winters was plump enough to be convincing as middle-aged Mrs. Van Daan in The Diary of Anne Frank (1959), for which Winters finally got her Oscar. In the 1960s, Winters portrayed a brothel madam in two films, The Balcony (1963) and A House Is Not a Home (1964), roles that would have killed her career ten years earlier, but which now established her in the press as an actress willing to take any professional risk for the sake of her art. Unfortunately, many of her performances in subsequent films like Wild in the Streets (1968) and Bloody Mama (1970) became more shrill than compelling, somewhat lessening her standing as a performer of stature.
During this period, Winters made some fairly outrageous appearances on talk shows, where she came off as the censor's nightmare; she also made certain her point-of-view wouldn't be ignored, as in the moment when she poured her drink over Oliver Reed's head after Reed made a sexist remark on The Tonight Show. Appearances in popular films like The Poseidon Adventure (1972) and well-received theater appearances, like her 1974 tour in Effect of Gamma Rays on Man-in-the-Moon Marigolds, helped counteract such disappointments as the musical comedy Minnie's Boys (as the Marx Brothers' mother) and the movie loser Flap (1970). Treated generously by director Paul Mazursky in above-average films like Blume in Love (1974) and Next Stop Greenwich Village (1977), Winters managed some excellent performances, though she still leaned toward hamminess when the script was weak. Shelley Winters added writing to her many achievements, penning a pair of tell-all autobiographies which delineate a private life every bit as rambunctious as some of Winters' screen performances.
The '90s found a resurgence in Winters' career, as she was embraced by indie filmmakers (for movies like Heavy and The Portrait of a Lady), although she found greater fame in a recurring role on the sitcom Roseanne. She died of heart failure at age 85 in Beverly Hills, CA, in early 2006. ~ Hal Erickson, All Movie Guide
Shelley Winters (August 18, 1920 – January 14, 2006) was an Americanactress who appeared in dozens of films, as well as on stage and television; her career spanned over fifty years, up until her death in 2006. Winters is probably most remembered for her roles in A Place in the Sun, The Big Knife, Lolita, Alfie, and The Poseidon Adventure.
Winters was born Shirley Schrift in St. Louis, Missouri, the daughter of Jewish parents Rose (née Winter), a singer with The Muny, and Jonas Schrift, a designer of men's clothing.[1] Her family moved to Brooklyn, New York when she was three years old.
Career
As the New York Times obituary noted, "A major movie presence for more than five decades, Shelley Winters turned herself into a widely-respected actress who won two Oscars." Winters originally broke into Hollywood as "the Blonde Bombshell", but quickly tired of the role's limitations. She washed off her makeup and played against type to set up Elizabeth Taylor's beauty in A Place in the Sun, still a landmark American film. As the Associated Press reported, the general public was unaware of how serious a craftswoman Winters was. "Although she was in demand as a character actress, Winters continued to study her craft. She attended Charles Laughton's Shakespeare classes and worked at the Actors Studio, both as student and teacher." She studied in the Hollywood Studio Club, sharing the same bedroom with another beginner, Marilyn Monroe.
Her first movie was What a Woman! (1943). Working in films (in mostly bit roles) through the 1940s, Winters first achieved stardom with her breakout performance as the victim of insane actor Ronald Colman in George Cukor's A Double Life, in 1948. She quickly ascended in Hollywood with leading roles in The Great Gatsby (1949) and Winchester 73 (1950), opposite James Stewart. But it was her performance in A Place in the Sun, a departure from the sexpot image that her studio, Universal Pictures, was building up for her at the time, that first brought Shelley Winters acclaim, earning a nomination for the Academy Award for Best Actress.
Notable later roles included her lauded performance as the man-hungry Charlotte in Stanley Kubrick's Lolita, opposite Michael Caine in Alfie, as the once gorgeous, alcoholic former starlet "Fay Estabrook" in Harper (both 1966), in The Poseidon Adventure (1972) as the ill-fated Belle Rosen (for which she received her final Oscar nomination), and in Next Stop, Greenwich Village (1976). She also returned to the stage during the 1960s and 1970s, most notably in Tennessee Williams' Night of the Iguana. Unfortunately, her prestigious work during this period tended to be undermined by her forays into camp kitsch with films like 1968's Wild in the Streets and 1971's Whoever Slew Auntie Roo?. Always conscious of her Jewish heritage—she had first learned her trade in the Borscht Belt—she donated her Oscar for The Diary of Anne Frank to the Anne Frank House in Amsterdam.
As the Associated Press reported, "During her fifty years as a widely known personality, Winters was rarely out of the news. Her stormy marriages, her romances with famous stars, her forays into politics and feminist causes kept her name before the public. She delighted in giving provocative interviews and seemed to have an opinion on everything."
That led to a second career as a writer. Though not an overwhelming beauty, her acting, wit, and "chutzpah" gave her a love life to rival Monroe's. In late life, she recalled her conquests in autobiographies so popular they undermined her reputation as a serious actor. She wrote of a yearly rendezvous she kept with William Holden, as well as her affairs with Sean Connery, Burt Lancaster and Marlon Brando.
Winters suffered a significant weight gain later in life, frequently stating that it was a marketing tool, since there were plenty of prominent normal-weight older actresses but fewer overweight ones, and her obesity would enable her to find work more easily. In 1973, Winters even put on a short-lived Broadway musical revue entitled "The Hoofing Hollywood Heifer", co-starring Charles Nelson Reilly and Bongo, a tap-dancing chimp. Although it closed after only eight performances, this show was applauded for its sheer campy bravado by many critics, one of whom stated that Winters was a "Whale of a talent looking for a sea of applause big enough to rest her massive girth."
Audiences born in the 1980s knew her primarily for the autobiographies and for her television work, in which she played a humorous parody of her public persona. In a recurring role in the 1990s, Winters played the title character's grandmother on the ABCsitcomRoseanne. Her final film roles were supporting ones - she played a restaurant owner and mother of an overweight cook in Heavy (1995) alongside Liv Tyler and Debbie Harry, John Gielgud's wife in The Portrait of a Lady (1996), and a bitter nursing home administrator (whose charges included Charlton Heston, Carroll O'Connor and Shirley Jones) in 1999's Gideon.
Personal life
Winters was married four times, her husbands were:
Captain Mack Paul Mayer, whom she married on New Years Day, 1942; they divorced in October 1948. Mayer was unable to deal with Shelley's "Hollywood lifestyle" and wanted a "traditional homemaker" for a wife. Winters wore his wedding ring up until her death, and kept their relationship very private[citation needed].
Vittorio Gassman, whom she married on April 28, 1952; they divorced on June 2, 1954. They had one child, Vittoria born February 14, 1953, a physician, who practices internal medicine at Norwalk Hospital in Norwalk, Connecticut. She was Winters' only child.
Anthony Franciosa, whom she married on May 4, 1957; they divorced on November 18, 1960.
Gerry DeFord, on January 14, 2006, hours before her death.
As stated above, mere hours before her death, Winters married long-time companion Gerry DeFord, with whom she had lived for nineteen years. Though Winters' daughter objected to the marriage, the actress Sally Kirkland performed the wedding ceremony for the two at Winters' deathbed. Kirkland, a minister of the Movement of Spiritual Inner Awareness, also performed non-denominational last rites for Winters.
Winters died on January 14, 2006 of heart failure at the Rehabilitation Centre of Beverly Hills; she had suffered a heart attack on October 14, 2005. Her third ex-husband Anthony Franciosa died of a stroke five days later.