Lee Remick

Broadway and television

Remick made her Broadway theatre debut, age 18, in the 1953 production Be Your Age.^[9] She began guest starring on episodes of TV anthology series such as Armstrong Circle Theatre, Studio One in Hollywood, Robert Montgomery Presents, Kraft Television Theatre and Playhouse 90.^[10]

Early films

Remick made her film debut in Elia Kazan's A Face in the Crowd (1957). While filming the movie in Arkansas, Remick lived with a local family and practiced baton twirling so that she would be believable as the teenager who wins the attention of Lonesome Rhodes (played by Andy Griffith).

After appearing as Eula Varner, the hot-blooded daughter-in-law of Will Varner (Orson Welles) in The Long, Hot Summer (1958), she appeared in These Thousand Hills (1959) as a dance hall girl, both for 20th Century Fox.

Film stardom

Remick came to prominence portraying a rape victim whose husband is tried for killing her attacker in Otto Preminger's Anatomy of a Murder (1959).

She made a second film with Kazan, Wild River (1960), which co-starred Montgomery Clift and Jo Van Fleet. That year she played Miranda in a television version of The Tempest with Richard Burton.

Remick was top-billed in Sanctuary (1961) alongside Yves Montand. She appeared in The Farmer's Daughter (1962) on television. She starred opposite Glenn Ford in the Blake Edwards suspense-thriller Experiment in Terror (1962). The same year, she was nominated for an Academy Award for Best Actress for her performance as the alcoholic wife of Jack Lemmon in Days of Wine and Roses (1962), also directed by Edwards. Bette Davis, also nominated that year for What Ever Happened to Baby Jane?, said "Miss Remick's performance astonished me, and I thought, if I lose the Oscar, it will be to her." They both lost to Anne Bancroft in The Miracle Worker.^[11]

When Marilyn Monroe was fired during the filming of the comedy Something's Got to Give, the studio announced that Remick would be her replacement. Co-star Dean Martin refused to continue, however, saying that while he admired Remick, he had signed on to the picture strictly to work with Monroe.^{[citation needed]} Remick did The Running Man (1963) with Laurence Harvey and The Wheeler Dealers (1963), with James Garner.

Return to Broadway and 1965 films

Remick next appeared in the 1964 Broadway musical Anyone Can Whistle,^[9] with music and lyrics by Stephen Sondheim and a book and direction by Arthur Laurents, which ran for only one week. Remick's performance is captured on the original cast recording. This began a friendship between Remick and Sondheim, and she later appeared in the 1985 concert version of his musical Follies.^[12]

Remick returned to films with Baby the Rain Must Fall (1965), with Steve McQueen from a script by Horton Foote, and The Hallelujah Trail (1965) with Burt Lancaster.

In 1966, she starred in the Broadway play Wait Until Dark under the direction of Arthur Penn and co-starring Robert Duvall.^[9] It was a big success, and it ran for 373 performances; Remick was nominated for a Tony award for Best Actress (Dramatic).^[13] It was adapted into a successful film the following year starring Audrey Hepburn.

More films and 1970s

She performed in Damn Yankees! (1967) for TV and starred in No Way to Treat a Lady (1968) with Rod Steiger and George Segal, The Detective (1968) with Frank Sinatra, and Hard Contract (1969) with James Coburn.

Remick went to the UK to make Loot (1970) and A Severed Head (1971). Back in the U.S., she was in Sometimes a Great Notion (1971).

She appeared in Hennessy (1975), with Rod Steiger. She co-starred with Gregory Peck in the 1976 horror film The Omen. The film was a commercial success.

Remick followed it up with leading actress roles in Telefon (1977), with Charles Bronson; The Medusa Touch (1978) with Richard Burton; the television miniseries Wheels (1979) with Rock Hudson; Ike: The War Years (1979) portraying Kay Summersby; and The Europeans (1979) for director James Ivory.^[14]

Remick starred in many TV movies beginning with The Man Who Came to Dinner (1972) with Orson Welles. She followed it with Summer and Smoke (1972) for British TV; And No One Could Save Her (1973); Of Men and Women (1973), an unsuccessful pilot; The Blue Knight (1973) with William Holden; A Delicate Balance (1973) with Katharine Hepburn; QB VII (1974); Touch Me Not, a.k.a. The Hunted (1974); Jennie: Lady Randolph Churchill (1975), playing the title role, which earned her an Emmy nomination; Hustling (1975) with Jill Clayburgh; A Girl Named Sooner (1975); Breaking Up (1978); and Torn Between Two Lovers (1979) with George Peppard.

1980s

Remick played Margaret Sullavan in Haywire (1980) and earned an Emmy nomination (as Outstanding Lead Actress in a Limited Series or Special). She had the lead in The Women's Room (1980) and supporting roles in The Competition (1980) and Tribute (1980), the latter with Lemmon.

Remick starred in The Letter (1982), The Gift of Love: A Christmas Story (1983) and a TV adaptation of I Do! I Do! (1984). She had a role in the miniseries Mistral's Daughter (1984), adapted from the novel by Judith Krantz. The reviewer of The New York Times praised Remick for portraying Kate "to fresh-faced clawing perfection".^[15]

Remick was in Rearview Mirror (1984), Toughlove (1985), Of Pure Blood (1986), and Nutcracker: Money, Madness and Murder (1987), earning another Emmy nomination (as Outstanding Lead Actress in a Miniseries or a Special). She went to Australia to make Emma's War (1987).

Remick's later performances include The Vision (1987) with Dirk Bogarde, Jesse (1988), Bridge to Silence (1989) and playing Sarah Bernhardt in Around the World in 80 Days (1989). Her last performance was the lead in the TV movie Dark Holiday (1989).

Film

Television