PREFACE
What follows is a detailed biographical essay that I have written. It encompasses major events in her life and career, but it is by no means a complete portrait of this complex woman. For that, I highly recommend that you try to find copies of the two biographies that have been written about her. Check out my "Judy Holliday Biographies" link for more information.



LOOKING BACK
Despite the fact that her life and career were cut tragically short, Judy Holliday still managed to leave her mark on several areas within the entertainment industry. She would rise to fame in the late 1940's and early 50's, playing a succession of "intellectually challenged" women. In reality though, her I.Q. was tested to be a remarkable 172, well within the range that is considered to be "genius" level. The "dumb" blonde character was already a Hollywood cliché by the time Judy happened upon it. But, it was Judy who transformed them from arm pieces to centerpieces. She took these 2-dimensional "stock" characters and through her poise, charm and attention to detail, she added a third dimension to them...a more "human" dimension. With just a look or the slightest inflection in her voice, she could evoke a sense of pathos that only the truly great comedians, like Charlie Chaplin could. Perhaps she was too good at playing "dumb" blondes, because Hollywood's "power elite" were very reluctant to let her show just how good an actress she really was. The victim of type-casting, "blacklisting", and ultimately cancer, Judy Holliday's legacy of work only hints at what she could have achieved in time. Her potential was limitless, unfortunately, her opportunities were not.



THE CURTAIN RISES
According to her birth certificate, Judy Holliday was born Judith Tuvim in New York City, New York on June 21, 1921. Her parents, Abe and Helen, divorced when she was just six years old. Following the divorce, Helen suffered fits of depression and ultimately a breakdown. Unsettling childhood events like these, coupled with a great deal self-consciousness and self-doubt would be the catalysts for Judy's future weight problems and her own bouts with depression. As Judy matured, she began to set her sights on a career in the theatre, not so much acting, but writing and directing. In January of 1938, Judy took her first entertainment-related job. She accepted the position of "Assistant Switchboard Operator" at the fashionable repertory theatre being headed up by showbiz "wunderkind" Orson Welles. Though her job at The Mercury Theatre was not very fulfilling, it did pay a much needed $15 a week and led to an important friendship with Welles' business partner, John Houseman. It was around this same time, that Judy joined a cabaret act with Adolph Green, Betty Comden, Al Hammer and John Frank. The group would come to be known as "The Revuers".



FUN WITH THE REVUERS
The Revuers got their start playing in a Greenwich Village nightclub called "The Vanguard". Their material was mostly original, a collaborative effort amongst all five members. Over the course of a few months, they built up a small, loyal following and graduated to playing some of the more popular New York supper clubs. This led to even more high-profile appearances including a regular half-hour radio program on NBC called "Fun With The Revuers", which ran for 16 weeks. They also enjoyed an extended engagement at Radio City Music Hall. Things began to go south for them, when the group signed on as part of an ill-fated musical called "MY DEAR PUBLIC". It played a few try out performances "out of town", but closed before reaching New York. Soon after this, John Frank became ill and was forced to leave the group. He would die three years later of Leukemia. The four remaining members of "The Revuers" were at a crossroads. They decided to stay together as a group, but they wanted to try their hand at something new this time...motion pictures. So, in 1944, the Revuers packed up and headed for the West coast.



ALL THAT GLITTERS IS NOT GOLD
Ever since Judy began performing with the Revuers, she was singled out from the group and courted by agents. The problem was, that they were only interested in her, and not the rest of the group. Because Judy was so intensely loyal to the other members of the group (as she was toward all her friends), she declined all offers that came her way. When the Revuers reached Hollywood, they found the movie business to be no different. True to form, 20th Century Fox made Judy several lucrative offers, but since they were not interested in Green, Comden or Hammer, Judy refused. Eventually though, a deal was struck whereby Judy agreed to be placed under contract for 3 pictures, and the rest of the Revuers would be contracted for one film with a studio option for more. They were immediately cast in the film "GREENWICH VILLAGE", which starred Vivian Blaine, Don Ameche and Carmen Miranda. The Revuers were given two scenes in which they could do skits from their cabaret act, as well as some work as extras. They were crestfallen when they found out that their "big" scenes were edited down to nothing and that all that really remained, was their work as extras. Fox kept Judy under contract, but chose not to pick up the options on Green, Comden and Hammer. Thus, the group was split up and the Revuers came to an unceremonious end. Judy's next part would be only a slight improvement over "Greenwich Village". Fox put her to work with a very small role as a defense plant welder in "SOMETHING FOR THE BOYS". The role was not exactly taxing for her though, it only required her to say one line of dialogue. Judy wrapped up her trio of 1944 Fox movies with a supporting role in "WINGED VICTORY". This film would be significant for two reasons. First, it offered Judy her first real chance to "act" on screen, as opposed to just filling space on it. Secondly, the director of the film was George Cukor, with whom she developed a very beneficial working relationship. Cukor, would go on to direct the next four films that she was to appear in. Upon completion of the film, Fox informed Judy that they would not be renewing her contract. Dejected and disillusioned, Judy decided to leave Hollywood behind and return home to her native New York.



BROADWAY BOUND
Judy arrived back in New York with more than just a bruised ego, she also housed a strong ambition to be successful in the theatre. Adolph Green and Betty Comden had since reunited, and were in the process of writing what would be the first of many theatrical hits, a lively musical called "ON THE TOWN". It was through them, that Judy met acclaimed theatre director Herman Shumlin, who cast in her in his 1945 play called "KISS THEM FOR ME". Judy played the part of "Alice", a dumb blonde who provides "comfort" to Navy pilots on shore leave. Critics and audiences alike instantly fell in love with her. Aside from her stand out performance, the play received only mixed reviews and closed after 14 weeks. Nevertheless, Judy Holliday had tasted success and many people had taken notice of her very promising talent.



A STAR IS BORN
In 1946, the gossip pages were filled with rumors about a troubled play called "BORN YESTERDAY". The trouble seemed to stem from it's temper-mental star, Jean Arthur. Her repeated clashes with the show's producer Max Gordon, coupled with her failure to appear at several of the try out performances, had incited rampant speculation about the show's future. With the likelihood of Arthur leaving the show looming quite large, the search was on for a possible replacement. One name in particular kept popping up...Judy Holliday. As the show moved from Boston to Philadelphia, Jean Arthur did the expected, and made it official, bowing out of the production. Judy was rushed in as a last minute substitute. The play was scheduled to open in Philadelphia in just a scant three days. She worked around the clock, to the point of total mental and physical exhaustion, to learn the part of "Billie Dawn" from top to bottom. "Billie", is an ex-chorus girl and "kept" woman of brash junkyard tycoon, Harry Brock (played by Paul Douglas). Brock brings Billie along on a "business" trip to Washington, where he hopes to bribe a congressman into helping him with an international swindle. When Billie's lack of education jeopardizes his dealings with the congressional upper-crust, he hires reporter "Paul Verrall" (played by Gary Merrill), to be her personal tutor. What ensues is a "Pygmalion-like" transformation from dumb blonde to cultured woman. By the time the curtain came down in Philadelphia, Judy had everyone convinced that this relative newcomer, appearing in her first major role, had "star" written all over her. "Born Yesterday" had it's long awaited New York premiere at the Belasco Theatre on February 4, 1946. It would be the breakthrough role that she had been waiting for. Darling of the critics, adored by the theatre-going public, Judy would ride the wave of the show's success for nearly 4 years. Busy as she was with the show, Judy did manage to find the time to marry a clarinetist from the New York Symphony Orchestra, David Oppenheim. The ceremony took place in the home of Judy's mother, Helen, on January 4, 1948. With her career soaring and her personal life beginning an exciting new chapter, Judy was on top of the world. Without a doubt, this period would go down as one of the happiest of her life. The play's long run of success drew attention from the major Hollywood studios and a protracted bidding war over movie rights to the play ensued. Columbia Studios emerged with a lighter bank account but with a proven hit they could attach their logo to. When it came time to cast the film version, Judy seemed to be the obvious choice to play "Billie Dawn". Many actress' names were mentioned in connection with the coveted role and 35 were screen-tested, but Judy's name was astonishingly being omitted from the list of contenders. Columbia Studios' boss, Harry Cohn, was not interested in seeing Judy reprise her role. He claimed that she was "fine" for the stage, but that she lacked the screen presence and sex appeal he felt was needed for the film.



AN ELABORATE SCREEN TEST
It seemed that Harry Cohn was just about the only person in Hollywood who couldn't picture Judy in the role, but George Cukor had a plan in mind to change that. Cukor, already signed to direct "Born Yesterday", enlisted the help of Katherine Hepburn and Spencer Tracy. The trio was just about to begin work on the MGM film "ADAM'S RIB". With a little coaxing from the star couple, Judy accepted the supporting role of "Doris Attinger" in the film. Doris is a New York housewife who is put on trial for shooting her philandering husband (played by Tom Ewell). This role was to serve as an elaborate screen test, a test that MGM rival, Cohn, could not ignore. As the film's production continued, the press was being spoon-fed reports about Judy's incredible performance and her ability to hold her own with big screen heavyweights like Hepburn and Tracy. Before "Adam's Rib" was even completed, Harry Cohn acquiesced and announced that Judy Holliday would play "Billie Dawn" in the film version of "Born Yesterday".



YESTERDAY, ONCE MORE
As it turned out, Judy would be the only cast member from the stage version to reprise her role. For "Harry Brock", Cohn chose Broderick Crawford, who had won an OSCAR the previous year for "ALL THE KING'S MEN". William Holden drew the romantic lead assignment, playing reporter "Paul Verrall". The film was rushed out into release just in time to qualify for the 1950 Academy Awards. Judy was nominated for Best Actress but figured to be a dark horse at best, because her fellow nominees included Bette Davis for "ALL ABOUT EVE" and Gloria Swanson for "SUNSET BOULEVARD". Judy, Gloria Swanson, Jose Ferrer and Celeste Holm were unable to be in California for the awards ceremony, so a live radio hookup was set up between New York and California. Judy wept tears of joy as her name was announced as the Best Actress of 1950. It was a stunning upset that left Judy euphoric and Miss Swanson crushed. Just as the stage version of "Born Yesterday" had elevated her career to a new level, the film version now catapulted her into the limelight. Judy Holliday was now the talk of the movie-making industry, a star that had just begun to shine. But the warmth of the spotlights that were shining down upon Hollywood's latest "overnight sensation", would soon turn into a heated glare of accusation and contempt.



A RED MENACE?
Once Judy Holliday became a household name, she became the prey for a paranoid vanguard of politically-driven patriots more commonly known as "Communist Hunters". The allegations that Judy was a communist were not new, in fact, they began surfacing back in 1948. While still performing in "Born Yesterday" on Broadway, her name appeared in an Anti-Communist newsletter entitled "Red Channels". It purported itself to be a list of 151 names of people in the entertainment field, whose political history suggested that they might be sympathetic to Communism and Anti-Fascism. Back in the late 1940's, this newsletter seemed rather innocuous and was dismissed by most as just "fringe-element" sensationalism. But, as the anti-communism movement began to snowball, the innocuous quickly mushroomed into the ominous. By the early 1950's, "Red Channels" in addition to being a "bible" of sorts to the Anti-Communists, also became accepted as the prime resource guide to consult when it came time hire the denizens of the entertainment industry. If your name appeared in "Red Channels", you would not be hired...thus, the infamous period of "blacklisting" had begun. The "Red Channels" entry for Judy stated that she had given time and/or money to the following organizations: The Stop Censorship Committee, The World Federation for Democratic Youth, and The Civil Rights Congress. The report alleged that all of these organizations were Communist "fronts". It also went on to say that "she wired greetings of good luck and best wishes to the Moscow Art Theatre". It was based on this information like this, as weak as it was, that Judy was summoned to testify before the Senate Internal Security Subcommittee that was being headed up by Nevada Senator Pat McCarran. In Washington, D.C. on March 26, 1952, a noticeably nervous Judy Holliday appeared before the stone-faced assemblage knowing full well that the fate that had already befallen some of her fellow actors, could befall her with one wrong answer. During the course of the closed-door session, she stated that yes, she had indeed made charitable donations and appeared at some benefits for these organizations, but that she did not know that they were allegedly Communist-backed fronts. She emphatically denied that she was now, or had ever been a Communist. She did however, grant the fact that she was "guilty" of not checking into these organizations thoroughly enough before lending her name or monetary support to what seemed to be a worthy cause. The Committee decided it was satisfied enough with her answers and she was dismissed. Later, when her testimony was released to the public, it became apparent that several times during the session, Judy used her "dumb blonde" image to her advantage, skirting a couple of questions and subtly mocking the outlandish proceedings.

Question: Are you sure Betty Comden and Adolph Green do not have Communist records?

Answer: "I am as sure of that as I am sure of anybody who isn't me."

Question: Do Thomas Mann and Albert Einstein have Communist records?

Answer: "I am sure that Mann and Einstein got into it the way I did, because none of them are Communists. I mean if you are a Communist, why go to a Communist front? Why not be a Communist? Whatever you are, be it!"

Question: Did your friends ask you to be photographed with strikers protesting the docking of a ship out of Franco's Spain?

Answer: "Well they must have because I wouldn't wander off over to strikers and ask to have my picture taken."

Her "performance" at the hearing only served to raise the ire of her detractors even more. Even though, she was essentially cleared of all wrong-doing, the allegations and temporary "blacklisting" had made a significant and damaging impact on the trajectory of what looked like a tremendously promising career. Judy worked very little in the 2 years following her OSCAR award-winning performance. At one time, NBC was extremely interested in offering Judy her own weekly television series, but when the "Red Channels" report surfaced, they withdrew the offer. The opportunity to do a show like that could have cemented her popularity with public, much in the same way that Lucille Ball is so fondly remembered today, but unfortunately we will never know. She also lost numerous radio opportunities, as well as any chance to cash in on her OSCAR success with product endorsements. Judy did have one theatre project during this period, though. In 1951, the New York repertory company City Center gave Judy her choice of projects, if she would agree to perform. She chose "DREAM GIRL", a play written by Elmer Rice and directed by Morton Da Costa. "DREAM GIRL" was only a moderate success, but an important creative choice for Judy. It afforded her the chance to break out of the now all too confining "Billie Dawn" character and step into the skin of a character totally unlike anyone she had ever portrayed before. The one cloud that lingered over her, were the persistent contingent of picketers who seemed to follow Judy around from place to place, like a unfriendly shadow. But the "blacklist", the picketers and even death threats could not deter Judy from her desire to move forward with both her life and career.



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 Studios to fall back on. The studio had a vested interest in the fate of their new star and they supported and aided Judy in every way they could throughout this turbulent period. Not long after her appearance in Washington, Columbia released her 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. The lack of on-screen chemistry not withstanding, the film was well received and Judy shined once again. For her performance as "Florence Keefer", Judy garnered the praise of the critics, who admired her dramatic portrayal. 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 flow 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 in tatters, her career and popularity began to rebound. In February of '54, Judy made her first big television appearance 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 took the reins and did a good job for what he had to work with. 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. 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 reinforced their commitment to Judy when they purchased the film rights to the popular play "SOLID GOLD CADILLAC" for her to star in. Though she did not originate the role, as she had previously done with "Born Yesterday", she did 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 it's board of directors. Much to her chagrin, it did cast her opposite Paul Douglas, with whom she had spent many tempestuous nights with 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. Soon after, 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 life and career she had waged an on-going battle with depression. Following the break up of her marriage, Judy Holliday'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 1956's "FULL OF LIFE" opposite Richard Conte. For the first time, critics lavished their praise less on Judy and more on someone else. Critics agreed that portly 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, Charles Chaplin. Their sudden romance swept them back to New York, where Judy was making preparations for her return to the footlights of 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 whiz 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 or choreographer Bob Fosse, 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" 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 ahead. It, along with the character of "Billie Dawn", would become two of the foremost things associated with the name Judy Holliday. The success of the 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. Much like "Born Yesterday" more than a decade earlier, "Bells Are Ringing" went on to enjoy a long run, lasting some 3 years. In 1957, Judy and Sydney each took home a Tony award for their performances. Following their messy break-up, Chaplin decided not to renew his contract, and Hal Linden was brought in to replace him for the remainder of the show's run.



I'M GOING BACK"
By mutual agreement, Columbia Studios and Judy decided 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. To this day, it remains a lasting showcase of Judy Holliday's unique and charming talents.



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 just enjoyed 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 non-malignant 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 hoped that the cancer had not spread. Despite being in a deep depression from the traumatic events, Judy gave in to the encouragement of friends and family and made a guest appearance on Perry Como's TV show just 3 months after the surgery. Though the public didn't know of her condition...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 1963 (the album was not released until 1980).



THE FINAL CURTAIN CALL
A bad investment, hospital bills, a growing son and very little income, 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 "comeback". The vehicle was a play called "HOT SPOT". The script played to her strengths...light, satirical comedy laced with energetic musical numbers. Director Morton Da Costa took ill during the tryout performances and after several directors took their stab at it, Herb Ross took the helm. Under his guidance, the once sloppy production pulled together some of it's 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 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, 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 informed that it wasn't cancer, but an inflammation of her sternum. In fact, the unpleasant truth was that the cancer had spread and 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 Judy that she was dying, at least not immediately. 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 Mt. 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 recognition that 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 it 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, the warmth of her smile, the playfulness of her voice, and the radiant glow of her eyes will always be her most enduring legacy.

Home | Film Career | Stage Career | Images
Music Recordings | Quotes | Biographies | FAQ Chronology