Jeanne Crain - Career

Career

In 1944 Crain starred in Home in Indiana and In the Meantime, Darling. Her acting was critically panned, but she gained nationwide attention. It resulted in landing the leading role in The Shocking Miss Pilgrim in October 1944, a musical film which was eventually shelved and made with Betty Grable.

Crain first received critical acclaim when she starred in Winged Victory (1944). She co-starred in 1945 with Dana Andrews in the musical film State Fair, in which Louanne Hogan dubbed Crain's singing numbers. After that, Crain often had singing parts in films, and they were invariably dubbed, in most cases by Hogan. Also in 1945, Crain starred in Leave Her to Heaven with Gene Tierney. Her ice skating ability was on display in the 1946 film, Margie, in which she and Conrad Janis danced around the ice rink as her boyfriend, Alan Young, slipped and stumbled his way along the ice.

In 1949, Crain appeared in three films — A Letter to Three Wives, The Fan and Pinky, the latter earning her an Academy Award nomination for Best Actress. Pinky was controversial, since it told the story of a light-skinned African-American woman who passes for white in the Northern United States. Although Lena Horne and other black actresses were considered, Darryl F. Zanuck chose to cast a white actress for fear of racial backlash.

Crain starred opposite Myrna Loy and Clifton Webb in the 1950 biographical film Cheaper by the Dozen. Next, Crain paired up with Cary Grant for the Joseph L. Mankiewicz production of the offbeat drama People Will Talk (1951). Despite Jeanne heavily campaigning for the female lead, Anne Baxter was initially cast in the part, but when she had to forfeit due to pregnancy, Crain was given the role after all. Shortly after, she starred in Charles Brackett's first film The Model and the Marriage Broker (1951). Cast in May 1951, Crain was Brackett's first choice for the role. Crain was reunited with Loy for Belles on Their Toes (1952), the sequel to Cheaper by the Dozen.

While still at 20th Century Fox, Crain played a young wife quickly losing her mind amidst high-seas intrigue in Dangerous Crossing (1953), co-starring Michael Rennie. Crain then starred in a string of films for Universal Pictures, including a notable pairing with Kirk Douglas in Man Without a Star (1955).

Crain showed her dancing skills in 1955's Gentlemen Marry Brunettes co-starring Jane Russell, Alan Young and Rudy Vallee. The production was filmed on location in Paris, France. The film was based on the Anita Loos sequel to Gentlemen Prefer Blondes. Gentlemen Marry Brunettes was popular throughout Europe at the time and was released in France as A Paris Pour les Quatre (To Paris for the Four), and in Belgium as Cevieren Te Parijs. Later in the 1950s, Crain, Russell and another actress formed a short-lived singing and dancing lounge act on the Strip in Las Vegas, Nevada.

In 1956, Crain starred opposite Glenn Ford, Russ Tamblyn and Broderick Crawford in the Western film The Fastest Gun Alive directed by Russell Rouse. In 1957, she played a socialite who helps a floundering singer and comedian (Frank Sinatra) redeem himself in The Joker Is Wild.

In 1959, Crain appeared in a CBS special television production of Meet Me in St. Louis. Also starring in the broadcast were Loy, Walter Pidgeon, Jane Powell and Ed Wynn, with top billing going to Tab Hunter. Film roles became fewer in the 1960s as Crain went into semi-retirement. She appeared as Nefertiti in the Italian production of Nefertiti, Queen of the Nile (1961) with Edmund Purdom and Vincent Price. During this period Crain appeared - for the second time - as one of the mystery guests on the game show What's My Line? and made several guest appearances on Burke's Law, a detective television series. She starred again with Dana Andrews in Hot Rods To Hell (1967). Her last films were Skyjacked (1972) and The Night God Screamed (1975).

Read more about this topic:  Jeanne Crain

Famous quotes containing the word career:

    The problem, thus, is not whether or not women are to combine marriage and motherhood with work or career but how they are to do so—concomitantly in a two-role continuous pattern or sequentially in a pattern involving job or career discontinuities.
    Jessie Bernard (20th century)

    I doubt that I would have taken so many leaps in my own writing or been as clear about my feminist and political commitments if I had not been anointed as early as I was. Some major form of recognition seems to have to mark a woman’s career for her to be able to go out on a limb without having her credentials questioned.
    Ruth Behar (b. 1956)

    Work-family conflicts—the trade-offs of your money or your life, your job or your child—would not be forced upon women with such sanguine disregard if men experienced the same career stalls caused by the-buck-stops-here responsibility for children.
    Letty Cottin Pogrebin (20th century)