Frances Farmer – Style Icon

There is something about her, the biopic with Jessica Lange helped push her into cult icon status for me.  Seattle girl, free thinker, rule breaker and getting a raw deal from Hollywood all inspire other artists.  They understand the misunderstood.  She is the glamorous Hollywood misfit queen of all misfits.  I think of her several times a week when I walk by the employee side entrance to to the Olympic Hotel in Seattle, a door I know that she went through hundreds of times in the early 1950′s when she took a job sorting laundry after her release from a mental hospital.  How she must have felt going in that side door when only 14 years earlier, that very same hotel had held the world premier of her film “Come and Get It.”  I think of that aching feeling of betrayal and abandonment and the complexities of mental instability, it must have been crippling.  (It is a similar feeling that I have when I am driving home and pass Kurt Cobain’s house and see the bench in “Kurt’s Park” covered with flowers and burning candles, even this weekend.)  Ladies and gentlemen, Frances Farmer.  Style Icon.NAME: Frances Farmer
OCCUPATION: Film Actress
BIRTH DATE: September 19, 1913
DEATH DATE: August 01, 1970
EDUCATION: University of Washington
PLACE OF BIRTH: Seattle, Washington
PLACE OF DEATH: Indianapolis, Indiana

BEST KNOWN FOR: Actress Frances Farmer starred in films in the late ‘30s and early ‘40s, but was best known for her rebellious reputation and the time she spent in a mental institution.

Born September 19, 1913, in Seattle, Washington. The daughter of a lawyer, Farmer enjoyed a comfortable childhood, during which she developed a penchant for stage acting. In 1931, she enrolled at the University of Washington, where she majored in journalism and drama. After a failed attempt to join the Group Theatre in New York, Farmer concentrated on a film career, signing with Paramount Studios in 1936. Later that year, she was cast in a bit part in the drama Too Many Parents, followed by Border Flight and the musical Rhythm on the Range, starring Bing Crosby. Playing the dual role of a saloon singer and her daughter, Farmer’s work in the 1936 film Come and Get It, was heralded as the best screen performance of her career.

Despite Farmer’s initial success, she quickly earned a reputation as a demanding and rebellious actress on the set. Displeased with her attitude, Paramount cast her in bland parts in a handful of films, including Exclusive and Ebb Tide (both 1937). By the early 1940s, Farmer was forced to appear in a succession of inferior productions, including South of Pago Pago (1940), World Premiere, and Among the Living (both 1941).

In 1942, Farmer’s career enjoyed a brief resurgence when she was cast opposite Tyrone Power and Roddy McDowall in the swashbuckler Son of Fury. However, Farmer’s efforts to improve her image backfired when she was arrested and convicted of drunk driving at the time of the film’s release. Inundated with negative publicity, Farmer traveled to Mexico. However, by leaving the United States, she was found in violation of her probation. She was put on trial and deemed mentally ill. Farmer was committed to a mental institution where she underwent shock treatments, hydrotherapy baths, and reportedly received a trans-orbital lobotomy. Over the next few years, her physical and mental health deteriorated; she developed a debilitating dependency on alcohol and suffered from a series of nervous breakdowns.

Upon her release from the institution, in 1949, Farmer worked as a hotel receptionist before making a comeback appearance on the Ed Sullivan Show in 1957. The following year, she starred in her last feature film, The Party Crashers, and began a six-year run on the Indianapolis-based TV show Frances Farmer Presents.

On August 1, 1970, Farmer died after a long battle with cancer; she was 56 years old. Her intimate autobiography, Will There Really Be a Morning?, was published posthumously in 1972. In the early 1980s, her story was captured on film in the biopic Frances (1982), starring Jessica Lange, and in the black and white documentary Committed (1983).

More than two decades after Farmer’s death, the alternative rock group Nirvana recorded the single “Frances Farmer Will Have Her Revenge on Seattle.” Written by lead singer Kurt Cobain, the tribute appeared on the band’s In Utero (1993) album. Cobain also named his daughter, Frances Bean Cobain, after Farmer.

Farmer was married three times: to actor Leif Erickson (from 1936-42); to Alfred Lobley (from 1953-58); and to Leland Mikesell (from 1958 until her death).

In Popular Culture:

  • Jessica Lange played Farmer in the 1982 film Frances, for which she was nominated for an Academy Award for Best Actress. Kim Stanley was nominated for an Academy Award for Best Supporting Actress for portraying Farmer’s mother. The film contained a fictional scene which depicted Farmer undergoing a transorbital lobotomy. In Hollywood style, the film also omitted numerous facts and added a fictional life-long, love-interest character named “Harry”.
  • Susan Blakely portrayed Farmer in a 1983 television production Will There Really Be a Morning?, which was named after Farmer’s autobiography. Academy Award winner Lee Grant portrayed her mother in the same production.
  • In 1984, Culture Club had a #32 hit in the UK Single Charts “The Medal Song”, which was about the actress.
  • Tracey Thorn’s song “Ugly Little Dreams” on Everything But The Girl’s 1985 LP “Love Not Money” was also inspired by Frances Farmer.
  • The Nirvana song “Frances Farmer Will Have Her Revenge on Seattle”, which was written by fellow Washington native Kurt Cobain, was named after Farmer. It appears on their 1993 “In Utero” LP.
  • Patterson Hood, singer, guitarist and songwriter with the rock band Drive-By Truckers, included a song about Farmer (titled “Frances Farmer”) on his 2004 solo album, Killers and Stars. The album’s cover features a drawing of Farmer by Toby Cole.
  • Carol Decker of the band T’Pau wrote a song “Monkey House” about Frances Farmer’s mental illness which was featured on the 1987 album “Bridge Of Spies”.
  • French singer Mylène Jeanne Gautier, changed her name into Mylène Farmer as a tribute to Frances.

S and R, Then and Now.

Today is Valentine’s Day.  I first met my valentine 20 years ago today.  We were both young guys kicking around the city.  I dug through the archives and found the first mention of our meeting and interaction.  So, here is the TRANSCRIPT from that portion of my life:

14 February 1993: Then on Friday evening, I went over to Scotty’s house to go to a party. Everyone was there. I had way too much to drink and then went to QFC to buy more beer.

Back at the party, we drank for a while and then I got talked into going dancing with a guy named Rick and a few others. I went and had a blast. Then we all piled into the car and went back to the party, by this time it must have been at least 4:00 am.

21 February 1993: Last night I went to the Vogue. Rick was there.

22 February 1993: Rick called yesterday. We are going to go out some time this week.

28 February 1993: On Thursday, I went to ReBar with Scotty. We sat out in the parking lot and split a 40. We felt very Bremerton. Then we had a few more once we got inside.
Rick was there, he looked very good as usual.

I went to Ashlee‘s apartment on Saturday and from there we went to the Frontier Room. Somewhere along our way to the Vogue, Ashlee picked up two boys. They’re in a band (who isn’t?). Rick was there.

20 March 1993: Thursday night I was a drunken mess. Rebar should be renamed “ReBlur.”

From then on, there is no more mention of Rick in the archives. Amazing to think that from that brief interaction 20 years ago, we reconnected and have made our relationship into what it is today. It says a lot about timing, I guess.

One of the first gifts I gave Rick was a book of Pablo Neruda‘s poems with this one bookmarked:

Sonnet XVII - Pablo Neruda

I do not love you as if you were salt-rose, or topaz,
or the arrow of carnations the fire shoots off.
I love you as certain dark things are to be loved,
in secret, between the shadow and the soul.

I love you as the plant that never blooms
but carries in itself the light of hidden flowers;
thanks to your love a certain solid fragrance,
risen from the earth, lives darkly in my body.

I love you without knowing how, or when, or from where.
I love you straightforwardly, without complexities or pride;
so I love you because I know no other way

than this: where I does not exist, nor you,
so close that your hand on my chest is my hand,
so close that your eyes close as I fall asleep.

Here are some of the photos taken over the last few years.

On Valentine’s Day, I quite often think about poems and letters and there are a few favorites that I have remembered over the years.  One being the above poem and another being the many many love letters between the Fitzgeralds.  Zelda Fitzgerald, née Sayre, was F. Scott Fitzgerald‘s great muse and more. He modeled many of his characters after her, and he even included lines in his books that were from letters that Zelda had written him.

The two went on their first date on her 18th birthday. Her family was wary of him, and she wouldn’t marry him until his first novel was actually published. Zelda was still 18 when she wrote this letter to Scott in the spring of 1919:

“Sweetheart,

Please, please don’t be so depressed — We’ll be married soon, and then these lonesome nights will be over forever — Maybe you won’t understand this, but sometimes when I miss you most, it’s hardest to write — and you always know when I make myself — Just the ache of it all — and I can’t tell you.

How can you think deliberately of life without me — If you should die — O Darling — darling Scott — It’d be like going blind. I know I would, too, — I’d have no purpose in life — just a pretty — decoration. Don’t you think I was made for you? I feel like you had me ordered — and I was delivered to you — to be worn — I want you to wear me, like a watch-charm or a buttonhole bouquet — to the world. And then, when we’re alone, I want to help — to know that you can’t do anything without me.

One week after This Side of Paradise appeared in print, Zelda and Scott got married at St. Patrick’s Cathedral in New York City. They became known as the quintessential Jazz Age couple: beautiful, flashy, with money, and often drunk in public. The year they married, Zelda wrote to Scott:

“I look down the tracks and see you coming — and out of every haze & mist your darling rumpled trouser are hurrying to me — Without you, dearest dearest, I couldn’t see or hear or feel or think — or live — I love you so and I’m never in all our lives going to let us be apart another night. It’s like begging for mercy of a storm or killing Beauty or growing old, without you.

Lover, Lover, Darling — Your Wife”

God Dies: An Essay by Frances Farmer

Today is Frances Farmer‘s 99th birthday.  I think about her frequently, mostly because I work diagonally from the Olympic Hotel where she was employed in the laundry room after her first rise and fall.  I think about how she walked this same block 60 or so years earlier.  To celebrate her birthday, here is the essay that launched her fame and controversy.

God Dies: An Essay by Frances Farmer

Film star Frances Farmer (1913-1970) was a senior at West Seattle High School in April 1931 when she gained her first taste of national notoriety, with this award-winning essay, titled “God Dies.” The essay won first place and a prize of $100 in a contest sponsored by The Scholastic, a magazine for high school students. It also generated considerable outrage, especially from local ministers.

News coverage of the award focused less on the essay itself than on its provocative title. Front-page articles in Seattle newspapers carried headlines such as “Seattle Girl Denies God and Wins Prize.” The stories were eventually picked up by the major wire services and distributed to papers around the country. Farmer received more than 100 letters expressing shock, dismay, and/or indignation. In Seattle, several churches held special meetings to discuss the “rampant atheism” in the public schools. “If the young people of this city are going to hell,” one Baptist minister reportedly told his congregation, “Frances Farmer is surely leading them there” (Arnold, 31).

Farmer made headlines again four years later, as a drama student at the University of Washington, when she won a trip to the Soviet Union by selling subscriptions to a leftist newspaper. She accepted the prize despite the fierce opposition of her mother, Lillian V. Farmer, who said her daughter had been corrupted by radical teachers. She left Seattle by bus on March 30, 1935, traveling to New York and from there to Moscow on a steamer. When she returned to New York, at the end of May, she cashed in the return portion of her bus ticket home and used the money to rent a room. Within weeks, she had met an agent, had a screen test, and signed a contract with Paramount Pictures.

Some years later, at the peak of her career as a film star, Farmer said the reaction to her high school essay had been a turning point in her life. “It was pretty sad,” she said, “because for the first time I found how stupid people could be. It sort of made me feel alone in the world. The more people pointed at me in scorn the more stubborn I got and when they began calling me the Bad Girl of West Seattle High, I tried to live up to it” (Collier’s).

Farmer starred in more than a dozen Hollywood films and several Broadway plays before her career was derailed by a series of commitments to mental institutions. Judged legally insane in 1944, she spent more than five years as a patient at Western State Hospital in Steilacoom, Washington. After her release, in 1950, she settled first in Eureka, California, and then in Indianapolis, Indiana, where she died in 1970.

Here is her essay, as published in The Scholastic on May 2, 1931.

“God Dies”

No one ever came to me and said, “You’re a fool. There isn’t such a thing as God. Somebody’s been stuffing you.” It wasn’t a murder. I think God just died of old age. And when I realized that he wasn’t any more, it didn’t shock me. It seemed natural and right.

Maybe it was because I was never properly impressed with a religion. I went to Sunday school and liked the stories about Christ and the Christmas star. They were beautiful. They made you warm and happy to think about. But I didn’t believe them. The Sunday School teacher talked too much in the way our grade school teacher used to when she told us about George Washington. Pleasant, pretty stories, but not true.

Religion was too vague. God was different. He was something real, something I could feel. But there were only certain times when I could feel it. I used to lie between cool, clean sheets at night after I’d had a bath, after I had washed my hair and scrubbed my knuckles and finger nails and teeth. Then I could lie quite still in the dark with my face to the window with the trees in it, and talk to God. “I am clean, now. I’ve never been as clean. I’ll never be cleaner.” And somehow, it was God. I wasn’t sure that it was … just something cool and dark and clean.

That wasn’t religion, though. There was too much of the physical about it. I couldn’t get that same feeling during the day, with my hands in dirty dish water and the hard sun showing up the dirtiness on the roof-tops. And after a time, even at night, the feeling of God didn’t last. I began to wonder what the minister meant when he said, “God, the father, sees even the smallest sparrow fall. He watches over all his children.” That jumbled it all up for me. But I was sure of one thing. If God were a father, with children, that cleanliness I had been feeling wasn’t God. So at night, when I went to bed, I would think, “I am clean. I am sleepy.” And then I went to sleep. It didn’t keep me from enjoying the cleanness any less. I just knew that God wasn’t there. He was a man on a throne in Heaven, so he was easy to forget.

Sometimes I found he was useful to remember; especially when I lost things that were important. After slamming through the house, panicky and breathless from searching, I could stop in the middle of a room and shut my eyes. “Please God, let me find my red hat with the blue trimmings.” It usually worked. God became a super-father that couldn’t spank me. But if I wanted a thing badly enough, he arranged it.

That satisfied me until I began to figure that if God loved all his children equally, why did he bother about my red hat and let other people lose their fathers and mothers for always? I began to see that he didn’t have much to do about hats, people dying or anything. They happened whether he wanted them to or not, and he stayed in heaven and pretended not to notice. I wondered a little why God was such a useless thing. It seemed a waste of time to have him. After that he became less and less, until he was…nothingness.

I felt rather proud to think that I had found the truth myself, without help from any one. It puzzled me that other people hadn’t found out, too. God was gone. We were younger. We had reached past him. Why couldn’t they see it? It still puzzles me.

HistoryLink.org- the Free Online Encyclopedia of Washington State History.

S and R, Then and Now.

Two years ago, Rick and I ran into each other again after meeting 19 years earlier. I dug through the archives and found the first mention of our meeting and interaction. It is cute, by no means long lost lovers separated by time, distance, a world war, or anything of that magnitude. I was 23, kicking around the big city, crossing paths with people at various bars, clubs, and cafes. So, here is the TRANSCRIPT from that portion of my life:

14 February 1993: Then on Friday evening, I went over to Scotty’s house to go to a party. Everyone was there. I had way too much to drink and then went to QFC to buy more beer.

Back at the party, we drank for a while and then I got talked into going dancing with a guy named Rick and a few others. I went and had a blast. Then we all piled into the car and went back to the party, by this time it must have been at least 4:00 am.

21 February 1993: Last night I went to the Vogue. Rick was there.

22 February 1993: Rick called yesterday. We are going to go out some time this week.

28 February 1993: On Thursday, I went to ReBar with Scotty. We sat out in the parking lot and split a 40. We felt very Bremerton. Then we had a few more once we got inside.
Rick was there, he looked very good as usual.

I went to Ashlee‘s apartment on Saturday and from there we went to the Frontier Room. Somewhere along our way to the Vogue, Ashlee picked up two boys. They’re in a band (who isn’t?). Rick was there.

20 March 1993: Thursday night I was a drunken mess. Rebar should be renamed “ReBlur.”

From then on, there is no more mention of Rick in the archives. Amazing to think that from that brief interaction 17 years ago, we reconnected and have made our relationship into what it is today. It says a lot about timing, I guess.

Here are some of the photos taken over the last two years.

Frances Farmer – Style Icon

NAME: Frances Farmer
OCCUPATION: Film Actress
BIRTH DATE: September 19, 1913
DEATH DATE: August 01, 1970
EDUCATION: University of Washington
PLACE OF BIRTH: Seattle, Washington
PLACE OF DEATH: Indianapolis, Indiana

BEST KNOWN FOR: Actress Frances Farmer starred in films in the late ‘30s and early ‘40s, but was best known for her rebellious reputation and the time she spent in a mental institution.

Born September 19, 1913, in Seattle, Washington. The daughter of a lawyer, Farmer enjoyed a comfortable childhood, during which she developed a penchant for stage acting. In 1931, she enrolled at the University of Washington, where she majored in journalism and drama. After a failed attempt to join the Group Theatre in New York, Farmer concentrated on a film career, signing with Paramount Studios in 1936. Later that year, she was cast in a bit part in the drama Too Many Parents, followed by Border Flight and the musical Rhythm on the Range, starring Bing Crosby. Playing the dual role of a saloon singer and her daughter, Farmer’s work in the 1936 film Come and Get It, was heralded as the best screen performance of her career.

Despite Farmer’s initial success, she quickly earned a reputation as a demanding and rebellious actress on the set. Displeased with her attitude, Paramount cast her in bland parts in a handful of films, including Exclusive and Ebb Tide (both 1937). By the early 1940s, Farmer was forced to appear in a succession of inferior productions, including South of Pago Pago (1940), World Premiere, and Among the Living (both 1941).

In 1942, Farmer’s career enjoyed a brief resurgence when she was cast opposite Tyrone Power and Roddy McDowall in the swashbuckler Son of Fury. However, Farmer’s efforts to improve her image backfired when she was arrested and convicted of drunk driving at the time of the film’s release. Inundated with negative publicity, Farmer traveled to Mexico. However, by leaving the United States, she was found in violation of her probation. She was put on trial and deemed mentally ill. Farmer was committed to a mental institution where she underwent shock treatments, hydrotherapy baths, and reportedly received a trans-orbital lobotomy. Over the next few years, her physical and mental health deteriorated; she developed a debilitating dependency on alcohol and suffered from a series of nervous breakdowns.

Upon her release from the institution, in 1949, Farmer worked as a hotel receptionist before making a comeback appearance on the Ed Sullivan Show in 1957. The following year, she starred in her last feature film, The Party Crashers, and began a six-year run on the Indianapolis-based TV show Frances Farmer Presents.

On August 1, 1970, Farmer died after a long battle with cancer; she was 56 years old. Her intimate autobiography, Will There Really Be a Morning?, was published posthumously in 1972. In the early 1980s, her story was captured on film in the biopic Frances (1982), starring Jessica Lange, and in the black and white documentary Committed (1983).

More than two decades after Farmer’s death, the alternative rock group Nirvana recorded the single “Frances Farmer Will Have Her Revenge on Seattle.” Written by lead singer Kurt Cobain, the tribute appeared on the band’s In Utero (1993) album. Cobain also named his daughter, Frances Bean Cobain, after Farmer.

Farmer was married three times: to actor Leif Erickson (from 1936-42); to Alfred Lobley (from 1953-58); and to Leland Mikesell (from 1958 until her death).

Jessica Lange played Farmer in the 1982 film Frances, for which she was nominated for an Academy Award for Best Actress. Kim Stanley was nominated for an Academy Award for Best Supporting Actress for portraying Farmer’s mother. The film contained a fictional scene which depicted Farmer undergoing a transorbital lobotomy. In Hollywood style, the film also omitted numerous facts and added a fictional life-long, love-interest character named “Harry”.

Susan Blakely portrayed Farmer in a 1983 television production Will There Really Be a Morning?, which was named after Farmer’s autobiography. Academy Award winner Lee Grant portrayed her mother in the same production.

In 1984, Culture Club had a #32 hit in the UK Single Charts “The Medal Song”, which was about the actress.

Tracey Thorn’s song “Ugly Little Dreams” on Everything But The Girl’s 1985 LP “Love Not Money” was also inspired by Frances Farmer.

The Nirvana song “Frances Farmer Will Have Her Revenge on Seattle”, which was written by fellow Washington native Kurt Cobain, was named after Farmer. It appears on their 1993 “In Utero” LP.

Patterson Hood, singer, guitarist and songwriter with the rock band Drive-By Truckers, included a song about Farmer (titled “Frances Farmer”) on his 2004 solo album, Killers and Stars. The album’s cover features a drawing of Farmer by Toby Cole.

Carol Decker of the band T’Pau wrote a song “Monkey House” about Frances Farmer’s mental illness which was featured on the 1987 album “Bridge Of Spies”.

French singer Mylène Jeanne Gautier, changed her name into Mylène Farmer as a tribute to Frances.

Frances Farmer Will Have Her Revenge On Seattle

The whole point of this blog is to share and celebrate inspirations.  I have had this quote floating around in my head for several years that I think sums it up accurately:

Some of the most

extraordinary

lives are lived by

the most

ordinary

of men.

I have wanted it tattoo’d on my forearm, but have been talked out of it.

I have an ever-growing list of people from which I find inspiration, I keep the list on my phone and add to it as discover new people.  The only requirements I have for the list is that I have to think they are amazing and they have to be dead.

Last week was Frances Farmer‘s Birthday, She would have been 98 if she had not dies 40+ years ago. Since her death in 1970, however, she has become a cult figure for the disenfranchized, the subject of books, movies, plays, magazine articles, and a song, “Frances Farmer Will Have Her Revenge On Seattle,” by Kurt Cobain, which includes this line: “She’ll come back as fire, to burn all the liars, and leave a blanket of ash on the ground.”

Truth and fiction have blended into the Frances Farmer story: An idealistic young actress challenges the hypocrisy of her world and becomes the victim of a spiteful mother, a vengeful Hollywood, and a cabal of callous and arrogant psychiatrists. Together they force her into a state mental hospital, where she is brutalized by electric shock and other barbaric treatments; raped by orderlies, fellow inmates, and soldiers from a nearby Army base; and eventually lobotomized. Her rebellious spirit finally shattered, she leaves the institution only a shadow of the vibrant artist she had once been.

Whatever the true story, it has been eclipsed by the mythology. With the medical records closed and all the principal players long dead, little can be said with certainty about what really happened to Frances Farmer. Still, two things seem clear: the behavior that landed her in an insane asylum half a century ago would scarcely raise an eyebrow today; and yet, had she not been institutionalized, she might well have been long forgotten. Instead, decades after her death, the self-described “Bad Girl of West Seattle High” has taken on a larger-than-life role as the star of a cautionary fable.

She may have not had her revenge on Seattle as Kurt wrote, but she has left her mark all over it for me.  She was an usher at the Paramount Theater while she was in college and she worked at the Olympic Hotel in the laundry room after her release from the mental hospital.  Bookends:  two places that proved to be landmarks for the beginning, middle, and end of her career.  They are both within blocks of my home, I see them daily.

She was considered a radical free-thinker for her time, an outcast, and a danger.  She left Seattle on a bus being called a communist by her mother in the Seattle Post-Intelligencer, “The Soviet dagger has struck deep in the heart of America.”  One and a half years later, an outcast on a bus, Frances Farmer came back a star, flown in by the studio for the world premier of Come and Get It. She was greeted with roses and flash bulbs at the airport. Crowds lined the streets to see her as she was driven through the business district in a limousine. She posed for pictures with her parents, with drama students at the University of Washington, and at the Paramount Theater, where she once worked. During a lavish reception at the Olympic Hotel, Washington Governor Clarence Martin led a list of dignitaries who came to pay tribute to “the Cinderella girl.”

By 1942, she was drinking heavily and becoming increasingly dependent on amphetamines. A woman who worried constantly about her weight, Farmer began using amphetamines soon after she arrived in Hollywood. At the time, the drug was widely available and often recommended by doctors as an appetite suppressant. Not until the 1970s was it discovered that amphetamines are highly addictive, have unpredictable side effects, and — taken in sufficient quantities — can produce symptoms similar to those of schizophrenia.

Whether she was mentally ill or simply suffering the effects of alcohol and drug abuse may never be known. In any case, her downward spiral accelerated on October 19, 1942, when a policeman in Santa Monica stopped her for driving with her bright headlights on in a wartime “dim-out” zone. She got into an altercation with the officer (reportedly telling him “You bore me”), and was arrested on charges of drunken driving, driving without a license, and failure to obey war-time headlight dim-out restrictions. She was fined $250 and sentenced to 180 days in jail, suspended.

She spent the next seven years in and out of mental institutions, receiving various treatments that were considered cutting edge at the time and now considered impossible to fathom.  After her release, she bought a one-way ticket to Eureka, California because it was as far from Seattle as her money would take her.  She worked a secretary under the name Frances Anderson for years until a chance meeting with a TV producer and he arranged for her to be “rediscovered.” The publicity led to television appearances, stage and movie roles, and her own TV show that ran for six year in Indianapolis.

She died on the first of August, 1970, six weeks before her 57th birthday.