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Chris Chase
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Chris Chase
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Chris Chase (born Irene Greengard; January 12, 1924 – October 31, 2013), also known by the stage name Irene Kane, was an American model, film actress, writer, and journalist.[1] Her best-known role was in Killer's Kiss. She later wrote advice books and co-authored several celebrity autobiographies.[2] She is the sister of Nobel Prize-winning neuroscientist Paul Greengard.[3]

Key Information

Early life and career

[edit]

Born to Pearl (née Meister) and Benjamin Greengard in New York City in 1924, Irene Greengard was a model for Vogue.[4] In the mid-fifties photographer Bert Stern, who had photographed her for that magazine, introduced her to film director Kubrick when he was looking for the female lead for Killer's Kiss. She took the professional name Irene Kane, and went on to appear in other films as well as Broadway theatre productions.

As Chris Chase, she moved into journalism, working at The New York Times, and writing advice books on weight loss and getting into film acting.[5]

After a short stint at CBS Morning News, Chase joined CNN in 1980 and stayed until 1986, serving as the first anchor of Media Watch in 1985. She co-authored several celebrity autobiographies, including books by Rosalind Russell, Betty Ford, and Alan King, and co-authored a biography of Josephine Baker with Baker's adopted son Jean-Claude.[6]

Marriage

[edit]

On June 3, 1961, Kane married Michael Chase (born 1932), an educational television producer, and the son of playwright Mary Chase. She took her husband's surname professionally as well as legally.[7] Chase and her husband were seriously injured in a car accident near Poughkeepsie, New York, in March 1975.[8]

Death

[edit]

Chase died of pancreatic cancer on October 31, 2013, at her home in New York City, aged 89.[6][9]

Acting

[edit]

Films and television

[edit]

Stage

[edit]

Books

[edit]
  • How to Be a Movie Star, or A Terrible Beauty Is Born (1974), ISBN 9780060107260, ISBN 978-0425041949
  • Life Is a Banquet (1977) with Rosalind Russell, ISBN 978-0394421346
  • Times of My Life (1978) with Betty Ford, ISBN 978-0-06-011298-1
  • The Great American Waistline (1981), ISBN 978-0698110694
  • Betty: A Glad Awakening (1987) with Betty Ford, ISBN 978-0-385-23502-0
  • Josephine: The Josephine Baker Story (1993) with Jean-Claude Baker, ISBN 978-1558504721
  • Name Dropping (1996) with Alan King, ISBN 978-1439143438

References

[edit]
[edit]
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Chris Chase

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Chris Chase (January 12, 1924 – October 31, 2013) was an American actress, model, journalist, and author best known for her early film role in Stanley Kubrick's (1955) under the stage name Irene Kane and for co-authoring several celebrity autobiographies later in her career. Born Chris Greengard in , New York, to vaudeville performer Benjamin Greengard and Pearl Meister, she began her career as a fashion model, appearing in magazines before transitioning to acting. After being introduced to Kubrick by photographer , she starred as the female lead, a ballerina, in his low-budget noir thriller , marking one of her most enduring screen credits. She adopted the professional name Irene Kane for her acting work, which included a recurring role on the Love of Life from 1962 to 1965 and a small part in Bob Fosse's All That Jazz (1979). In the , Chase shifted focus to writing under her birth name, drawing on her experiences in Hollywood and to pen a , How to Be a Movie Star, or a Terrible Beauty Is Born (1974), which originated from a series of essays in . She gained prominence as a and co-author for high-profile figures, collaborating with on Josephine (1977), on Life Is a Banquet (1977), and on The Times of My Life (1978). These works provided intimate portraits of their subjects' lives, blending Chase's narrative skill with the celebrities' personal stories, and contributed to her reputation in literary circles. Chase was married to television director Michael Chase. She was the sister of neuroscientist , who won the in Physiology or Medicine in 2000. She passed away from in at the age of 89, survived by her husband Michael Chase, her brother , and her sister Linda Stein.

Early life

Family background

Chris Chase was born Chris Greengard on January 12, 1924, in , , the daughter of Pearl Meister and Benjamin Greengard. Her father worked as a before transitioning to a sales representative position at , exposing the family to the world of entertainment and broadcasting from an early age. She had a younger brother, , born in 1925, who later became a renowned and was awarded the in Physiology or Medicine in 2000 for his discoveries concerning in the . The siblings shared a close bond, with Paul later recalling her intelligence and beauty, noting that financial constraints prevented her from attending college, leading her instead toward early creative pursuits. Raised in , Chase's family relocated from to Forest Hills in during her childhood, immersing her in the vibrant cultural environment of the metropolis. Her father's roots and subsequent media connections profoundly influenced her, fostering an early fascination with performance, storytelling, and public-facing professions that would echo in her later endeavors.

Modeling beginnings

Chris Chase, born Chris Greengard in , New York, in 1924, drew inspiration from her family's connections to the entertainment industry to pursue a career in modeling after graduating high school in the early 1940s. Relocating to New York City's vibrant creative scene, she initially took a job at Modern Screen magazine, where her striking presence caught the attention of emerging photographer . Chase began her modeling work in the late , collaborating closely with on fashion shoots that elevated her profile. These opportunities led to prominent appearances in leading publications, including Vogue and other top fashion magazines, showcasing her as a fresh talent in the postwar era's glamorous print world. Her modeling success immersed Chase in Manhattan's interconnected circles of photographers, designers, and performers, providing crucial visibility and networking that paved the way for her transition into acting auditions during the early . This exposure in the city's dynamic arts community not only honed her poised public image but also opened doors to the burgeoning worlds of stage and screen.

Acting career

Film roles

Chase's entry into film acting stemmed from her modeling career, where photographer , who had featured her in Vogue, introduced her to and recommended her for a role in his low-budget noir project. This connection led to her screen debut as the female lead in (1955), a 67-minute black-and-white thriller that Kubrick wrote, directed, photographed, and edited on a shoestring budget of $75,000. In the film, Kane portrayed Gloria Price, a at the seedy Pleasureland owned by the brutish gangster (). Gloria's arc begins as a vulnerable performer trapped in an abusive work environment, where she dances for pay with strangers under Rapallo's watchful eye. After catching the attention of her neighbor, the down-on-his-luck boxer Davey Gordon (Jamie Smith), who witnesses her through their facing apartment windows, she becomes the target of an assault by Rapallo's men following a performance. Davey intervenes, sparking a romance that offers Gloria a chance at escape, but it escalates into a deadly pursuit as Rapallo hires a killer to eliminate the rival, forcing her into a climactic confrontation amid New York's shadowy underbelly. Kane's performance embodied the film's noir aesthetic through its stark contrasts, rain-slicked streets, and expressionistic shadows, with her dance sequences—choreographed in a stylized, almost balletic manner—serving as pivotal moments that underscore Gloria's sensuality and isolation. Critics at the time and later retrospectives described her acting as stiff and inexperienced, yet haunting in its portrayal of neurotic desperation, effectively capturing the character's plight without overplaying the ; for instance, a contemporary praised the raw authenticity of her vulnerability amid the genre's tropes. Beyond , Kane's film roles were sparse, with her most notable later appearance being a small part as Leslie Perry in Bob Fosse's All That Jazz (1979), a semi-autobiographical musical drama. She also took on minor television roles under the Irene Kane name in the late and 1960s, including guest spots in anthology series such as Studio One ("The Defender," 1957) as a courtroom observer and ("Stakeout," 1958, as Betty Keller; 1963, as Miss Hilton), alongside recurring work as Connie Loomis on the soap opera from 1962 to 1965. These early TV gigs highlighted her transition from modeling but did not lead to further substantial screen opportunities.

Stage roles

Chris Chase, using her stage name Irene Kane, entered the New York theater scene in the mid-1950s following a career in modeling, marking her shift to live performance. Her professional stage debut occurred in the landmark revival of at the Theatre de Lys in 1954, where she portrayed Dolly, one of the prostitutes in the ensemble surrounding the central character Macheath. This production of and Kurt Weill's satirical work became a cultural phenomenon, running for over seven years and establishing Kane's foothold in the vibrant postwar theater landscape. The Threepenny Opera transferred to Broadway in September 1955 at the same venue, classified under Broadway auspices, with Kane continuing as Dolly in both original and replacement capacities through the extended run. Her ensemble role contributed to the show's acclaim for its gritty portrayal of London's underworld, blending music, drama, and , and it ultimately tallied more than 2,600 performances, one of the longest-running musicals in history at the time. In 1956, Kane joined the Broadway comedy The Ponder Heart at the Music Box Theatre as a replacement in the role of Treva Peacock, a supporting character in Joseph Fields and Jerome Chodorov's adaptation of Eudora Welty's novella. The play, which explored Southern eccentricities and family dynamics, ran for 124 performances and allowed Kane to demonstrate her skills in character-driven ensemble work amid mixed critical reception for the production's humor. Kane's later stage credit came in the 1960 musical Tenderloin at the 46th Street Theatre, where she played Jessica, a key figure in the chorus of this Damon Runyon-inspired tale of vice and virtue in early 20th-century New York. Though the show closed after 216 performances following lukewarm reviews, her involvement underscored her range in musical theater during the era's experimental Broadway scene. Transitioning from modeling to stage acting in the early required Kane to navigate intense rehearsal demands and the unpredictability of live performances, often facing critical evaluations that highlighted her poise but noted the competitive nature of the field. Her theater experience honed a commanding presence that informed her subsequent on-camera work.

Journalism and broadcasting

Newspaper work

After limited success in film during the mid-1950s, Chris Chase transitioned to journalism in the early 1970s, leveraging her acting background to inform her reporting on entertainment and lifestyle topics. She began contributing to The New York Times around 1971, initially with personal essays that drew on her experiences in Hollywood and modeling. Chase's columns often focused on , , and , blending investigative insights with her own anecdotes for a distinctive voice. For instance, in a 1974 piece adapted from her memoir How to Be a Movie Star: Or, a Terrible Beauty Is Born, she offered humorous advice on achieving . Her writing style, characterized by dry, self-deprecating humor, reflected her acting past while providing cultural commentary on the industry's demands. Throughout the 1970s and 1980s, Chase profiled numerous Hollywood figures, contributing regularly to the Times' entertainment sections until the early 2000s. Notable examples include her 1981 "At the Movies" column interviewing on navigating sudden fame after Alien, and another featuring Danny Aiello's transition from working-class roots to acting prominence. These pieces combined biographical depth with personal observations, establishing her as a key voice in lifestyle and . She continued print work into the late 1980s, including film and culture reviews for the .

Television anchoring

Chase transitioned to broadcasting as a culture commentator on the CBS Morning News in the early 1980s. After a short stint there, she joined in 1980 and stayed until 1986. Her print experience, characterized by sharp, insightful commentary on entertainment and societal trends, lent an authoritative tone to her on-air delivery, blending journalistic rigor with engaging broadcast style. This foundation proved particularly valuable at , where she contributed to the network's growing emphasis on analytical programming during its formative years. In 1985, Chase became the first anchor of CNN's Media Watch, a pioneering series dedicated to dissecting television news coverage and entertainment industry developments. The program, which she hosted earlier that year, examined media practices through critical lenses, often addressing ethical issues in reporting and the influence of entertainment on public discourse. Chase's segments typically featured in-depth analyses that highlighted biases in news presentation and the evolving role of visual media, drawing on her background to provide nuanced perspectives that resonated with viewers navigating the rise of 24-hour cable news. Throughout her tenure at CNN, which extended into the mid-1980s, Chase anchored and general segments, conducting interviews with celebrities and cultural figures to explore broader societal impacts of media. Her work on Media Watch and related broadcasts underscored her role as an early innovator in on-air media criticism, helping to define CNN's commitment to reflective amid the network's expansion. Chase's ability to transition seamlessly from print to broadcast, informed by her decades of writing experience, established her as a commanding presence in early .

Writing career

Self-help books

Chris Chase's foray into self-help writing began with her 1974 memoir How to Be a Movie Star, or A Terrible Beauty Is Born, which blended autobiographical reflections with practical advice for aspiring actresses in Hollywood. Drawing from her own experiences as a model and actress, the book offered insights into maintaining physical fitness and professional poise amid industry pressures, including personal anecdotes about weight management and the relentless demands of auditions and roles. Chase detailed regimens for diet and exercise tailored to working performers, emphasizing sustainable habits to combat the self-image struggles she encountered while competing for parts alongside figures like Marilyn Monroe. The work's motivational tone stemmed from Chase's journalistic background, where her wry essays in honed an advisory style that evolved into direct guidance for . Reviewers noted its empowering approach, portraying Chase as a candid mentor who demystified the glamour of while providing actionable tips for women navigating careers. For instance, the book highlighted weekly fitness routines inspired by her modeling days, aimed at building and resilience in a competitive field. In 1981, Chase expanded her oeuvre with The Great American Waistline: Putting It On and Taking It Off, a broader examination of and dietary culture specifically resonant for women in image-conscious professions like . The book critiqued American eating habits, from fast-food excesses to fad diets, while sharing her trials with plans like the Scarsdale and Atkins methods, and advocating for balanced nutrition and regular exercise. Interviews with nutrition experts and visits to diet spas underscored practical strategies for long-term wellness, reflecting Chase's shift toward motivational writing that encouraged readers to reclaim control over their bodies. Reception for The Great American Waistline praised its humorous, lively narrative, though some critiqued its New York-centric focus; it was lauded for making complex topics like societal pressures accessible and relatable, particularly for women drawing parallels to Hollywood's standards. Chase's books collectively empowered aspiring performers by transforming her personal setbacks into universal lessons on fitness, , and self-empowerment.

Collaborative biographies

Chris Chase established herself as a prominent collaborator in autobiographies, leveraging her journalistic background to co-author narrative-driven works that illuminated the personal and professional lives of iconic figures. Her contributions emphasized authentic , drawing on extensive interviews and research to craft intimate portraits that balanced triumphs with vulnerabilities. These collaborations, spanning the to the , showcased her skill in ghostwriting and narrative structuring, often resulting in bestsellers that resonated with readers for their candor and insight. One of her earliest collaborations was Life Is a Banquet (1977), co-authored with actress shortly before Russell's death from . The chronicles Russell's upbringing in a large family, her breakthrough in and Broadway, and her Hollywood ascent through comedic roles in films like His Girl Friday (1940) and dramatic turns in Mourning Becomes Electra (1947), while addressing her long marriage to producer Freddie Brisson and health struggles with . Chase helped assemble Russell's recollections into a witty, unpretentious that highlights her enduring likability and professional resilience. Chase also collaborated with former First Lady on The Times of My Life (1978), which covers Ford's early life, her marriage to , their time in the , and concludes with her family's intervention for her addiction issues in 1978. The book provides an intimate look at her experiences as a political spouse and mother, emphasizing her straightforward and resilient personality. In 1987, Chase partnered with again on Betty: A Glad Awakening, a candid exploration of Ford's tenure during her husband's presidency, her battles with alcohol and prescription pill addiction stemming from , and her path to recovery through a family intervention and treatment at the Long Beach Naval Hospital. The book details Ford's advocacy for destigmatizing addiction, her role in founding the Betty Ford Center, and her ongoing support for , including the . Chase's collaboration enriched the memoir's emotional clarity and modesty, transforming personal turmoil into an inspiring testament to sobriety and public service. Chase's work extended to Name-Dropping: The Life and Lies of (1996), a humorous with that traces his rise from Catskills performances at age 15 to stardom on the Las Vegas strip and beyond, including his "angry young man" persona and production ventures. Filled with anecdotes about celebrity friendships—such as introducing to and aiding Lena Horne's career revival—the book offers a lighthearted yet revealing look at , interspersed with reflections on King's marriage to Jeanette. As King's , Chase structured the lively tales to capture his comedic timing and insider perspective. Another major collaboration was Josephine: The Hungry Heart (1993), co-authored with , son of the legendary performer, provides a comprehensive of Josephine Baker's life from her impoverished childhood in to her 1925 Paris debut with La Revue Nègre, where her provocative "Danse Sauvage" made her an international sensation and the era's first Black sex symbol. The book delves into Baker's World War II espionage for the , her adoption of 12 multiracial children into her "Rainbow Tribe," her civil rights activism against U.S. —highlighted by the 1951 —and her financial and personal tragedies until her 1975 death. Chase contributed rhetorical fluency and brisk narrative drive, weaving Baker's theatrical history with psychological depth based on 20 years of research and thousands of interviews. Throughout these projects, Chase's process as a and co-author involved conducting in-depth interviews with subjects, family, and associates; organizing vast amounts of personal anecdotes and historical details; and applying her journalistic acumen to ensure factual accuracy and engaging prose that amplified the subjects' voices without overshadowing them. This methodical approach, honed through her earlier writing, allowed her to produce works that not only chronicled lives but also offered broader cultural insights into fame, resilience, and .

Personal life

Marriage and family

Chris Chase married Michael L. Chase, a television production director and the son of Pulitzer Prize-winning playwright Mary Coyle Chase, on an unspecified date in 1962. She adopted his surname both professionally and legally following the marriage. The couple made their home in , where Chase pursued her writing career while her husband worked in production, including notable broadcasts such as the 1972 between and for public television. Their shared residence in the city provided a stable base that supported Chase's journalistic and authorial endeavors amid their dual professional commitments. On March 30, 1975, Chase and her husband were involved in a serious car accident near , which left Michael Chase in critical condition initially, improving to guarded by early April, while Chase's condition was reported as fair; both were hospitalized at St. Francis Hospital in Poughkeepsie for several days. The Chases had no children, choosing instead to prioritize their respective careers in media and writing throughout their over five-decade marriage, which lasted until Chase's death in 2013. Chase was the sister of neuroscientist , who won the in Physiology or Medicine in 2000, and Linda Stern.

Death and legacy

Chris Chase died on October 31, 2013, at her home in from ; she was 89. Her death was confirmed by family members, who noted it occurred peacefully. In her final years, following her retirement from in the 1980s, Chase maintained a low-profile life in while continuing to write. She contributed essays to into the early 2000s and co-authored Betty: A Glad Awakening with former in 1987, focusing on themes of recovery and empowerment. Chase's legacy endures as a multifaceted figure who bridged modeling, , , and literature, particularly through her advocacy for in her writings. Obituaries in and highlighted her early collaboration with in (1955) and her biographical works with icons like and , underscoring her impact on celebrity traditions. Her collaborative approach to intimate, empowering narratives influenced later journalists and biographers in the celebrity , as evidenced by references to her Ford and Baker books in studies of women's public personas and press coverage.

References

  1. https://www.imdb.com/name/nm0437325/
  2. https://variety.com/2013/film/people-news/actress-writer-chris-chase-dies-1200802926/
  3. https://www.boston.com/news/national-news/2013/11/08/chris-chase-actress-who-turned-to-writing-dies/
  4. https://www.televisionacademy.com/bios/irene-kane
  5. https://www.imdb.com/name/nm0437325/bio/
  6. https://www.nytimes.com/2013/11/06/books/chris-chase-actress-and-writer-is-dead.html
  7. https://digitalcommons.rockefeller.edu/paul-greengard-a-pioneering-neuroscientist/5/
  8. https://www.hollywoodreporter.com/movies/movie-news/irene-kane-kubrick-actress-chris-chase-652790/
  9. https://www.imdb.com/title/tt0048254/plotsummary/
  10. https://mysteryfile.com/blog/?p=18638
  11. https://www.nytimes.com/1994/01/14/movies/critic-s-choice-film-a-young-and-promising-kubrick.html
  12. http://rmpraino.weebly.com/killers-kiss.html
  13. https://digitalcollections.nypl.org/items/fee81020-c552-012f-062c-58d385a7bc34
  14. https://www.ibdb.com/broadway-cast-staff/irene-kane-97593
  15. https://www.nytimes.com/1971/08/15/archives/now-ill-tell-you-how-to-be-a-movie-star-ill-tell-you-how-to-be-a.html
  16. https://www.nytimes.com/1974/02/03/archives/hows-a-girl-get-to-be-a-goddess-hows-a-girl-get-to-be-a-goddess.html
  17. https://www.nytimes.com/1981/02/27/movies/at-the-movies-by-chris-chase-for-sigourney-weaver-heady-taste-of-success.html
  18. https://www.nytimes.com/1981/05/08/movies/at-the-movies-by-chris-chase-danny-aiello-the-actor-still-a-working-man.html
  19. https://www.nydailynews.com/2015/12/15/moonstruck-will-leave-you-laughing-1987-review/
  20. https://www.washingtonpost.com/archive/lifestyle/1985/06/05/the-tv-column/f1f03a7f-fc24-4d07-8b50-e01347df3e17/
  21. https://airmail.news/arts-intel/highlights/before-cable-was-cool-229
  22. https://www.nytimes.com/1974/05/05/archives/the-year-a-star-wasnt-born-in-1959-i-was-not-expecting-to-meet.html
  23. https://www.kirkusreviews.com/book-reviews/a/chris-chase-2/the-great-american-waistline-putting-it-on-and-/
  24. https://www.kirkusreviews.com/book-reviews/a/rosalind-with-chris-chase-russell/life-is-a-banquet-the-autobiography-of-rosalind/
  25. https://www.amazon.com/Times-My-Life-Betty-Ford/dp/0060112980
  26. https://www.kirkusreviews.com/book-reviews/a/betty-with-chris-chase-ford/betty-a-glad-awakening/
  27. https://www.kirkusreviews.com/book-reviews/a/alan-with-chris-chase-king/name-dropping-the-life-and-lies-of-alan-king/
  28. https://www.nytimes.com/1994/01/30/books/an-american-from-paris.html
  29. https://www.bbc.com/news/entertainment-arts-24802212
  30. https://www.nytimes.com/1975/04/16/archives/notes-on-people-golda-meir-to-get-israel-prize-amid-war-controversy.html
  31. https://www.legacy.com/us/obituaries/nytimes/name/chris-chase-obituary?id=23869691
  32. https://www.jstor.org/stable/jj.6305459.15
  33. https://www.american.edu/spa/gov/first-ladies/resources.cfm
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