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Dolores Agnes Fuller (née Eble, later Chamberlin; March 10, 1923 – May 9, 2011[2]) was an American actress and songwriter. Beginning her career as a child actress, she made her acting debut in the romantic comedy film It Happened One Night (1934). Nearly two decades later, she had lead and supporting roles in films such as Glen or Glenda (1953), Jail Bait (1954), and Bride of the Monster (1955), all of which were written and directed by her then-boyfriend Ed Wood. After Fuller ended her relationship with Wood in 1955, she began a successful career as a songwriter, in which many of her songs were performed and recorded by Elvis Presley.

Key Information

Film career

[edit]

Her first screen appearance was at the age of 10, when she appeared briefly in Frank Capra's It Happened One Night. According to Fuller,[3] the female lead in Bride of the Monster was written for her but Wood gave it to Loretta King instead.

In August 1954, Fuller was cast in Wood's The Vampire's Tomb, intended to star Bela Lugosi. Frank Yaconelli was named as her co-star and 'comic killer'. The film was never made. She ended up making an appearance in Bride of the Monster (1956), also with Lugosi.[4] Fuller hosted a benefit for Lugosi which preceded the showing of Bride of the Atom (early working title of Bride of the Monster) on May 11, 1955. A cocktail party was held at the Gardens Restaurant at 4311 Magnolia Avenue in Burbank, California. Vampira attended and was escorted by Paul Marco. A single screening of the film was presented at the Hollywood Paramount.[5]

According to Fuller, as quoted in Wood biography Nightmare of Ecstasy (1992), she first met Ed Wood when she attended a casting call with a friend for a movie he was supposed to direct called Behind Locked Doors (which he did not go on to direct); it has also been stated that they met in a restaurant.[6]

She became his girlfriend shortly thereafter and began acting in his films. Her movie career included a bit part in It Happened One Night (1934) and roles in Outlaw Women (1952), Glen or Glenda (1953), Body Beautiful (1953), The Blue Gardenia (1953), Count the Hours (1953), Mesa of Lost Women (1953), College Capers (1954), Jail Bait (1954), The Raid (1954), This Is My Love (1954), The Opposite Sex (1956), and many years later appearances in The Ironbound Vampire (1997) and Dimensions in Fear (1998).

Television performer and songwriter

[edit]

Fuller had already had earlier experience on television in Queen for a Day and The Dinah Shore Show.

She also appeared on an episode of It's a Great Life as "the blonde in the mink coat."

Fuller's ability as a songwriter manifested itself through the intervention of her friend, producer Hal Wallis; Fuller had wanted to get an acting role in the Elvis Presley movie Blue Hawaii, which Wallis was producing, but instead he put her in touch with Hill & Range, the publisher that provided Presley with songs. Fuller went into a collaborative partnership with composer Ben Weisman and co-wrote one song, "Rock-A-Hula Baby", for the film. Over time, this led to Presley recording a dozen of her songs, including "I Got Lucky" and "Spinout", primarily for his film soundtracks, though he also recorded "Cindy, Cindy" for his 1971 album Love Letters From Elvis. Fuller's music was also recorded by Nat 'King' Cole, Peggy Lee, and other leading talents of the time.[7] Toward the end of her life, Dolores helped edit and score a short western film Ed Wood had begun, but never completed, in the 1940s called Crossroads of Laredo[8]

Private life

[edit]

Dolores married Donald Fuller in 1941, with whom she had two children. At the time she met Ed Wood, she was in the process of divorcing her husband (they finally divorced in 1955). She and Wood shared an apartment together for several years. Wood biographer Rudolph Grey quotes Fuller as saying of the period before her success,

He [Ed Wood] begged me to marry him. I loved him in a way, but I couldn't handle the transvestism. I'm a very normal person. It's hard for me to deviate! I wanted a man that was all man… After we broke up, he would stand outside my home in Burbank and cry. "Let me in, I love you!" What good would I have done if I had married him? We would have starved together… I bettered myself. I had to uplift myself.[9]

She has also been quoted as saying that "His dressing up didn't bother me—we all have our little queer habits" and giving Wood's drinking as the reason for their breakup.[6]

Dolores remarried in 1988 at age 65, to Philip Chamberlin, and they remained married until her death in 2011. Fuller's autobiography, A Fuller Life: Hollywood, Ed Wood and Me, co-authored by Stone Wallace and Philip Chamberlin, was published in 2008.[6]

Portrayal in Ed Wood

[edit]

Fuller was portrayed by Sarah Jessica Parker in Tim Burton's 1994 Wood biographical film Ed Wood, a portrayal of which she disapproved due to the fact that she was depicted smoking in the film, while Fuller said she herself was a lifelong non-smoker.[10] She also complained that she was only portrayed as "sort of as an actress" and did not feel she was given credit for her other accomplishments and contributions towards Wood's career.[11] However, she stated that she liked the film overall, praising Johnny Depp's performance in the title role.

Filmography

[edit]

Film

[edit]
Year Title Role Notes
1934 It Happened One Night Minor role Uncredited
1952 Outlaw Women One of Uncle Barney's Girls Uncredited
Alternative title: Boot Hill Mamas
1953 Glen or Glenda Barbara
Girls in the Night Beauty Contestant for Miss Third Avenue Alternative title: Life After Dark
The Blue Gardenia Woman at bar Uncredited
Count the Hours Reporter Uncredited
Alternative title: Every Minute Counts
Mesa of Lost Women Blonde "Watcher in the Woods" Alternative title: Lost Women
The Body Beautiful June Credited as Sherry Caine
The Moonlighter Miss Buckwalter Uncredited
1954 Jail Bait Marilyn Gregor Alternative title: Hidden Face
Playgirl Girl Uncredited
The Raid
This Is My Love
1955 Bride of the Monster Margie cameo
Alternative title: Bride of the Atom
1956 The Opposite Sex Bit Role Uncredited
1997 The Ironbound Vampire Theresa Powell Direct-to-video release
1998 Dimensions in Fear TV Station Owner Alternative titles: City in Terror
Dimension in Fear
2000 The Corpse Grinders 2 Patricia Grant Direct-to-video release

Television

[edit]
Year Title Role Notes
1955 The Great Gildersleeve Miss Carroll 1 episode
It's a Great Life Girl
1956 Adventures of Superman Lorraine

Discography

[edit]

Songs recorded by Elvis Presley with lyrics by Dolores Fuller:

According to AllMusic, other songs co-written by her include "I'll Touch a Star" by Terry Stafford, "Lost Summer Love" by Shelley Fabares and "Someone to Tell It To" by Nat King Cole.[12]

References

[edit]
[edit]
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Dolores Fuller

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Dolores Fuller (March 10, 1923 – May 9, 2011) was an American actress, model, songwriter, and talent manager, best known for her roles in several early films directed by Jr., including the leading roles in (1953) and Jail Bait (1954), and a small role in (1955), as well as for co-writing lyrics to a dozen songs featured in movies, such as "Rock-a-Hula Baby" from (1961). Born Dolores Agnes Eble in , she moved to at age 10 and made her film debut as an extra in Frank Capra's (1934) at age 11, an experience that sparked her lifelong interest in Hollywood. Fuller began her professional career as a model at age 16 and later studied acting with Stella Adler at the Actors Studio, aspiring to a serious dramatic career amid the glamour of postwar Hollywood. In 1952, she began a romantic relationship with the aspiring filmmaker Ed Wood Jr., becoming his muse, girlfriend, and frequent collaborator until their split in 1955, a period she later described as challenging due to his cross-dressing, which she found difficult to accept and a barrier to marriage. Her performances in Wood's low-budget productions, often marked by stiff delivery and limited resources, were emblematic of the era's independent cinema, though she grew disillusioned with acting after these roles and shifted focus away from the screen. Transitioning to music in the late , Fuller co-wrote songs for prominent artists, including "Someone to Tell It To" for and "Losers Weepers" for , before achieving notable success with Presley films like (1962) and (1965), where she contributed tracks such as "Do the Clam." She founded her own , launched the career of singer , and worked as a , building a more stable entertainment career outside of . In her later years, Fuller married film historian Philip Chamberlin in 1988 and published her autobiography A Fuller Life: Hollywood, and Me in 2009, offering personal insights into her experiences with Wood and her multifaceted Hollywood journey; she died in from complications of a .

Early Life

Childhood and Family

Dolores Agnes Eble was born on March 10, 1923, in , to Eugene J. Eble. At the age of 10, she relocated with her family from to , where they initially stayed in a in El Monte. The family settled in the region, allowing Fuller to spend her formative years in the area. Fuller completed high school around 1940 in .

Initial Entry into Entertainment

Dolores Fuller developed an early passion for acting at the age of ten, inspired by her accidental involvement in the film industry during her family's relocation from to . While staying at a in , during the move, she witnessed the production of Frank Capra's (1934) and was cast as an extra in a brief motel sequence after catching the director's attention. This experience ignited her determination to pursue a career in Hollywood, marking the beginning of her entertainment aspirations. By her mid-teens, Fuller transitioned into professional modeling, beginning at age 16 in the late as a fashion model, which provided an entry point into the competitive scene. She participated in school plays and sought minor opportunities in film, navigating the challenges of breaking into the studio-dominated Hollywood of the and . In her , A Fuller Life: Hollywood, Ed Wood, and Me, Fuller recounts the behind-the-scenes excitement of her debut, including how she spent the entire day observing the set before being spontaneously included, an anecdote that underscored her budding enthusiasm amid the era's rigorous industry barriers.

Acting Career

Early Film Roles

Dolores Fuller made her acting debut as a child extra in the motel sequence of Frank Capra's (1934), appearing at the age of 11 without any credited role. This early brush with Hollywood sparked her interest in the industry, though nearly two decades would pass before she pursued professional opportunities more seriously. Following her high school graduation in 1941, Fuller transitioned from modeling gigs—where she worked for companies like Westwood Knitting Mills and Evans/Picone—to entry-level entertainment work in television during the late 1940s and early 1950s. She served as a for on and appeared as a regular model on , alongside guest spots on game shows such as . These roles provided initial exposure and connections, enabling her to attend casting calls that led to her first consistent film appearances as an adult. In the early 1950s, Fuller secured minor, often uncredited parts in low-budget productions amid the competitive post-war Hollywood landscape, where independent actresses frequently struggled for visibility without studio contracts. Her breakthrough came with a small role as one of Barney's Girls in the Western Outlaw Women (1952), directed by and . The following year, she appeared uncredited as a reporter in Don Siegel's crime Count the Hours! (1953), as a woman at the bar in Fritz Lang's The Blue Gardenia (1953), as the Blonde 'Watcher in the Woods' in the sci-fi horror Mesa of Lost Women (1953), and as a woman at a sorority clubhouse party in Girls in the Night (1953). These bit parts exemplified the sporadic opportunities available to emerging performers during the era, influenced by the industry's shift toward television and the glut of aspiring talent returning from wartime service.

Work with Ed Wood

Dolores Fuller met director Edward D. Wood Jr. in the early 1950s at a casting call, where she and fellow actress Mona McKinnon auditioned for what would become Wood's debut feature film. This encounter led to a professional collaboration, with Fuller starring in three of Wood's low-budget productions between 1953 and 1955, during which time she also began a romantic relationship with the director that provided additional context for her involvement. In Glen or Glenda (1953), Fuller portrayed Barbara, the supportive fiancée of the protagonist Glen (played by Wood under the pseudonym Daniel Davis), a character grappling with cross-dressing tendencies in this semi-autobiographical exploitation drama. Her role highlighted themes of acceptance and secrecy, marking her as a key female lead in Wood's exploration of personal identity. Fuller continued with Wood in Jail Bait (1954), a crime noir where she played Marilyn Gregor, the concerned of a young criminal entangled in a botched robbery and scheme. This supporting role showcased her in a more dramatic capacity amid the film's tense underworld plot involving gangsters and family loyalty. She also had an uncredited role as a girl in the locker room in Playgirl (1954). In (1955), Fuller appeared in a smaller part as Margie, a colleague of the female lead, after Wood had originally intended a more prominent role for her as reporter Lawton, which was reassigned to Loretta King due to producer interference. Despite the reduced , her presence contributed to the film's mad-scientist narrative centered on Bela Lugosi's Dr. Erich Vornoff. Beyond acting, Fuller made significant contributions to Wood's productions by supplying wardrobe items from her personal collection, leveraging her employment at top clothing manufacturers to provide costumes on a shoestring budget. She famously wore her own angora sweater in Glen or Glenda, an item that became in Wood's oeuvre and later symbolized her association with the films. , Fuller's experiences on Wood's sets were marked by the inherent challenges of ultra-low-budget , including improvised props, limited locations like rented backlots and soundstages, and erratic scheduling driven by financial constraints. Wood's enthusiasm often clashed with practical realities, such as securing Bela Lugosi's participation despite his declining health, leading to hasty shoots that Fuller later described as both chaotic and endearing in their amateur spirit. These films, initially dismissed as amateurish, gained cult status decades later for their earnest eccentricity, with Fuller's performances praised for their sincerity amid the productions' technical shortcomings. Fuller largely ceased acting after her work with Wood, with only a minor uncredited in (1956), disillusioned by the caliber of roles available, which she felt stalled her aspirations for more substantial Hollywood opportunities. She relocated to New York to study under at the Actors Studio, seeking formal training to elevate her craft beyond the Z-grade fare, though this marked her pivot away from film toward songwriting.

Music and Television Career

Songwriting Achievements

After ending her acting career in 1955, Dolores Fuller transitioned to songwriting in 1956, collaborating with established composers such as Fred Wise and Ben Weisman to craft lyrics for soundtracks and recordings. This shift marked the beginning of a prolific phase, where she contributed to songs emphasizing themes of romance and youthful energy, drawing from her entertainment background. Fuller's most notable achievements came through her work with , for whom she co-wrote 12 songs featured in his films between 1961 and 1969. A standout collaboration was "Rock-A-Hula Baby," co-written with Weisman and Wise for the 1961 film , which blended with Hawaiian influences and peaked at No. 23 on the chart while spending 12 weeks there. Other key Presley contributions included "I Got Lucky" from the 1962 film and the title track "Spinout" from the 1966 film of the same name, both of which highlighted her skill in creating upbeat, cinematic numbers. Beyond Presley, Fuller's songs were recorded by prominent artists, expanding her influence in mid-20th-century . She co-wrote "Someone to Tell It To" for Nat King Cole's 1963 album Where Did Everyone Go? and "Losers Weepers" for , among other tracks performed by artists like and . In the late , Fuller established her own music company, Dee Records, which supported her songwriting endeavors and talent discoveries, including singer-guitarist Johnny Ramistella (later ).

Television Appearances

Dolores Fuller's television career in the was marked by a mix of behind-the-scenes support roles and occasional on-screen guest appearances, reflecting her early efforts to establish herself in entertainment beyond film. She began with work as a for on , a popular variety program, from 1952 to 1955, where she rehearsed segments and supported live broadcasts airing Friday nights. Additionally, Fuller served as a regular model, known as a "Gustinette Girl," promoting products like Gustinette slippers five days a week on the daytime game show during its run starting in 1956. Transitioning to acting roles, Fuller made guest appearances in several scripted series. In 1955, she portrayed a character simply credited as "Girl" in the episode "The Missing Husband" of the sitcom It's a Great Life, which followed the lives of Army veterans adjusting to civilian employment. The following year, she appeared as Miss Carroll in the comedy The Great Gildersleeve, specifically in the 1955 episode "Water Commissioner's Water Color," where her role supported the show's humorous take on small-town bureaucracy. Her most notable dramatic TV role came in 1956 on Adventures of Superman, playing in the episode "The Wedding of Superman," aired May 12, which depicted a plot involving a staged wedding to expose a criminal scheme. These limited engagements highlighted Fuller's versatility in early television, though she did not secure recurring parts, as her focus shifted toward songwriting opportunities that occasionally boosted her public profile. By the late 1950s, her on-camera TV work tapered off, with no further acting credits in the .

Personal Life

Marriages and Relationships

Dolores Fuller married Donald Fuller in 1941 shortly after graduating from high school, and the couple had two children together. Their union, which lasted until their divorce in 1955, began to sour in the late amid Fuller's growing ambitions in entertainment, leading to a temporary pause in her early acting endeavors. As her marriage to Donald Fuller was dissolving in the early 1950s, Fuller began a romantic relationship with filmmaker Edward D. Wood Jr. in late 1952; the pair soon cohabited and remained together until 1955. Wood, who was enamored with Fuller's style and reportedly proposed marriage multiple times, struggled with and transvestism, elements of his life that Fuller found difficult to accept despite her affection for him. She later reflected, "Ed begged me to marry him. I loved him in a way, but I couldn't handle the transvestism. I'm a very normal person." The relationship ended in 1955, after which Fuller moved to New York to study acting with at the Actors Studio and later transitioned to a career in songwriting. In 1988, at the age of 65, Fuller married Philip Chamberlin, a prominent historian who had served as director of special projects for the Academy of Motion Picture Arts and Sciences and helped establish the department at the County of Art. The couple, who met in the early , bonded over their mutual passion for history and remained together until Fuller's death in 2011; Chamberlin's extensive archives and expertise complemented her own experiences in Hollywood.

Family and Later Years

Fuller had two sons from her first marriage to Donald Fuller: Don, born in 1944, and Darrel, born in 1946, who passed away in 2004. As her acting career began in the early 1950s amid her divorce, she balanced motherhood with professional demands, supporting her young sons while navigating transitions from film roles to songwriting. In the years following the , Fuller managed her own , Dee Stewart Records, and occasionally gave interviews reflecting on her experiences in entertainment. She relocated to around 1988 upon marrying film historian Philip , whose companionship supported her in her later decades. In the 1990s, she contributed to efforts by supervising the music and serving as associate producer for the completed short Crossroads of Laredo, a project based on unfinished footage from her former partner . Fuller suffered health challenges in her final years, including a stroke in 2009, and passed away on May 9, 2011, at her Las Vegas home at the age of 88 from complications of a stroke. Her funeral services were held privately, and she was buried at Palm Memorial Park in Las Vegas.

Legacy

Portrayal in Media

In Tim Burton's 1994 biographical film , portrays Dolores Fuller as the supportive yet increasingly frustrated of director Edward D. Wood Jr., capturing the strain in their relationship during his early filmmaking efforts. Key scenes depict Fuller discovering Wood's habits, leading to her embarrassment and arguments, such as when she questions the whereabouts of her pink sweater amid his chaotic productions, and her eventual decision to leave him after he casts another in a lead role she coveted. The portrayal draws from Fuller's real-life romantic involvement with Wood in the early 1950s but exaggerates her as argumentative and self-centered for dramatic effect, diverging from historical accounts where she was more encouraging of his ambitions. Fuller expressed dissatisfaction with Parker's depiction, describing it in interviews as inaccurately portraying her as bitter and argumentative and overly focused on securing acting roles, when in reality she was supportive and never behaved that way toward Wood. She noted that Parker never met her to prepare for the role and criticized the for smoking on set, a habit Fuller herself avoided throughout her life; additionally, Parker publicly remarked that she had played "the worst of all time," which Fuller found insulting. Despite these critiques, Fuller praised Burton's overall direction and the film's affectionate tone toward Wood's era, calling it a positive representation despite the liberties taken with her character. Fuller has been featured in several documentaries exploring Wood's life and the world of 1950s B-movies, providing firsthand insights that contextualize her role in his story. In the 1994 short documentary Ed Wood: Look Back in Angora, she appears in interviews alongside Wood's widow Kathy and actor , discussing his creative process and personal quirks. Similarly, the 1989 episode of the British series The Incredibly Strange Film Show dedicated to Wood includes Fuller's recollections, alongside those from actors like and , highlighting her as a key figure in his early productions. Books on Wood, such as Rudolph Grey's 1992 biography Nightmare of Ecstasy: The Life and Art of Edward D. Wood, Jr., incorporate Fuller's interviews to detail her influence on his work, establishing her as an essential voice in scholarly examinations of his oeuvre. Fuller's association with Wood has embedded her story within the landscape, where she symbolizes the earnest optimism of low-budget Hollywood's fringes, amplified by Burton's which revitalized interest in Wood's films and introduced her character to wider audiences. This has contributed to her enduring place in B-movie lore, often referenced in discussions of outsider cinema and the romanticized mythos of "Hollywood's worst director," fostering fan appreciation through retrospectives and conventions.

Autobiography and Reflections

In 2008, Dolores Fuller published her autobiography, A Fuller Life: Hollywood, Ed Wood and Me, co-authored with Stone Wallace and Philip Chamberlain and released by BearManor Media. The book offers candid reflections on her personal and professional journey, including her romantic and collaborative relationship with filmmaker , the challenges that led to their breakup, and her regrets over limited acting opportunities in Hollywood. Fuller also highlights her songwriting successes, such as contributions to soundtracks, and shares humorous anecdotes from encounters with industry figures, underscoring her transition from B-movie roles to influential work in music. The was well-received for its honest portrayal of triumphs amid disappointments and tragedies, earning a 4.1 out of 5 rating on Amazon from reader reviews that praised its entertaining and informative style. Critics, including a review by John T. Soister, described it as both revealing and engaging, capturing the essence of Fuller's resilient career. To promote the , Fuller participated in public events, such as a 2009 tribute in hosted by the Las Vegas Film Critics Society, where she discussed her experiences. Through A Fuller Life, Fuller cemented her legacy as a versatile entertainer who navigated the contrasts between cult B-movie cinema and , providing readers with intimate insights into mid-20th-century Hollywood. She passed away in 2011, three years after the book's release.

Filmography

Film Roles

Dolores Fuller's film career began as a child actress and spanned several decades, primarily featuring uncredited or minor supporting roles in the 1950s before a return to low-budget independent features in the 1990s and 2000s. Her most notable appearances were in three films directed by Edward D. Wood Jr., where she played leading or key supporting parts.
YearFilm TitleRoleDirector(s)Notes
1934It Happened One NightUncredited child extraFrank CapraEarly bit part obtained while staying at a Los Angeles motel where the film was shooting.
1952Outlaw WomenOne of Uncle Barney's Girls (uncredited)Sam Newfield, Ron OrmondMinor role in an all-female outlaw town Western.
1953Girls in the NightWoman at Sorority Clubhouse Party (uncredited)Jack ArnoldBrief appearance in a juvenile delinquency drama.
1953College CapersMinor roleElmo WilliamsAppearance in 3D short comedy.
1953The Blue GardeniaWoman at Bar (uncredited)Fritz LangSmall part in the film noir mystery.
1953Mesa of Lost WomenBlonde 'Watcher in the Woods' (as Delores Fuller)Herbert Tevos, Ron OrmondSupporting role in the science fiction horror film.
1953The MoonlighterMiss Buckwalter (uncredited)Roy RowlandUncredited bit part in the Western.
1953The Body BeautifulJune (as Sherry Caine)Max NosseckCredited supporting role in the mystery thriller.
1953Count the HoursReporter (uncredited)Don SiegelBrief appearance as a journalist.
1953Glen or GlendaBarbaraEdward D. Wood Jr.Lead role as the protagonist's fiancée in Wood's semi-autobiographical transgender drama; her angora sweater became iconic in Wood lore.
1954PlaygirlGirl (uncredited)Joseph PevneyUncredited role in the crime drama.
1954The RaidMinor Role (uncredited)Hugo FregoneseSmall part in the Civil War-era Western.
1954This Is My LoveUncreditedRoy RowlandBit appearance in the romantic drama.
1954Jail BaitMarilyn GregorEdward D. Wood Jr.Co-lead role as the innocent sister in the crime film; her performance highlighted Wood's amateurish style.
1955Bride of the MonsterMargieEdward D. Wood Jr.Supporting role as a waitress; originally cast in a larger part that was reduced.
1956The Opposite SexBit Role (uncredited)David MillerMinor uncredited appearance in the musical remake of The Women.
1995Crossroads of LaredoWoman at Hanging (voice, uncredited)Edward D. Wood Jr. (original footage), Kathy Wood (completion)Voice cameo in the completed short Western using Wood's unfinished 1940s footage; Fuller also contributed to production.
1995The Haunted World of Edward D. Wood Jr.HerselfTed Newsom, John MorganOn-camera interview in the documentary about her ex-partner Wood.
1997The Ironbound VampireTheresa PowellKarl PetrySupporting role in the low-budget horror video.
1998Dimension in FearTV Station OwnerTed V. MikelsSmall role in the science fiction thriller.
2000The Corpse Grinders 2Patricia GrantTed V. MikelsSupporting role in the horror sequel.
Following her film roles in the 1950s, Fuller largely shifted her focus to songwriting and other entertainment pursuits in the late 1950s, though she made occasional appearances in low-budget films and documentaries in the and .

Television Roles

Dolores Fuller's television career was relatively sparse compared to her film roles in the early 1950s, primarily featuring guest appearances, modeling segments, and work on variety and programs. In the early , Fuller served as a regular model known as the "Gustinette Girl" on the game show , appearing five days a week to demonstrate and other products in featured segments. This role overlapped briefly with the start of her film career but ended as she pursued acting opportunities. She also worked as a and double for on The (NBC, 1951–1957), handling rehearsal duties on Mondays and Wednesdays for the live Friday night broadcasts; however, she was let go after missing a work date due to an overnight film shoot. Later, she appeared in a similar capacity on The (NBC, 1956–1961). Fuller's scripted guest spots began in 1954 on the sitcom It's a Great Life (CBS, 1954–1955), where she played "Girl" (the blonde in the mink coat) in the episode "The Missing Husband," aired in 1955. In 1955, she guest-starred as Miss Carroll on The Great Gildersleeve (syndicated, 1954–1956), appearing in the episode "Water Commissioner's Water Color." Her final television acting role came in 1956 on Adventures of Superman (syndicated, 1952–1958), portraying Lorraine in the episode "The Wedding of Superman," which originally aired on May 12. After this, Fuller shifted focus away from on-camera work toward songwriting.
YearShowNetworkRole/EpisodeDetails
Early Queen for a DayGustinette Girl (model)Regular appearances, 5 days/week, product demonstrations
1951–1957Stand-in for Rehearsals and live support; terminated due to scheduling conflict
1954–1955It's a Great LifeGirl ("," 1955)Guest spot as blonde in mink coat
1954–1956SyndicatedMiss Carroll ("Water Commissioner's Water Color," 1955)Guest appearance
1956Stand-in for Brief modeling/stand-in role
1956Adventures of SupermanSyndicatedLorraine ("The Wedding of Superman," May 12, 1956)Guest acting role

Discography

Elvis Presley Songs

Dolores Fuller secured songwriting contracts for 's films through her friendship with producer , who introduced her to Hill & Range Publishers after she sought an acting role in Blue Hawaii (1961); this led to collaborations with established composers and placements in a dozen Presley movies from 1961 to 1969. Fuller co-wrote the following 12 songs recorded by Presley, primarily for his film soundtracks, often partnering with composers like Ben Weisman:
Song TitleCo-WritersAssociated FilmRelease YearChart Positions
Rock-A-Hula BabyBen Weisman, Fred WiseBlue Hawaii1961US #23, UK #1
Steppin' Out of LineBen Weisman, Fred WiseBlue Hawaii1962-
I Got LuckyBen Weisman, Fred WiseKid Galahad1962-
Beyond the BendBen Weisman, Fred WiseIt Happened at the World's Fair1963-
You Can't Say No in AcapulcoSid Feller, Lee MorrisFun in Acapulco1963-
Barefoot BalladLarry MorrisKissin' Cousins1964-
Big Love, Big HeartacheLee Morris, Sonny HendrixRoustabout1964-
Do the ClamBen Weisman, Sid WayneGirl Happy1965US #21, UK #19
SpinoutBen Weisman, Sid WayneSpinout1966US #40
I'll Take LoveMark BarkanEasy Come, Easy Go1967-
Have a Happy?Ben Weisman, Buddy KayeChange of Habit1969-
Cindy, CindyBen Weisman, Buddy KayeLove Letters from Elvis (album)1970-
Among these, "Rock-A-Hula Baby" marked Fuller's breakthrough, reaching the top of the charts and contributing to the success of , while "Do the Clam" and "Spinout" also achieved moderate chart success.

Other Artists' Recordings

Dolores Fuller's songwriting extended beyond , with her lyrics appearing on recordings by several prominent artists during the and , reflecting the opportunities her Presley collaborations provided in the music industry. One notable example is "Someone to Tell It To," for which Fuller co-wrote the lyrics with to Jimmy Van Heusen's music; recorded it in 1962 for his 1963 Capitol album Where Did Everyone Go?, arranged by . The track, a poignant about longing and , fit Cole's signature smooth vocal style but did not achieve significant chart success as a single. In 1965, included Fuller's co-written "Losers Weepers" on her Capitol album Then Was Then and Now Is Now, from the of the Marriage on the Rocks. Co-credited to Lee Morris and , the song's lyrics explore themes of heartbreak and resignation in a jazzy, torch-song arrangement, though it remained an cut without charting. Fuller also contributed to pop hits outside the Presley orbit, such as "Lost Summer Love," co-written with Mark Barkan and first recorded by in 1964 on her Vee-Jay single backed with "I Know You'll Be There." The wistful teen-pop tune about fleeting romance did not chart on the Hot 100. Another original non-Presley recording was "I'll Touch a Star," co-written with Fred Wise and Ben Weisman, which cut in 1964 for his Capitol album Suspicion!. Released as a follow-up single to his #3 hit "Suspicion," it reached #25 on the , blending country-tinged pop with optimistic lyrics about aspiring for dreams. During her music publishing activities in the 1950s and 1970s, Fuller penned lesser-known works for various artists, including contributions to soundtracks and B-sides that highlighted her versatility in pop and film music, though specific credits from this era remain more obscure compared to her higher-profile outings.

References

  1. https://www.latimes.com/local/obituaries/la-me-dolores-fuller-20110511-story.html
  2. https://variety.com/2011/film/news/dolores-fuller-dies-at-88-1118036858/
  3. https://www.theguardian.com/film/2011/may/22/dolores-fuller-obituary
  4. https://www.findagrave.com/memorial/69659157/dolores-fuller
  5. https://www.nytimes.com/2011/05/12/movies/dolores-fuller-actress-and-muse-of-ed-wood-dies-at-88.html
  6. http://www.briansdriveintheater.com/doloresfuller.html
  7. https://www.imdb.com/name/nm0298215/bio/
  8. https://www.bearmanormedia.com/products/a-fuller-life-hollywood-ed-wood-and-me-by-dolores-fuller
  9. https://www.imdb.com/title/tt0045004/fullcredits/
  10. https://www.imdb.com/title/tt0045652/fullcredits/
  11. https://www.imdb.com/title/tt0045818/fullcredits/
  12. https://www.imdb.com/title/tt0046066/fullcredits/
  13. https://www.tcm.com/tcmdb/title/76495/glen-or-glenda
  14. https://www.spectacletheater.com/angora-rising-two-from-ed-wood/
  15. https://www.imdb.com/title/tt0047127/
  16. http://www.moviefanfare.com/?p=14708
  17. https://www.imdb.com/title/tt0047898/
  18. https://www.elvis.com.au/presley/interview-doris-fuller.shtml
  19. https://lasvegassun.com/news/2009/aug/13/fuller-life/
  20. https://www.thebluegrassspecial.com/archive/2011/june2011/dolores-fuller-obit.html
  21. https://www.imdb.com/title/tt0049578/fullcredits/
  22. https://www.billboard.com/artist/elvis-presley/chart-history/
  23. https://www.elvis-atouchofgold.com/dolores-fuller/
  24. https://www.imdb.com/title/tt1374318/?ref_=ttep_ep_1
  25. https://www.pr.com/press-release/170722
  26. https://www.washingtonpost.com/local/obituaries/dolores-fuller-actress-and-muse-of-inept-filmmaker-ed-wood-dies-at-88/2011/05/12/AFGLXO1G_story.html
  27. http://philip-chamberlin.last-memories.com/lifestory
  28. https://variety.com/1995/film/reviews/crossroads-at-laredo-the-lost-film-of-edward-d-wood-jr-1200442594/
  29. https://www.dignitymemorial.com/obituaries/las-vegas-nv/dolores-fuller-9704704
  30. https://www.joblo.com/ed-wood-what-really-happened-to-this-movie/
  31. https://morbidlybeautiful.com/horror-history-ed-wood-1994/
  32. https://www.nytimes.com/1994/09/23/movies/film-festival-review-ode-to-a-director-who-dared-to-be-dreadful.html
  33. https://www.flickeringmyth.com/ed-wood-at-30-the-story-behind-tim-burtons-cult-classic-biographical-drama/
  34. https://www.imdb.com/title/tt0144185/
  35. https://www.imdb.com/title/tt0610961/
  36. https://vaultofevil.proboards.com/thread/2526/rudolph-grey-nightmare-ed-wood
  37. https://www.mentalfloss.com/article/90464/14-campy-facts-about-ed-wood
  38. https://www.factualamerica.com/behind-the-screenplay/the-real-ed-wood-hollywoods-worst-director-unmasked
  39. https://www.amazon.com/Fuller-Life-Hollywood-Ed-Wood/dp/1593933045
  40. https://lasvegasweekly.com/ae/film/2009/aug/13/fuller-life/
  41. https://www.imdb.com/title/tt15552218/
  42. https://www.imdb.com/title/tt0046095/fullcredits/
  43. https://www.imdb.com/title/tt0045568/fullcredits/
  44. https://www.imdb.com/title/tt0047355/fullcredits/
  45. https://www.imdb.com/title/tt0261752/fullcredits/
  46. https://travsd.wordpress.com/2020/03/10/dolores-a-fuller-portrait/
  47. https://www.imdb.com/name/nm0298215/trivia/
  48. https://hollywoodhoosiers.fandom.com/wiki/Dolores_Fuller
  49. https://www.imdb.com/title/tt1063949/
  50. https://www.tvguide.com/celebrities/dolores-fuller/credits/3030243555/
  51. https://www.imdb.com/title/tt0047735/fullcredits/
  52. https://www.imdb.com/title/tt0506645/
  53. https://www.musicvf.com/song.php?id=14279
  54. https://www.musicvf.com/song.php?title=Do+the+Clam+by+Elvis+Presley&id=14303
  55. https://www.musicvf.com/song.php?title=Spinout+by+Elvis+Presley&id=14315
  56. https://www.discogs.com/release/12879478-Nat-King-Cole-Where-Did-Everyone-Go
  57. https://www.allmusic.com/song/someone-to-tell-it-to-mt0040805423
  58. https://secondhandsongs.com/performance/952799/all
  59. https://pophits.org/songs/terry-stafford-ill-touch-a-star
  60. https://secondhandsongs.com/work/209933/all
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