Recent from talks
Nothing was collected or created yet.
Kim Hunter
View on Wikipedia
Kim Hunter (born Janet Cole; November 12, 1922 – September 11, 2002) was an American theatre, film, and television actress. She achieved prominence for portraying Stella Kowalski in the original production of Tennessee Williams' A Streetcar Named Desire, which she reprised for the 1951 film adaptation, and won both an Academy Award and a Golden Globe Award for Best Supporting Actress.
Key Information
Decades later, she was nominated for a Daytime Emmy Award for portraying Nola Madison on the soap opera The Edge of Night.[1] She also portrayed the chimpanzee Zira in Planet of the Apes (1968), and its sequels Beneath the Planet of the Apes (1970) and Escape from the Planet of the Apes (1971).
Early life
[edit]Hunter was born in Detroit, Michigan, the daughter of Grace Lind, who was trained as a concert pianist, and Donald Cole, a refrigeration engineer.[2] She was of English and Welsh descent.[3] Hunter attended Miami Beach High School.[4]
Career
[edit]Hunter's first film role was in the 1943 horror The Seventh Victim, and her first starring role was playing opposite David Niven in the 1946 British fantasy film A Matter of Life and Death. In 1947, she was Stella Kowalski on stage in the original Broadway production of A Streetcar Named Desire. Recreating that role in the 1951 film version, Hunter won both the Academy and Golden Globe awards for Best Supporting Actress.[5][6] In the interim, however, in 1948, she had already joined with Streetcar co-stars Marlon Brando, Karl Malden, and 47 others, to become one of the first members accepted by the newly created Actors Studio.[7]
In 1952, Hunter became Humphrey Bogart's leading lady in Deadline USA.[8]
Hunter was blacklisted from film and television in the 1950s, amid suspicions of communism in Hollywood, during the era of the House Un-American Activities Committee (HUAC).[9]
In 1956, with the HUAC's influence subsiding, she co-starred in Rod Serling's Peabody Award-winning teleplay on Playhouse 90, "Requiem for a Heavyweight". The telecast won multiple Emmy Awards, including Best Single Program of the Year. She appeared opposite Mickey Rooney in the 1957 live CBS-TV broadcast of The Comedian, another drama written by Rod Serling and directed by John Frankenheimer. In 1959, she appeared in Rawhide in "Incident of the Misplaced Indians" as Amelia Spaulding. On February 4, 1968, she appeared as Ada Halle in the NBC TV Western series Bonanza in the episode "The Price of Salt".[3]
Starting in 1968, Hunter took on the role of Zira, the sympathetic chimpanzee scientist in the science fiction film Planet of the Apes, as well as two of its sequels. She also appeared in several radio and TV soap operas, most notably as Hollywood actress Nola Madison in ABC's The Edge of Night, for which she received a Daytime Emmy Award nomination as Outstanding Lead Actress in a Drama Series in 1980.[1] In 1979, she appeared as First Lady Ellen Axson Wilson in the serial drama Backstairs at the White House.[10]
Hunter starred in the controversial TV movie Born Innocent (1974) playing the mother of Linda Blair's character. She also starred in several episodes of the CBS Radio Mystery Theater during the mid-1970s. In 1971, she appeared in an episode of Cannon. In the same year, she starred in a Columbo episode "Suitable for Framing". In 1974, she appeared on Raymond Burr's Ironside. In 1977, she appeared on the NBC Western series The Oregon Trail starring Rod Taylor, in the episode "The Waterhole", which also featured Lonny Chapman.[3]
Hunter's last film role in a major motion picture was in Clint Eastwood's 1997 film, Midnight in the Garden of Good and Evil. In it, Hunter portrayed Betty Harty, legal secretary for real-life Savannah lawyer Sonny Seiler.[3][10]
Personal life
[edit]Hunter was married twice, first to William Baldwin, a Marine Corps pilot, in 1944. The couple had a daughter before divorcing two years later. She wed Robert Emmett in 1951. They had a son in 1954.[10] Hunter and Emmett would occasionally perform together in stage plays; he died in 2000.[11]
Hunter was a lifelong progressive Democrat.[12]
Death
[edit]Hunter died in New York City on September 11, 2002, of a heart attack at the age of 79.[10][11][13] Her ashes were given to her daughter—an attorney, civic leader, and former judge in Connecticut.[14][15]
Legacy
[edit]Hunter received two stars on the Hollywood Walk of Fame, one for motion pictures at 1615 Vine Street and a second for television at 1715 Vine Street.[16]
Filmography
[edit]Film
[edit]| Year | Title | Role | Notes |
|---|---|---|---|
| 1943 | The Seventh Victim | Mary Gibson | |
| 1943 | Tender Comrade | Doris Dumbrowski | |
| 1943 | Reconnaissance Pilot | Catherine Cummings | Uncredited / Documentary short |
| 1944 | A Canterbury Tale | Johnson's Girl | US release scenes shot in 1946 |
| 1944 | When Strangers Marry | Mildred "Millie" Baxter | Re-release title Betrayed |
| 1945 | You Came Along | Frances Hotchkiss | |
| 1946 | A Matter of Life and Death | June | |
| 1951 | A Streetcar Named Desire | Stella Kowalski | Academy Award for Best Supporting Actress Golden Globe Award for Best Supporting Actress – Motion Picture |
| 1952 | Deadline – U.S.A. | Nora Hutcheson | |
| 1952 | Anything Can Happen | Helen Watson | |
| 1956 | Bermuda Affair | Fran West | |
| 1956 | Storm Center | Martha Lockridge | |
| 1957 | The Young Stranger | Helen Ditmar | |
| 1958 | Money, Women and Guns | Mary Johnston Kingman | |
| 1964 | Lilith | Dr. Bea Brice | |
| 1968 | Planet of the Apes | Dr. Zira | |
| 1968 | The Swimmer | Betty Graham | |
| 1970 | Beneath the Planet of the Apes | Dr. Zira | |
| 1971 | Escape from the Planet of the Apes | Dr. Zira | |
| 1971 | Jennifer on My Mind | Jennifer's Mother | Scenes deleted |
| 1976 | Dark August | Adrianna Putnam | |
| 1987 | The Kindred | Amanda Hollins | |
| 1990 | Due occhi diabolici | Mrs. Pym | Segment: "The Black Cat" |
| 1993 | The Black Cat | Mrs. Pym | Short release of segment in Due occhi diabolici |
| 1997 | Midnight in the Garden of Good and Evil | Betty Harty | |
| 1998 | A Price Above Rubies | Rebbitzn | |
| 1999 | Abilene | Emmeline Brown | |
| 1999 | Out of the Cold | Elsa Lindepu | |
| 2000 | The Hiding Place | Muriel | |
| 2000 | Here's to Life! | Nelly Ormond |
Television
[edit]| Year | Title | Role | Notes |
|---|---|---|---|
| 1948–1950 | Actors Studio | Season 1 Episode 7: "The Ropes" (1948) Season 1 Episode 17: "The Little Wife" (1949) Season 2 Episode 6: "The Return to Kansas City" (1949) Season 2 Episode 17: "The Little Wife" (1950) | |
| 1949 | The Philco Television Playhouse | Season 2 Episode 4: "The Lonely" Season 2 Episode 11: "The Promise" | |
| 1949 | The Silver Theatre | Season 1 Episode 3: "Rhapsody in Discord" | |
| 1949 | Suspense | Emily | Season 2 Episode 13: "Man in the House" |
| 1949 | The Ford Theatre Hour | Meg March | Season 2 Episode 6: "Little Women" |
| 1952 | Robert Montgomery Presents | Season 3 Episode 14: "Rise Up and Walk" | |
| 1952 | Celanese Theatre | Gaby Maple | Season 1 Episode 11: "The Petrified Forest" |
| 1953 | Gulf Playhouse | Season 2 Episode 11: "A Gift from Cotton Mather" | |
| 1954 | Janet Dean, Registered Nurse | Sylvia Peters | Episode: "The Putnam Case" |
| 1955 | Omnibus | Joan of Arc | Season 3 Episode 12 (Segment: "The Trial of St. Joan") |
| 1955 | Justice | Season 2 Episode 32: "The Blues Kill Me" | |
| 1955 | Appointment with Adventure | Season 1 Episode 12: "Race the Comet" | |
| 1955 | Star Tonight | Season 1 Episode 21: "Cross-Words" | |
| 1955 | Screen Directors Playhouse | Elizabeth | Season 1 Episode 3: "A Midsummer Daydream" |
| 1955 | Lux Video Theatre | Lina | Season 6 Episode 11: "Suspicion" |
| 1955 | Climax! | Barbara Williams | Season 2 Episode 11: "Portrait in Celluloid" |
| 1956 | Studio 57 | Molly | Season 3 Episode 4: "Perfect Likeness" |
| 1956 | The Joseph Cotten Show | Anita Wells | Season 1 Episode 9: "The Person and Property of Margery Hay" |
| 1956 | General Electric Theater | Mary Murphy | Season 4 Episode 22: "Try to Remember" |
| 1956–1960 | Playhouse 90 | (1) Grace Carney (2) Julie Hogarth (3) Anna Rojas (4) Joyce McClure (5) Shirl Cato (6) Mrs. Anderson (7) Maria (8) Helen Bragg |
(1) Season 1 Episode 2: "Requiem for a Heavyweight" (1956) (2) Season 1 Episode 20: "The Comedian" (1957) (3) Season 2 Episode 2: "The Dark Side of the Earth" (1957) (4) Season 2 Episode 20: "Before I Die" (1958) (5) Season 3 Episode 10: "Free Weekend" (1958) (6) Season 4 Episode 2: "The Sounds of Eden" (1959) (7) Season 4 Episode 13: "The Hiding Place" (1960) (8) Season 4 Episode 14: "Alas, Babylon" (1960) |
| 1956 | The United States Steel Hour | Vivan | Season 3 Episode 18: "Moment of Courage" |
| 1957 | The Kaiser Aluminum Hour | Louise Marden | Season 1 Episode 17: "Whereabouts Unknown" |
| 1958 | Climax! | (1) Lynn Griffith (2) Ann Brewster |
(1) Season 4 Episode 21: "So Deadly My Love" (2) Season 4 Episode 34: "Cabin B-13" |
| 1958 | Studio One | Maggie Church | Season 10 Episode 34: "Ticket to Tahiti" |
| 1958 | Lamp Unto My Feet | Episode: "Antigone" | |
| 1958 | Alcoa Theatre | Stephanie Heldman | Season 2 Episode 7: "The Dark File" |
| 1958 | Rendezvous | Amanda 'Mandy' Sullivan Skowran | Season 1 Episode 8: "In an Early Winter" |
| 1959 | Rawhide | Amelia Spaulding | Season 1 Episode 16: "Incident of the Misplaced Indians" |
| 1959 | The Lineup | Sister Angela | Season 6 Episode 2: "The Strange Return of Army Armitage" |
| 1959 | Adventures in Paradise | Vanessa Sutton Charles | Season 1 Episode 11: "Haunted" |
| 1960 | The Closing Door | Television film | |
| 1960 | NBC Sunday Showcase | Season 1 Episode 24: "The Secret of Freedom" | |
| 1960 | World Wide '60 | Jill | Episode: "The Secret of Freedom" |
| 1960 | Special for Women: The Cold Woman | The Cold Woman | Television film |
| 1960 | The Play of the Week | Norma Trahern | Season 1 Episode 13: "The Closing Door" |
| 1961 | The Play of the Week | Season 2 Episode 21: "The Sound of Murder" | |
| 1961 | Give Us Barabbas! | Mara | Television film |
| 1962 | The United States Steel Hour | Season 10 Episode 4: "Wanted: Someone Innocent" | |
| 1962 | Naked City | Edna Daggett | Season 3 Episode 13: "The Face of the Enemy" |
| 1962 | The Dick Powell Show | Ruth Jacobs | Season 2 Episode 2: "Tomorrow, the Man" |
| 1962 | The Eleventh Hour | Virginia Hunter | Season 1 Episode 6: "Of Roses and Nightingales and Other Lovely Things" |
| 1963 | Jackie Gleason: American Scene Magazine | Guest / Sketches | Season 1 Episode 15 |
| 1963 | The Nurses | Lora Stanton | Season 1 Episode 32: "They Are as Lions" |
| 1963 | Chronicle | Episode: "The French, They Are So French" | |
| 1963 | Breaking Point | Anita Anson | Season 1 Episode 7: "Crack in an Image" |
| 1963 | Arrest and Trial | Geraldine Weston Saunders | Season 1 Episode 13: "Some Weeks Are All Mondays" |
| 1964 | The Alfred Hitchcock Hour | Adelaide Winters | Season 2 Episode 16: "The Evil of Adelaide Winters" |
| 1965 | The Defenders | Eileen Rolf | Season 4 Episode 18: "The Unwritten Law" |
| 1965 | Dr. Kildare | Emily Field | Season 5 Episode 24: "Something Old, Something New" Season 5 Episode 25: "To Visit One More Spring" |
| 1966 | Confidential for Women | Season 1 Episode 1: "Love After Marriage" | |
| 1966 | Lamp At Midnight | Maria Celeste | Hallmark Hall of Fame Television film |
| 1966 | Hawk | Mrs. Gilworth | Season 1 Episode 16: "Wall of Silence" |
| 1967 | Mannix | Louise Dubrio | Season 1 Episode 1: "The Name Is Mannix" |
| 1968 | Bonanza | Ada Halle | Season 9 Episode 19: "The Price of Salt" |
| 1968 | The Young Loner | Freda Williams | Television film |
| 1968 | Walt Disney's Wonderful World of Color | Freda Williams | Season 14 Episode 20: "The Young Loner: Part 1" Season 14 Episode 21: "The Young Loner: Part 2" |
| 1968 | The Jackie Gleason Show | Miss Patterson | Season 3 Episode 3: "The Honeymooners: The Boy Next Door" |
| 1968 | CBS Playhouse | Gerrie Mason | Season 2 Episode 1: "The People Next Door" |
| 1969 | NET Playhouse | Clytemnestra | Season 3 Episode 24: "The Prodigal" |
| 1970 | Mannix | Angela Warren | Season 4 Episode 12: "Deja Vu" |
| 1970 | Dial Hot Line | Mrs. Edith Carruthers | Television film |
| 1970 | The Teaching | Nan Golden | Television film |
| 1970 | The Young Lawyers | Miriam Hewitt | Season 1 Episode 4: "The Alienation Kick" |
| 1970 | Bracken's World | Amy Dobie | Season 2 Episode 8: "A Team of One-Legged Acrobats" |
| 1971 | The Bold Ones: The New Doctors | Elaine Miller | Season 2 Episode 6: "A Matter of Priorities" |
| 1971 | In Search of America | Cora Chandler | Television film |
| 1971 | Gunsmoke | Bea Colter | Season 17 Episode 6: "The Legend" |
| 1971 | Cannon | Liz Somers | Season 1 Episode 7: "Girl in the Electric Coffin" |
| 1971 | Columbo | Edna Matthews | Season 1 Episode 4: "Suitable for Framing" |
| 1971 | Medical Center | Carla Yarman | Season 3 Episode 3: "The Imposter" |
| 1972 | Night Gallery | Cora Peddington | Season 2 Episode 16 (Segment: "The Late Mr. Peddington") |
| 1972 | Owen Marshall, Counselor at Law | Faye Danner | Season 2 Episode 2: "Lines from an Angry Book" |
| 1972 | Young Dr. Kildare | Episode: "The Thing with Feathers" | |
| 1973 | Mission: Impossible | Hannah O'Connel | Season 7 Episode 14: "Incarnate" |
| 1973 | Love, American Style | Ruth | Season 4 Episode 21 (Segment: "Love and the Happy Family") |
| 1973 | The Magician | Nora Coogan | Season 1 Episode: "Pilot" |
| 1973 | Marcus Welby, M.D. | Vera Pulaski | Season 5 Episode 3: "For Services Rendered" |
| 1973 | Griff | Dr. Martha Reed | Season 1 Episode 6: "The Last Ballad" |
| 1973 | Police Story | Rose Koster | Season 1 Episode 9: "Man on a Rack" |
| 1973 | Hec Ramsey | Annie Kirby | Season 2 Episode 2: "The Detroit Connection" |
| 1973 | The Evil Touch | Jill | Season 1 Episode 3: "Dr. McDermitt's New Patients" |
| 1974 | The Evil Touch | Emily Webber | Season 1 Episode 26: "Wings of Death" |
| 1974 | Medical Center | Marion Troy | Season 6 Episode 13: "Kiss and Kill" |
| 1974 | Ironside | (1) Joanna Portman (2) Athena Champion |
(1) Season 7 Episode 18: "The Taste of Ashes" (2) Season 8 Episode 7: "The Last Cotillion" |
| 1974 | Unwed Father | Judy Simmons | Television film |
| 1974 | Born Innocent | Mrs. Parker | Television film |
| 1974 | Bad Ronald | Elaine Wilby | Television film |
| 1975 | Insight | Ann Hinds | Episode 385: "The Last of the Great Male Chauvinists" |
| 1975 | Lucas Tanner | Bess Reiter | Season 1 Episode 16: "Collision" |
| 1975 | Ellery Queen | Marion McKell | Season 1 Pilot Episode: "Too Many Suspects" |
| 1975 | The Wide World of Mystery | Episode: "The Impersonation Murder Case" | |
| 1976 | The Dark Side of Innocence | Kathleen Hancock | Television film |
| 1976 | Baretta | Crazy Annie | Season 3 Episode 9: "Crazy Annie" |
| 1976 | Once an Eagle | Kitty Damon | Television miniseries Season 1 Episode 1: "Part 1" Season 1 Episode 4: "Part 4" |
| 1977 | The Oregon Trail | Liz Webster | Season 1 Episode 3: "The Waterhole" |
| 1977 | Hunter | Mrs. Lovejoy | Season 1 Episode 12: "The Lovejoy File" |
| 1978 | Project U.F.O. | Samantha | Season 2 Episode 3: "Sighting 4017: The Devilish Davidson Lights Incident" |
| 1978 | Stubby Pringle's Christmas | Mrs. Harper | Television film |
| 1979 | Backstairs at the White House | Mrs. Ellen Wilson | Television miniseries (Season 1 Episode 1) |
| 1979 | The Rockford Files | Mrs. Brockelman | Season 5 Episode 19: "Never Send a Boy King to Do a Man's Job" |
| 1979 | The Golden Gate Murders | Sister Superior | Television film |
| 1979–1980 | The Edge of Night | Nola Madison | 113 episodes Nominated—Daytime Emmy Award for Outstanding Lead Actress in a Drama Series (1980) |
| 1980 | F.D.R.: The Last Year | Lucy Rutherford | Television film |
| 1981 | Skokie | Bertha Feldman | Television film |
| 1984 | Scene of the Crime | Helen Hollander | Season 1 Episode: "Pilot" |
| 1985 | Private Sessions | Rosemary O'Reilly | Television film |
| 1985 | American Playhouse | (1) Mary Easty (2) Samuel Nurse |
(1) Season 4 Episode 18: "Three Sovereigns for Sarah: Part I" (2) Season 4 Episode 20: "Three Sovereigns for Sarah: Part III" |
| 1988 | Drop-Out Mother | Leona | Television film |
| 1989 | Cross of Fire | Mrs. Oberholtzer | Television film |
| 1990 | Murder, She Wrote | Beatrice Vitello | Season 7 Episode 1: "Trials and Tribulations" |
| 1993 | All My Children | Faye Perth | |
| 1993 | Bloodlines: Murder in the Family | Vera Woodman | Television film |
| 1993 | Triumph Over Disaster: The Hurricane Andrew Story | Elsa Rael | Television film |
| 1994 | Mad About You | Millie Barton | Season 2 Episode 19: "Love Letters" |
| 1994 | L.A. Law | Natalie Schoen | Season 8 Episode 22: "Finish Line" |
| 1997 | As the World Turns | (1) and (2) Nurse (3) Mrs. Tompkins |
(1) Episode dated May 5, 1997 (2) Episode dated May 6, 1997 (3) Episode dated September 29, 1997 |
| 1999 | Blue Moon | Sheila Keating | Television film |
| 2001 | The Education of Max Bickford | Adelle Aldrich | Season 1 Episode 3: "Who Is Breckenridge Long?" |
Awards and nominations
[edit]| Year | Association | Category | Nominated work | Result |
|---|---|---|---|---|
| 1951 | Academy Awards | Best Supporting Actress | A Streetcar Named Desire | Won |
| Golden Globe Award | Best Supporting Actress – Motion Picture | Won | ||
| 1980 | Daytime Emmy Award | Outstanding Lead Actress in a Drama Series | The Edge of Night | Nominated |
References
[edit]- ^ a b "1980 Emmy Winners & Nominees". Soap Opera Digest. Archived from the original on August 18, 2004. Retrieved June 28, 2013.
- ^ Ross, Lillian; Ross, Helen (April 8, 1961). The Player A Profile Of An Art. Simon And Schuster. p. 320. Retrieved October 29, 2021 – via Internet Archive.
- ^ a b c d Collura, Joe (October 23, 2009). "Kim Hunter". Classic Images. Archived from the original on September 24, 2019. Retrieved December 20, 2018.
- ^ "Kim Hunter". Hollywood Walk of Fame. Retrieved December 20, 2018.
- ^ "Winners & Nominees: Best Performance by an Actress in a Supporting Role in any Motion Picture 1952". Golden Globe Awards. Archived from the original on March 8, 2021. Retrieved December 20, 2018.
- ^ "Oscar Ceremony 1952 (Actress In A Supporting Role)". Academy Awards. October 5, 2014. Retrieved December 20, 2018.
- ^ Kleiner, Dick (December 21, 1956). "The Actors Studio: Making Stars Out of the Unknown". Sarasota Journal. p. 26.
That first year, they interviewed around 700 actors and picked 50. In that first group were people like Marlon Brando, Montgomery Clift, Tom Ewell, John Forsythe, Julie Harris, Kim Hunter, Karl Malden, E.G. Marshall, Margaret Phillips, Maureen Stapleton, Kim Stanley, Jo Van Fleet, Eli Wallach, Ray Walston and David Wayne.
- ^ McCarty, Clifford (1965). Bogey: The Films of Humphrey Bogart. New York: Citadel Press. p. 165. ISBN 978-0-8065-0001-0.
- ^ "THEATER; Blacklist: Memories of a Word That Marks an Era". The New York Times. July 31, 1994. Retrieved September 21, 2015.
- ^ a b c d Baxter, Brian (September 12, 2002). "Obituary: Kim Hunter". The Guardian. London. Retrieved February 5, 2017.
- ^ a b "Kim Hunter". The Daily Telegraph. London. September 12, 2002. Retrieved February 5, 2017.
- ^ Lyman, Rick (September 12, 2002). "Kim Hunter, 79, an Actress Lauded as Stella in 'Streetcar'". The New York Times. Retrieved May 28, 2018.
- ^ "Kim Hunter Obituary". Legacy. Archived from the original on February 5, 2017. Retrieved February 5, 2017.
- ^ "Kathryn Emmett". Franklin Street Works. May 31, 2017. Retrieved February 12, 2022..
- ^ Wilson, Scott (September 16, 2016). Resting Places: The Burial Sites of More Than 14,000 Famous Persons (3d ed.). McFarland. ISBN 978-1-4766-2599-7 – via Google Books.
- ^ Welkos, Robert W. (September 12, 2002). "Kim Hunter - Hollywood Star Walk". Los Angeles Times. Retrieved December 20, 2018.
External links
[edit]- Kim Hunter at IMDb
- Kim Hunter at the TCM Movie Database
- Kim Hunter at the Internet Broadway Database
- Kim Hunter at the Internet Off-Broadway Database (archived)
- Kim Hunter scripts and rehearsal notes, 1957–1993, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts
- Kim Hunter papers, Additions 1925-2000, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts
- Kim Hunter at The Interviews: An Oral History of Television
Kim Hunter
View on GrokipediaKim Hunter (born Janet Cole; November 12, 1922 – September 11, 2002) was an American actress whose career in theater, film, and television extended nearly six decades.[1]
She rose to prominence originating the role of Stella Kowalski opposite Marlon Brando and Jessica Tandy in the 1947 Broadway production of Tennessee Williams' A Streetcar Named Desire, reprising the part in Elia Kazan's 1951 film adaptation and earning the Academy Award for Best Supporting Actress.[2]
Hunter's ascent was halted in the early 1950s when she was informally blacklisted from major studio work amid House Un-American Activities Committee investigations into suspected communist influences in Hollywood, stemming from her sponsorship of a 1949 World Peace Conference and other petitions linked to Soviet-aligned causes.[3][4]
Resuming film roles post-1956, she became widely recognized for voicing and portraying the chimpanzee scientist Zira in the 1968 Planet of the Apes and its sequels, contributing to the franchise's cultural impact.[5]
Early Life
Family Background and Childhood
Kim Hunter was born Janet Cole on November 12, 1922, in Detroit, Michigan, to Donald Cole, a consulting engineer, and Grace Lind Cole, a former concert pianist.[6][7] Her father died in 1926, when Hunter was three years old, leaving the family without his primary support.[8][6] Following her father's death, Hunter's mother remarried, and the family relocated to Miami Beach, Florida, when Hunter was approximately ten years old.[8][7] This move marked a significant change in her early environment, shifting from urban Detroit to a coastal setting.[8] Hunter later described her childhood as lonely and shy, shaped in part by her mother's background in music, which provided early familiarity with performance elements despite the family's altered circumstances after the remarriage.[6][8]Education and Initial Interests
Hunter attended Miami Beach High School in Florida, graduating in 1940. She became interested in acting during her childhood, a pursuit influenced by feelings of loneliness that drew her toward expressive outlets. This early fascination led to private lessons with drama coach Charmine Lantaff in Miami Beach from 1938 to 1940, during which she began participating in local theater activities, including her stage debut at age 17 in the play Penny Wise in November 1939.[9][1] Following high school, Hunter relocated to California and enrolled as a student at the Pasadena Playhouse, a respected institution for acting training, where she honed foundational skills through structured classes and productions. Her involvement there remained focused on educational and repertory work rather than commercial engagements, reflecting her initial steps in building proficiency amid a competitive field. In 1942, while still affiliated with the Playhouse, she appeared in a student or stock production of Arsenic and Old Lace, an experience that underscored her growing commitment without marking a professional transition.[9][1]Professional Career
Theater Breakthroughs
Kim Hunter achieved her Broadway breakthrough with the role of Stella Kowalski in the original production of Tennessee Williams's A Streetcar Named Desire, which premiered on December 3, 1947, at the Ethel Barrymore Theatre under Elia Kazan's direction.[10] Co-starring Marlon Brando as Stanley Kowalski, Jessica Tandy as Blanche DuBois, and Karl Malden as Mitch, the play ran for 1,775 performances, establishing a landmark in American drama through its raw depiction of class tensions, sexuality, and psychological decay.[11] Hunter's portrayal of Stella as a pragmatic working-class wife navigating domestic volatility provided essential balance to the central conflict, drawing acclaim for its unadorned authenticity amid the production's innovative method-acting approach.[12] Critics highlighted Hunter's ability to convey Stella's emotional resilience and sensual vitality without exaggeration, with early reviews noting her as "excellent" in sustaining the play's ensemble dynamics and grounding its poetic intensity in everyday realism.[12] Her performance contributed to the production's sweep of honors, including the New York Drama Critics' Circle Award for Best American Play in 1948, and earned her the Donaldson Award for Best Supporting Actress, recognizing her emergence as a vital force in postwar theater.[8] This role solidified Hunter's reputation for embodying complex, non-archetypal female characters, influencing subsequent interpretations of Williams's work. Following Streetcar, Hunter took on the role of Ruby Hawes in Horton Foote's The Chase, which opened on April 15, 1952, at the Playhouse Theatre, portraying a woman entangled in a tense pursuit amid Southern family strife.[13] Though the production closed after 31 performances on May 10, 1952, it demonstrated her versatility in dramatic ensemble pieces prior to broader career interruptions, building on her established command of understated intensity.[14]Film Roles and Achievements
Hunter's breakthrough in film came with her portrayal of Stella Kowalski in the 1951 adaptation of A Streetcar Named Desire, directed by Elia Kazan, where she supported Marlon Brando and Vivien Leigh. Her performance earned her the Academy Award for Best Supporting Actress at the 24th Academy Awards ceremony on March 20, 1952, as well as a Golden Globe in the same category.[15] The film received 12 Academy Award nominations overall and achieved commercial viability through its theatrical earnings.[16] In 1952, Hunter appeared in Deadline U.S.A., a film noir directed by Richard Brooks, playing Nora Hutcheson, the ex-wife of newspaper editor Ed Hutcheson (Humphrey Bogart), amid a plot involving journalistic integrity and organized crime.[17] This role demonstrated her capacity for dramatic tension in supporting parts within genre films focused on ethical dilemmas in media.[18] Hunter expanded into science fiction with her role as Dr. Zira, a chimpanzee scientist, in Planet of the Apes (1968), directed by Franklin J. Schaffner, requiring her to perform under prosthetic makeup that concealed her features and enabled expressive chimpanzee mannerisms.[19] She reprised the character in the sequels Beneath the Planet of the Apes (1970) and Escape from the Planet of the Apes (1971), contributing to the character's arc from sympathetic ally to central figure in the narrative's exploration of societal inversion.[20] The original film's release initiated a multimedia franchise, including four sequels, television adaptations, and comics, influencing subsequent science fiction cinema through its thematic depth on prejudice and authority.[21] That same year, 1968, Hunter took on a smaller part as Betty Graham in The Swimmer, Frank Perry's adaptation of John Cheever's story starring Burt Lancaster as a man confronting personal decline via a symbolic journey through suburban pools; her scene involved interaction with Lancaster's character alongside her on-screen husband.[22] These roles underscored Hunter's versatility across dramatic, noir, and speculative genres, often in ensemble casts where her contributions added emotional layers without leading billing.[5]Television Work and Later Projects
Hunter appeared in dozens of television guest roles from the mid-1950s through the early 2000s, often in anthology dramas, westerns, and mystery series that showcased her versatility in supporting parts.[5] Her credits included a 1971 episode of Gunsmoke titled "The Legend," in which she played Bea Colter, a mother striving to guide her son away from his outlaw brothers' path.[23] In 1974, she featured in the NBC telefilm Born Innocent, portraying a figure amid the story of a teenage runaway committed to a girls' detention home, where themes of institutional abuse and peer violence unfolded.[24] The production, directed by Donald Wrye and starring Linda Blair, aired on September 10 and became NBC's highest-rated TV movie to that point, yet it sparked widespread controversy over its graphic elements, particularly a scene depicting group assault with an improvised weapon, prompting viewer complaints and network edits regarding implications of homosexuality.[25][26] Hunter sustained her television output into later decades with roles such as Beatrice Vitello in the Murder, She Wrote episode "Trials and Tribulations" (season 7, episode 1, aired October 7, 1990), involving a plot of family secrets and legal intrigue.[27] Paralleling these performances, she engaged in academic pursuits around 1975 at William Paterson College (now University), teaching acting classes alongside instructor Drake and directing student involvement in full productions.[28]Political Involvement and Blacklisting
Associations with Activist Groups
Kim Hunter sponsored the Scientific and Cultural Conference for World Peace, held March 25–27, 1949, at the Waldorf-Astoria Hotel in New York City and organized by the National Council of the Arts, Sciences, and Professions.[29] [30] The U.S. House Un-American Activities Committee (HUAC) reviewed the conference as a communist-front event, citing affiliations of over 100 sponsors and speakers with at least 85 documented communist organizations, including efforts to propagate pro-Soviet propaganda under the guise of opposing atomic weapons and promoting global disarmament.[31] [32] Hunter later described her sponsorship as support for peace initiatives via the arts, without attendance or deeper involvement.[33] Throughout the late 1940s and into the 1950s, Hunter signed numerous petitions endorsing civil rights causes and liberal reforms, such as those challenging racial discrimination and advocating for democratic freedoms.[1] [34] These actions aligned her with post-World War II activist networks in Hollywood and theater sympathetic to Soviet-influenced anti-fascist and peace movements, including associations with figures like those in the progressive arts community who had confirmed Communist Party ties.[35] She consistently denied Communist Party membership, attributing her engagements to principled support for civil liberties rather than ideological allegiance.[36]Consequences and Career Setbacks
Hunter's refusal to testify before the House Un-American Activities Committee (HUAC) and her associations with peace advocacy groups perceived as Communist fronts led to her informal blacklisting by Hollywood studios starting in the early 1950s, severely restricting access to major film and television productions despite her 1952 Academy Award for Best Supporting Actress.[4][37] This exclusion manifested as a sharp decline in offers, with only sporadic uncredited or minor roles available after her 1952 film Deadline – U.S.A., as studios prioritized loyalty oaths and avoided perceived risks amid documented Communist Party recruitment efforts within the industry, including among screenwriters and actors who produced pro-Soviet content during World War II.[38][33] By 1955, Hunter submitted an affidavit to the New York State Board of Regents declaring lifelong hostility to communism, which partially alleviated television bans but did not fully restore her pre-blacklist trajectory, as evidenced by her testimony in the 1962 Faulk libel trial against blacklister Laurence Johnson, where she detailed coerced public affirmations of loyalty to regain work.[37] The blacklist's effects compounded with self-imposed industry censorship, reducing her output to roughly one major project per several years in the late 1950s, contrasting sharply with peers like Karl Malden, who navigated similar scrutiny through cooperative testimony and sustained leading roles.[39] A limited resurgence occurred in the 1960s via lower-budget genre films, including Zira in Planet of the Apes (1968) and its sequels, which provided steady but typecast employment in science fiction rather than the dramatic prestige roles her talent warranted, with box office data showing these films' success (e.g., Planet of the Apes grossing $32.6 million domestically) failing to translate into broader A-list opportunities.[40] This pattern reflected graylisting's lingering impact, where initial subversive affiliations—such as sponsoring arts-for-peace conferences aligned with fronts like the World Peace Council—prompted ongoing wariness, a measure rooted in causal links between Hollywood's left-wing networks and Soviet influence operations documented in declassified Venona files and defectors' accounts.[33] Left-leaning accounts framing Hunter as an innocent victim overlook these evidentiary ties, while anti-communist rationales emphasize the blacklist's role in preempting deeper cultural subversion, as unchecked Party members had already embedded propaganda in wartime films.[39][33]Personal Life
Marriages and Children
Hunter's first marriage was to William Baldwin, a Marine Corps pilot, in 1944; the couple had one daughter, Kathryn, before divorcing in 1946.[8] The brief union coincided with the early years of her acting career, following her Broadway debut.[6] In 1951, Hunter married Robert Emmett, an actor, writer, and producer; they remained together until his death on April 8, 2000, providing a stable family base amid her professional transitions between New York theater and California film work.[8][6] The couple had one son, Sean, born in 1954.[41] Emmett occasionally collaborated with Hunter on stage productions, and the family resided primarily in New York, with periods in California tied to her film commitments.[42]Lifestyle and Interests
Kim Hunter was characterized as shy and modest, traits evident from her childhood and persisting into adulthood, where she was noted for possessing an inner strength despite her reserved nature.[6][43][44] Influenced by her mother Grace, a trained concert pianist, Hunter cultivated a deep appreciation for music, which complemented her versatile and lilting vocal qualities.[6][42] She also harbored a love for poetry, reflected in her performances of works like those of Emily Dickinson.[42] Hunter pursued cookery as a personal interest, authoring the 1975 cookbook Loose in the Kitchen, which showcased her enthusiasm for the activity outside her professional endeavors.[42]Death and Posthumous Recognition
Circumstances of Death
Kim Hunter died on September 11, 2002, at the age of 79 from a heart attack in her apartment in Greenwich Village, New York City.[8][6] The apartment was located above the Cherry Lane Theatre in the West Village.[8] Her daughter, Kathryn Emmett, confirmed the cause as an apparent heart attack, with no indications of suspicious circumstances reported in official accounts or family statements.[43][44] Prior to her death, Hunter had experienced declining health in recent months, consistent with her advanced age.[45]Immediate Aftermath
Her daughter, Kathryn Emmett, confirmed that Kim Hunter died on September 11, 2002, from a heart attack in her Greenwich Village apartment in New York City.[8][43][6] Contemporary obituaries in outlets including The New York Times and Los Angeles Times emphasized Hunter's career highlights, such as her Academy Award-winning portrayal of Stella Kowalski in the 1951 film adaptation of A Streetcar Named Desire and her extensive stage and television work, portraying her as a versatile and enduring performer without reference to controversies or familial conflicts.[8][6] No public details emerged immediately regarding funeral proceedings or estate disposition.[43]Legacy
Critical Evaluations of Performances
Kim Hunter's portrayal of Stella Kowalski in the 1951 film A Streetcar Named Desire was lauded for its naturalistic depiction of a resilient woman navigating familial tensions and raw domesticity, earning her the Academy Award for Best Supporting Actress on March 20, 1952.[8] Contemporary reviewers praised her direct simplicity and emotional authenticity, noting how she effectively balanced vulnerability with steadfast loyalty, providing essential counterpoint to the leads' intensity in the ensemble dynamic.[12] This performance, reprised from her Tony-nominated Broadway run starting December 3, 1947, underscored her strength in conveying understated resilience without overt histrionics, as evidenced by the film's critical consensus and box office success exceeding $4 million domestically against a modest budget.[42] In Planet of the Apes (1968), Hunter's embodiment of Dr. Zira demonstrated adept physicality and vocal nuance under heavy prosthetic makeup, portraying a chimpanzee scientist with intellectual curiosity and moral defiance; critics assessed the ape actors, including Hunter, as convincingly rendering non-human traits while advancing the narrative's satirical edge, contributing to the film's $32.6 million gross on a $5.8 million budget.[46] Her work highlighted proficiency in character-driven supporting roles amid ensemble-driven spectacles, where empirical audience reception favored her empathetic interpretation over technical constraints. Later performances, such as the asylum patient in Lilith (1964) and supporting turns in The Swimmer (1968), drew critical praise for subtle psychological depth, with reviewers noting her ability to infuse restrained pathos into limited screen time.[8] Comparatively, Hunter's supporting accolades— including the Oscar and Golden Globe for Streetcar—aligned her with peers like Karl Malden in award metrics, though her post-1950s roles often confined her to secondary capacities, prompting historical evaluations of underutilization that curtailed lead opportunities to fully explore her versatile range beyond naturalistic everwomen.[42] This pattern reflected era-specific casting dynamics rather than performative deficits, as her consistent commendations in ensemble contexts affirmed technical reliability over starring-vehicle showcases.Influence on Acting and Culture
Hunter's portrayal of Stella Kowalski in the 1947 Broadway production and 1951 film adaptation of A Streetcar Named Desire contributed to the mainstream adoption of method acting techniques in American theater and cinema, emphasizing emotional authenticity derived from personal experience. Directed by Elia Kazan and featuring Marlon Brando's intense performance, the production exemplified the Actors Studio approach, with Hunter's grounded depiction of spousal devotion amid domestic turmoil helping to demonstrate method acting's viability for ensemble dynamics beyond lead roles.[47][48] This collaboration influenced subsequent stage and screen interpretations, as evidenced by ongoing revivals citing the original's raw psychological realism as a benchmark for character immersion.[49] In science fiction, Hunter's embodiment of Dr. Zira across four Planet of the Apes films (1968–1973) established performance standards for prosthetic-enhanced non-human characters, requiring actors to convey intellect and empathy through subtle facial cues beneath heavy latex masks applied over five to six hours daily. Her vocal modulation and expressive restraint amid John Chambers' innovative makeup—later awarded a honorary Oscar in 2018 for its technical legacy—shaped ape portrayals in the franchise, prioritizing behavioral nuance over caricature and influencing creature actor training in effects-heavy genres.[50][51] This approach prefigured demands for physical endurance in modern motion-capture roles, though her contributions remain tied to practical effects era rather than digital innovations. Roles in socially provocative television films like Born Innocent (1974), where Hunter played a reformatory counselor amid depictions of institutional abuse, ignited debates on broadcast standards for violence and exploitation, prompting viewer complaints and network edits after its September 10 airing drew 25 million viewers. Critics praised the film's unflinching realism in exposing juvenile delinquency systems but decried sensational elements, such as implied group assaults, as prioritizing shock over sensitivity, foreshadowing 1980s pushes for parental advisories and content ratings.[52][53] Hunter's cultural footprint persists in niche remembrances, such as 2024 Oscar-season tributes highlighting her 1952 Best Supporting Actress win, rather than broad popular canonization; archival clips and franchise reboots evoke her work, yet surveys of enduring film icons rank her below contemporaries like Brando, reflecting a legacy amplified by specific genre and era impacts over universal acclaim.[54][4]Awards and Nominations
Hunter received the Donaldson Award and the New York Drama Critics' Circle Award for her performance as Stella Kowalski in the original 1947 Broadway production of A Streetcar Named Desire.[55] [56]| Year | Award | Category | Work | Result |
|---|---|---|---|---|
| 1952 | Academy Award | Best Actress in a Supporting Role | A Streetcar Named Desire (1951) | Won |
| 1952 | Golden Globe Award | Best Supporting Actress – Motion Picture | A Streetcar Named Desire (1951) | Won[57] |
| 1980 | Daytime Emmy Award | Outstanding Actress in a Daytime Drama Series | The Edge of Night | Nominated[2] |
Comprehensive Works
Stage Productions
Kim Hunter originated the role of Stella Kowalski in the Broadway premiere of A Streetcar Named Desire on December 3, 1947, at the Ethel Barrymore Theatre, performing through May 31, 1949, as part of the production's run until December 17, 1949.[10] She appeared as Luba in Darkness at Noon, which opened January 13, 1951, and ran until June 23, 1951.[58] In The Chase, Hunter portrayed Ruby Hawes from the opening on April 15, 1952, at the Playhouse Theatre, through its close on May 10, 1952.[13] Hunter played Karen Wright in the revival of The Children's Hour, running from December 18, 1952, to May 30, 1953.[58] As Sylvia Crewes in The Tender Trap, she performed from October 13, 1954, to January 8, 1955.[58] In Write Me a Murder, Hunter took the role of Julie Sturrock from October 26, 1961, to April 14, 1962.[58] Later credits included Mary in the 1973 revival of The Women (April 25–June 17), Harriet in To Grandmother's House We Go (January 15–March 8, 1981), and a replacement as Lady Markby in the 1996 revival of An Ideal Husband (October 21, 1996–January 26, 1997).[58]Filmography
Kim Hunter's feature film appearances, listed chronologically, include a range of supporting and character roles across genres from film noir to science fiction.[5]| Year | Title | Role | Director |
|---|---|---|---|
| 1943 | The Seventh Victim | Mary Gibson | Mark Robson |
| 1943 | Tender Comrade | Doris Dumbrowski | Edward Dmytryk |
| 1944 | When Strangers Marry | Millie Baxter | William Castle |
| 1944 | A Canterbury Tale | Land Girl | Michael Powell, Emeric Pressburger |
| 1946 | A Matter of Life and Death | June | Michael Powell, Emeric Pressburger |
| 1947 | Living in a Big Way | Pat Belder | Gregory La Cava |
| 1951 | A Streetcar Named Desire | Stella Kowalski | Elia Kazan |
| 1952 | Deadline – U.S.A. | Nora Hutcheson | Richard Brooks |
| 1952 | Anything Can Happen | Helen Watson | George Seaton |
| 1954 | Bermuda Affair | Joan Forrest | Tom Donovan |
| 1956 | Storm Center | Martha Lockridge | Daniel Taradash |
| 1957 | Money, Women and Guns | Emmer | Richard Bartlett |
| 1964 | Lilith | Rene | Robert Rossen |
| 1968 | The Swimmer | Betty Graham | Frank Perry |
| 1968 | Planet of the Apes | Dr. Zira | Franklin J. Schaffner |
| 1970 | Beneath the Planet of the Apes | Dr. Zira | Ted Post |
| 1971 | Escape from the Planet of the Apes | Dr. Zira | Don Taylor |
| 1987 | The Kindred | Amanda Hollins | Jeffrey Obrow, Stephen Carpenter |
| 1990 | Two Evil Eyes | Mrs. Pym | George A. Romero (segment) |
| 1997 | Midnight in the Garden of Good and Evil | Betty Harty | Clint Eastwood |
| 2000 | Here's to Life! | Nelly Ormond | Peter R. Scarlett |
.jpg)