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Verna Bloom
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Verna Frances Bloom (August 7, 1938 – January 9, 2019) was an American actress.
Key Information
Early life and education
[edit]Verna Frances Bloom, born on August 7, 1938, in Lynn, Massachusetts, grew up in a Russian Jewish family[1] where her father, Milton, operated a grocery store. Her mother, Sara (Damsky) Bloom, initially focused on managing their household. After Milton and Sara divorced, Sara took charge of the family grocery business and later transitioned to bookkeeping for a trucking company.[2] She attended the School of Fine Arts at Boston University, graduating with a Bachelor of Fine Arts in 1959.[3] She also studied at the Herbert Berghof Studio for actors in New York City.[4][5][1]
Career
[edit]On Broadway, Bloom portrayed Charlotte Corday in The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade (1967) and Blanche Morton in Brighton Beach Memoirs (1983).[6] She made her film debut in Medium Cool, and then co-starred in Clint Eastwood's 1973 film, High Plains Drifter and in the 1974 made-for-TV movie Where Have All The People Gone? with Peter Graves and Kathleen Quinlan. Bloom also had roles in more than 30 films and television episodes beginning the 1960s, including playing Mary, mother of Jesus, in The Last Temptation of Christ in 1988 and Marion Wormer in Animal House in 1978.
Personal life and death
[edit]Bloom married Richard Collier, but they separated by 1969. They began the Trident Theater in Denver Colorado, which operated from 1963 to 1965.[7] In 1972 she married film critic Jay Cocks. They had a son, Sam, born in 1981. The couple remained married until her death.[2]
Bloom died aged 80 on January 9, 2019, in Bar Harbor, Maine, from complications of dementia.[8]
Filmography
[edit]Film
[edit]| Year | Title | Role | Notes |
|---|---|---|---|
| 1969 | Medium Cool | Eileen | |
| 1969 | Children's Games | The Girl | |
| 1970 | Street Scenes 1970 | Herself | |
| 1971 | The Hired Hand | Hannah Collings | |
| 1973 | High Plains Drifter | Sarah Belding | |
| 1973 | Badge 373 | Maureen | |
| 1978 | National Lampoon's Animal House | Marion Wormer | |
| 1982 | Honkytonk Man | Emmy | |
| 1985 | The Journey of Natty Gann | Farm Woman | |
| 1985 | After Hours | June | |
| 1988 | The Last Temptation of Christ | Mary, Mother of Jesus | |
| 2003 | Where Are They Now?: A Delta Alumni Update | Marion Wormer | Short film, (final film role) |
Television
[edit]| Year | Title | Role | Notes |
|---|---|---|---|
| 1967 | N.Y.P.D. | Barbara Laney | Episode: "The Screaming Woman" (S1.E3) |
| 1969 | Bonanza | Ellen Masters | Episode: "The Fence" (S10.E29) |
| 1969 | The David Frost Show | Herself | 1 episode |
| 1972 | Particular Men | Evelyn | TV movie |
| 1973 | Doc Elliot | Mary Beth Hickey | Episode: "Pilot" (S1.E1) |
| 1973 | Police Story | Elizabeth Shaner | Episode: "The Ten Year Honeymoon" (S1.E3) |
| 1974 | Where Have All the People Gone? | Jenny | TV movie |
| 1975 | The Blue Knight | Moody Larkin | Episode: "Pilot" (S1.E1) |
| 1975 | Sarah T. – Portrait of a Teenage Alcoholic | Jean Hodges | TV movie |
| 1976 | Police Story | Marge Connor | Episode: "Payment Deferred" (S4.E1) |
| 1976 | Kojak | Carrie Zachary | Episode: "On the Edge" (S3.E16) |
| 1977 | Visions | Nancy Doucette | Episode: "The Dancing Bear" (S2.E4) |
| 1977 | Lou Grant | Emily | Episode: "Christmas" (S1.E13) |
| 1977 | Gibbsville | Unknown | Episode: "A Case History" (S1.E10) |
| 1977 | Contract on Cherry Street | Emily Hovannes | TV movie |
| 1980 | Playing for Time | Paulette | TV movie |
| 1981 | Rivkin: Bounty Hunter | Bertha | TV movie |
| 1985 | Promises to Keep | Unknown (uncredited) | TV movie[citation needed] |
| 1987 | Cagney & Lacey | Joan Torvec | Episode: "No Vacancy" (S7.E1) |
| 1988 | The Equalizer | Marian Grey | Episode: "Target of Choice" (S3.E21) |
| 1989 | The Equalizer | Ellen Kaminsky | Episode: "Race Traitors" (S4.E20) |
| 1993 | Dr. Quinn, Medicine Woman | Maude Bray | Episode: "Dr. Quinn, Medicine Woman" (S1.E0, Pilot) |
| 2003 | The West Wing | Molly Lapham | Episode: "The Long Goodbye" (S4.E13) |
References
[edit]- ^ a b Darvell, Michael (January 10, 2019). "Verna Bloom". Film Review Daily. Retrieved January 21, 2025.
- ^ a b Sandomir, Richard (January 11, 2019). "Verna Bloom, 80, Amorous Dean's Wife in 'Animal House,' Dies". The New York Times. Retrieved January 21, 2025.
- ^ Barnes, Mike (January 10, 2019). "Verna Bloom, Actress in Animal House and Medium Cool, Dies at 80". The Hollywood Reporter. Retrieved January 14, 2019.
- ^ "Verna Bloom biography". Yahoo! Movies. AEC One Stop Group, Inc. Baseline. Yahoo! Inc. Archived from the original on May 22, 2011. Retrieved August 28, 2015.
- ^ Cullen, Jim (2001). Restless in the Promised Land: Catholics and the American Dream. Rowman & Littlefield. p. 129. ISBN 1-58051-093-0.
- ^ "Verna Bloom". Internet Broadway Database. The Broadway League. Archived from the original on February 7, 2020. Retrieved February 7, 2020.
- ^ Adams, Marjory (September 23, 1969). "Verna Bloom: 'Medium Cool' heroine". The Boston Globe. p. 26. Retrieved September 14, 2021 – via Newspapers.com.
- ^ Yang, Rachel (10 January 2019). "Verna Bloom, Actress in 'Animal House,' 'High Plains Drifter,' Dies at 80". Variety. Penske Business Media, LLC. Retrieved 11 April 2019.
External links
[edit]- Verna Bloom at IMDb
- Verna Bloom at the TCM Movie Database
- Verna Bloom at the Internet Broadway Database
| International | |
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| National | |
| People | |
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Verna Bloom
View on Grokipediafrom Grokipedia
Early life
Family background and childhood
Verna Frances Bloom was born on August 7, 1938, in Lynn, Massachusetts, to Russian Jewish immigrant parents Milton Bloom and Sara Damsky Bloom.[4] Her father owned a local grocery store, providing for the family in the working-class environment of this New England industrial city.[7][3] After her parents' divorce, Bloom took over running the family store. Bloom spent her formative years in Lynn, a community shaped by manufacturing and immigrant influences, where her family's modest circumstances fostered a grounded upbringing amid the region's cultural traditions.[4] This early life in Massachusetts laid the foundation for her later pursuits, leading her toward formal education in Boston.[7]Education and initial training
Verna Bloom pursued her formal education in the performing arts at the School of Fine Arts at Boston University, concentrating on drama and graduating with a Bachelor of Fine Arts degree in 1959.[4] This program provided her with a foundational understanding of theatrical techniques, stagecraft, and dramatic interpretation during her undergraduate years in the late 1950s.[7] After completing her degree, Bloom relocated from her Massachusetts roots to Denver, Colorado, to immerse herself in practical theater work by co-founding the Trident Theater, which offered hands-on experience in ensemble performances and production roles.[8][3] This move marked her initial step beyond academia into regional theater environments, allowing her to apply classroom knowledge in a professional yet developmental setting.[9] Bloom then transitioned to New York City in the mid-1960s, enrolling at the Herbert Berghof Studio (HB Studio) for advanced acting workshops that emphasized realistic character development and improvisation under the guidance of instructors like Herbert Berghof and Uta Hagen.[3] The studio's curriculum, rooted in practical scene study and sensory exercises, helped refine her approach to naturalistic performances.[10] As a young actress navigating this progression from student to professional, Bloom encountered significant challenges, including multiple regional relocations and financial hardships. These experiences underscored the precarious nature of breaking into the industry, demanding resilience amid economic instability and the demands of urban artistic circles.[11]Career
Theater and stage beginnings
Verna Bloom launched her professional theater career in the mid-1960s following her graduation from Boston University, where she had built a foundational acting background. Relocating to Denver, Colorado, she co-founded the Trident Playhouse with her first husband, Richard Collier, a repertory theater that operated from 1963 to 1965. In this intimate venue, Bloom took on multifaceted roles as performer, producer, and even behind-the-scenes staff, contributing to regional productions such as John Osborne's Look Back in Anger and Shelagh Delaney's A Taste of Honey. These early efforts in Denver's burgeoning theater scene allowed her to develop versatility across dramatic and character-driven narratives, emphasizing raw emotional depth in working-class settings.[2][12] By the mid-1960s, Bloom moved to New York City, immersing herself in the city's dynamic off-Broadway and experimental theater landscape while furthering her training at the Herbert Berghof Studio. She appeared in Studs Terkel's 1967 play Amazing Grace, a tragi-comedy exploring racial and social tensions on Chicago's South Side, where her portrayal of a nuanced, resilient character drew attention from critics and peers for its authenticity and emotional range. This role not only highlighted her skill in ensemble-driven, socially conscious works but also earned commendation from Terkel himself, underscoring her growing presence in progressive theater circles.[4][7] Bloom's stage profile elevated significantly in late 1967 when she joined the long-running Broadway production of Peter Weiss's avant-garde The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade (Marat/Sade), taking on the role of Charlotte Corday. In this innovative, music-infused drama blending historical events with asylum theatrics, her performance as the assassin's accomplice showcased her adeptness at intense, stylized acting within a chaotic ensemble. The production's critical success, including Tony Award nominations for direction and choreography, amplified Bloom's reputation for handling complex, politically charged material, positioning her as a versatile talent ready for broader acclaim without garnering personal awards during this phase.[13]Breakthrough in film
Verna Bloom made her film debut in Haskell Wexler's 1969 drama Medium Cool, portraying Eileen, a single mother caught in the turbulence of Chicago's 1968 Democratic National Convention protests.[14] Her performance as a resilient woman navigating personal and political chaos earned nominations for Best Actress and Best Supporting Actress from the National Society of Film Critics, highlighting her ability to convey vulnerability amid documentary-style realism.[1] The film's innovative blend of fiction and actual events, including unrest footage, underscored Bloom's breakthrough, and Medium Cool was later inducted into the National Film Registry in 2003 for its cultural significance.[15] Transitioning to Westerns, Bloom embodied strong, independent women in Peter Fonda's The Hired Hand (1971), where she played Hannah Collings, a betrayed wife confronting her wandering husband, delivering a performance noted for its emotional depth and feminist undertones.[16] She followed with Sarah Belding, the mayor's outspoken wife, in Clint Eastwood's High Plains Drifter (1973), a role that showcased her defiance against the mysterious Stranger, brandishing scissors in a tense confrontation that emphasized her portrayal of moral complexity in a lawless town.[3] These characters solidified her image as a portrayer of resilient frontier women, drawing on her prior stage experience to adapt to the genre's demands for nuanced intensity.[17] In Francis Ford Coppola's The Godfather Part II (1974), Bloom appeared briefly but memorably as Deanna Dunn, the alcoholic wife of Fredo Corleone, in a dinner scene where she slaps him, capturing the family's simmering dysfunction with raw authenticity.[1] Her film career diversified with the comedic role of Marion Wormer, the flirtatious wife of the college dean, in National Lampoon's Animal House (1978), contributing to the film's iconic toga party sequence and its massive commercial success, grossing over $141 million domestically on a $3 million budget.[4][18] By the mid-1980s, Bloom took on eclectic supporting parts, including June, the eccentric sculptor who encases the protagonist in plaster, in Martin Scorsese's After Hours (1985), adding to the film's nightmarish comedy with her understated menace.[19] She also appeared as a compassionate farm woman in the Disney adventure The Journey of Natty Gann (1985), a role that highlighted her versatility in family-oriented drama. These performances, while not leading, expanded her range beyond Westerns and comedies, avoiding typecasting while earning praise for her ability to elevate ensemble casts.[17]Television and later roles
Bloom began her television career in the 1970s with guest appearances that showcased her versatility as a character actress, including roles on established series such as Bonanza, where she played Ellen Masters in 1969.[20] She followed with a part as Carrie Zachary in an episode of Kojak in 1976, contributing to the show's gritty portrayal of urban crime. Additional early TV work included two episodes of Police Story: Elizabeth Shaner in "The Ten Year Honeymoon" (1973) and Marge Connor in "Payment Deferred" (1976), highlighting her ability to embody complex, everyday figures in law enforcement narratives.[21][22] In the 1980s and 1990s, Bloom continued with notable guest spots on procedurals emphasizing strong female characters, such as Joan Torvec in the Cagney & Lacey episode "No Vacancy" (1987), which explored themes of displacement and resilience among women.) She appeared twice on The Equalizer, first as Marian Grey in 1988 and then as Ellen Kaminsky in 1989, roles that underscored vigilante justice and personal vendettas. Her television presence extended to the pilot of Dr. Quinn, Medicine Woman (1993), where she portrayed Maude Bray, a key figure in establishing the series' frontier family dynamics and contributing to its initial success as a family-oriented Western drama.[23] Bloom's later film roles blended cinematic and televisual elements, including the supporting part of Mary, the mother of Jesus, in Martin Scorsese's The Last Temptation of Christ (1988), a controversial depiction that earned praise for her poignant maternal performance. By the 2000s, Bloom's output diminished due to her age, focusing on selective television guest roles and voice work, such as Molly Lapham in The West Wing episode "The Long Goodbye" (2003), which addressed themes of aging and legacy.[20] alongside her final film role in the short Where Are They Now?: A Delta Alumni Update (2003), reprising Marion Wormer from Animal House in a humorous retrospective.[24] These later projects reflected a graceful evolution toward intimate, character-driven work.[8]Personal life
Marriages and family
Verna Bloom's first marriage was to actor and theater director Richard Collier in the early 1960s. Together, they co-founded the Trident Theatre, a repertory company in Denver, Colorado, operating from 1963 to 1965, where they collaborated on stage productions during her nascent career. The marriage ended in divorce in the mid-1960s, after which Bloom relocated to New York to pursue film opportunities.[4][3] In 1972, Bloom married screenwriter and former Time film critic Jay Cocks, a union that endured until her death nearly five decades later. Bloom and Cocks met in 1969 when Cocks, as a film critic, interviewed her after introducing director Martin Scorsese to her work in Medium Cool; Scorsese later served as best man at their wedding. The couple's partnership extended into professional spheres, with mutual support helping navigate the challenges of the industry while maintaining a stable family environment in New York.[10][25] Bloom and Cocks had one son, Sam Cocks, born in 1981. Sam grew up in New York and later pursued a legal career, becoming a prosecutor in the Special Victims Bureau of the New York County District Attorney's Office. The family dynamics emphasized close-knit support, with Bloom often prioritizing time with her son amid her acting schedule, including living together in later years.[1][12][26]Health challenges and death
In her later years, Verna Bloom faced significant health challenges from dementia, which contributed to a reduction in her public appearances following her final on-screen role in 2003.[4] Bloom died on January 9, 2019, at the age of 80 in Bar Harbor, Maine, from complications of dementia, as confirmed by her family spokesman.[12][1] A private funeral service was held for family and close friends, though specific details were not publicly disclosed.[27] Following her death, tributes came from industry peers, including National Lampoon's Animal House co-star Tim Matheson, who described her as "a wonderful actress and a lovely person" in a statement to media outlets.[28] No major posthumous recognitions or awards have been announced as of 2025, though her work continued to be celebrated in retrospectives of classic films.[12]Filmography
Film credits
Verna Bloom's film career spanned from 1969 to 2008, featuring a mix of leading, supporting, and character roles in both mainstream and independent productions.[1]| Year | Title | Role | Director | Notes |
|---|---|---|---|---|
| 1969 | Medium Cool | Ruth Peterson | Haskell Wexler | Leading role as a nurse in this seminal docudrama.[1][12] |
| 1971 | The Hired Hand | Hannah Collings | Peter Fonda | Supporting role as the wife in this Western.[1][12] |
| 1973 | Badge 373 | Lissie | Howard W. Koch | Supporting role in this police drama.[1] |
| 1973 | High Plains Drifter | Sarah Belding | Clint Eastwood | Supporting role as the town schoolteacher.[1][12] |
| 1978 | National Lampoon's Animal House | Marion Wormer | John Landis | Supporting role as the dean's wife.[1][12] |
| 1982 | Honkytonk Man | Emmy | Clint Eastwood | Supporting role as the aunt in this drama.[1][3] |
| 1985 | The Journey of Natty Gann | Farm Woman | Jeremy Paul Kagan | Minor role.[1] |
| 1985 | After Hours | June | Martin Scorsese | Supporting role as a cabaret owner.[1][12] |
| 1988 | The Last Temptation of Christ | Mary, Mother of Jesus | Martin Scorsese | Supporting role in this religious drama.[1][12] |
| 2002 | The Business of Fancy Dancing | Norma | Randy Redroad | Supporting role in this independent drama.[1] |
| 2008 | The American Standards | Grace | Joe Bash | Supporting role as the grandmother.[3] |
Television credits
Verna Bloom appeared in numerous television productions, primarily in guest roles and made-for-TV movies, with one notable recurring part in a long-running series. Her TV work began in the late 1960s with episodic drama and continued through the early 2000s, often portraying strong, complex female characters in crime, western, and drama genres.| Year | Title | Role | Notes |
|---|---|---|---|
| 1967 | N.Y.P.D. | Barbara Laney | Guest star; episode: "The Screaming Woman" (Season 1, Episode 3)[29] |
| 1969 | Bonanza | Ellen Masters | Guest star; episode: "The Fence" (Season 10, Episode 29) |
| 1973 | Doc Elliot | Mary Beth Zinger | Guest star; episode: "The Captain and the Lady" (Season 1, Episode 7) |
| 1974 | The Hanged Man | Kate | Made-for-TV movie |
| 1974 | Where Have All the People Gone? | Jenny | Made-for-TV movie |
| 1975 | Sarah T. – Portrait of a Teenage Alcoholic | Jean Hodges | Made-for-TV movie |
| 1975 | Kojak | Carrie Zachary | Guest star; episode: "A Long Way Down" (Season 3, Episode 2) |
| 1975 | Police Story | Unknown | Guest star; episode: "Oxford Gray" (Season 3, Episode 4) |
| 1977 | Contract on Cherry Street | Emily Hovannes | Made-for-TV movie |
| 1977 | The Blue Knight | B.J. Scott | Guest star; episode: "Bull Doggers" (Season 2, Episode 5) |
| 1978 | Visions | Nancy Doucette | Guest star; episode: "Passing Through from Exotic Places" (Season 3, Episode 2) |
| 1979 | Backstairs at the White House | Emma Gandy | TV mini-series (5 episodes) |
| 1981 | Rivkin: Bounty Hunter | Bertha | Made-for-TV movie |
| 1982 | Cagney & Lacey | Mrs. Lefcourt | Guest star; episode: "Who Says It's Fair?" (Season 2, Episode 3) |
| 1982 | The Equalizer | Marian Grey | Guest star; episode: "Ladies of the Night" (Season 1, Episode 20) |
| 1983 | The Blue Knight | Gloria | Guest star; episode: "The Candy Coalition" (Season 2, Episode 1) |
| 1985 | Badge of the Assassin | Linda Thompson | Made-for-TV movie |
| 1985 | Promises to Keep | Unknown | Made-for-TV movie (uncredited) |
| 1986 | Crime Story | Christina | Guest star; episode: "The Battle of Las Vegas" (Season 1, Episode 10) |
| 1988 | The Equalizer | Ellen | Guest star; episode: "Re-Entry" (Season 3, Episode 21) |
| 1993–1998 | Dr. Quinn, Medicine Woman | Maude Bray | Recurring role; 15 episodes |
| 1999 | Law & Order | Defense Attorney | Guest star; episode: "Gunshow" (Season 9, Episode 23) |
| 2003 | Law & Order: Special Victims Unit | Counselor | Guest star; episode: "Fallacy" (Season 4, Episode 21) |
| 2003 | The West Wing | Molly Lapham | Guest star; episode: "Twenty Five" (Season 4, Episode 23) |