Joseph Cotten (1905-1994) was born on May 15. The late year of his death surprised me. Cotten’s last film had been in 1981 and I couldn’t imagine him ever not acting. But a stroke felled him in 1981. He eventually recovered sufficiently enough to write a memoir, but he never acted again.
From an old Virginia family, Cotten seemed from another time. This gentle, courtly quality made him perfect for a part in the original Broadway production of the antebellum themed melodrama Jezebel (1933). Orson Welles loved this quality of Cotten’s; in 1934, Cotten was to become a core cast member of the Mercury Theatre as well as its radio component The Mercury Theatre on the Air. In 1939, when Welles and company had gone out to Hollywood, Cotten remained in New York and starred in the original Broadway production of The Philadelphia Story. When it was made into a movie the following year the role he had created onstage went to the far better established Cary Grant.
But Welles was to be his patron once again, giving him key roles in the Mercury’s first three (and only completed) pictures for RKO: Citizen Kane (1941), The Magnificent Ambersons (1942), and Journey Into Fear (1942, which Cotten also co-wrote). Then his Hollywood career began to take off. Alfred Hitchcock liked Cotten so much he starred him in Shadow of a Doubt (1943) and Under Capricorn (1949). Among Cotten’s other memorable pictures in the ’40s were: Gaslight (1944), Duel in the Sun (1946), The Farmers Daughter (1947), Portrait of Jennie (1948) and The Third Man (1949).
In the 50s, the magic sort of wore off, although he continued to be featured in copious movies through the middle of the decade, most notably Niagara (1953). He also made cameos in Welles’ Othello (1951) and Touch of Evil (1958). In 1953 he returned to Broadway to star in the original production of Sabrina Fair. As had happened with The Philadelphia Story, he was replaced in the 1954 film version, Sabrina. Cotten’s biggest splash in the ’50s was his tv show: The Joseph Cotten Show: On Trial, which ran from 1956 through 1959.
I will talk a bit more about the next phase of Cotten’s career in another pioneering post I am working on. You can guess its topic by the film titles: Hush…Hush Sweet Charlotte (1964), The Oscar (1966), The Abominable Dr. Phibes (1971), Lady Frankenstein (1971), The Screaming Woman (1972), Baron Blood (1972), The Devil’s Daughter (1973), Soylent Green (1973), Airport ’77, Guyana: Cult of the Damned (1979), and The Hearse (1980). But there was also some far less schlocky movies in there: Petulia (1968), Tora! Tora! Tora! (1970), A Delicate Balance (1973), and Heaven’s Gate (1980 — I don’t care what it lost at the box office, Heaven’s Gate happens to be a brilliant film, only a moron thinks otherwise). And lots and lots of other movies and tv appearances in there as well. As we say, in 1981 he had a stroke. His autobiography Vanity Will Get You Somewhere was published in 1987.
I second your love for Heaven’s Gate!
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