Lizabeth Virginia Scott (born Emma Virginia Matzo; September 29, 1922 – January 31, 2015) was an American actress, singer, and model known for her "smoky voice". She was called "the most beautiful face of film noir during the 1940s and 1950s". After understudying the role of Sabina in the original Broadway and Boston stage productions of The Skin of Our Teeth, she emerged in films including The Strange Love of Martha Ivers (1946), Dead Reckoning (1947), Desert Fury (1947), and Too Late for Tears (1949). Of her 22 films, she was the leading lady in all but three. In addition to stage and radio, she appeared on television from the late 1940s to early 1970s.
Early life Emma Matzo (Ema Macová in Slovak) was born in Scranton, Pennsylvania, on September 29, 1922, The "Age at last birthday" given is 8.Carole Langer (Soapbox & Praeses Productions, 1996; accessed May 23, 2014), Lizabeth Scott 1996 Interview Part 1 of 8AP (Friday, October 21, 1949), "Star Changes Name," The San Bernardino County Sun (San Bernardino, California), p. 25. AP article gives Scott's birthplace as Dunmore, Pennsylvania, while Scott gives her birthplace as Scranton in the Langer video interview. the oldest of six children born to Mary Penyak and John Matzo (Ján Maco in Slovak). Several conflicting accounts have been given as to her parents' ethnic origins,Walter Dushnyck, Nicholas L. Chirovsky (Ukrainian Congress Committee of America, November 1, 1991), The Ukrainian Heritage in America, p. 331. Scott is described as Carpatho-Ukrainian.Andrew Spicer (Scarecrow Press, March 19, 2010), Historical Dictionary of Film Noir, p. 273. Spicer says "Born Emma Matzo to Slovakian parents ..."Paul R. Magocsi (The Multicultural Society of Ontario, 1984), Our people: Carpatho-Rusyns and their descendants in North America, p. 71. "Among other performers to achieve national success are two actresses from Hollywood. Lizabeth Scott (born Emma Matzo), the daughter of Carpatho-Rusyn immigrants from Subcarpathian Rus', played the role of a sultry leading lady in several films during the late 1940s and early 1950s."James Robert Parish (Arlington House, 1972), The Paramount Pretties, p. 519. The father is described as English-born and the mother as Russian.Bernard F. Dick (The University Press of Kentucky, May 21, 2004), Hal Wallis: Producer to the Stars, p. 96. John Matzo is described as Italian and Mary Matzo as Slovakian. with most mentioning English, Rusyn,Magocsi, Paul R.Our People: Carpatho-Rusyns and Their Descendants in North America. Bolchazy-Carducci Publisher. Magocsi, Paul R.The Carpatho-Rusyn Americans (Peoples of North America), .Chelsea House Pub, 1989. Jewish Russian, and Ukrainian. Robert D. McFadden (February 6, 2015; accessed February 7, 2015), "Lizabeth Scott, Film Noir Siren, Dies at 92," New York Times (New York City, New York). Obituary describes her as "one of six children of Ukrainian immigrants".Carole Langer (Soapbox & Praeses Productions, 1996; accessed May 23, 2014), Lizabeth Scott 1996 Interview Part 5 of 8. Scott described herself in the interview as having "Russian blood."J. D. Spiro (September 11, 1949), "Lizabeth Is So Different," The Milwaukee Journal (Milwaukee, Wisconsin), p. 3. Interview repeats Paramount publicity about Scott's alleged "English father" and "White Russian" mother." AP (February 7, 2015; accessed February 8, 2015), "Lizabeth Scot, Sultry '40s, '50s Film Noir Star, Dies at 92," New York Times (New York City, New York). Obituary repeats 1940s Paramount publicity: "She was born ... to English–Russian parents." Anonymous (March 16, 2015; accessed March 23, 2015), "Lizabeth Scott, actress—obituary," The Telegraph (London, England). "Her father's family originated from Sussex (county, England)..." The family lived in the Pine Brook section of Scranton, where her father owned Matzo Market.Alfred N. Hare (Thursday, June 28, 1934), "Mercantile Appraisement," The Scranton Republican (Scranton, Pennsylvania), p. 18. Store address is 1001 Capouse (Avenue). The grocery store was on the ground floor of the Matzos' two-story house. Scott characterized her father as a "lifelong Republican", which influenced her capitalistic views. The love of music influenced Scott's voice.Burt Prelutsky (CreateSpace Independent Publishing Platform, November 3, 2012), Sixty Seven Conservatives You Should Meet Before You Die, p. 470
Scott attended Marywood Seminary, a local Catholic girls' school.Anonymous (Saturday, June 3, 1933), "Marywood Seminary Pupils Give Recital," The Scranton Republican (Scranton, Pennsylvania), p. 6 She transferred to Scranton's Central High School, where she performed in several plays. After graduating, she spent the summer working with the Mae Desmond Players Joseph Myers (January 26, 2012; accessed May 23, 2014), University of the Arts lauds Mae Desmond: A new musical will address the life of a Queen Village theatrical legend at a stock theater in the nearby community of Newfoundland.Anonymous (Thursday, May 18, 1939), "News and Comment Of Stage and Screen," Fitchburg Sentinel (Fitchburg, Massachusetts), p. 11 She then worked at the Barter Theatre in Abingdon, Virginia.David Ragan (Prentice Hall, July 1, 1985), Movie Stars of the '40s, p. 191" That autumn, she attended Marywood College, but quit after six months.James Robert Parish (Arlington House, 1972), The Paramount Pretties, p. 519
In 1939, with her father's help, the graduate 18-year-old Scott moved to New York City, where she stayed at the Ferguson Residence for Women. In New York, she was a model for the Walter Thornton agency. Scott read Maxwell Anderson's Mary of Scotland, a play about Mary, Queen of Scots and Elizabeth I, from which she derived the stage name "Elizabeth Scott". She later dropped the "E".Karen Burroughs Hannsberry (McFarland & Company, 1998), Femme Noir: Bad Girls of Film, p. 445
Career Debut In late 1940, 19-year-old Scott auditioned for the national tour of Hellzapoppin. From several hundred women, she was chosen by John "Ole" Olsen and Harold "Chic" Johnson, stars of the original Broadway production. She was assigned to one of three road companies, Scott's being led by Billy House and Eddie Garr.Ray Peacock (Friday, May 22, 1942), "Vaudeville's Back But Sh-h-h! It's Only Been Hiding," The Evening Review (East Liverpool, Ohio), p. 19 Landing her first professional job, she was billed as "Elizabeth Scott".Anonymous (May 16, 1941), "'Hellzapoppin' In Chicago," The News-Palladium (Benton Harbor, Michigan), p. 7 The tour opened November 3, 1940, at the Shubert Theatre in New Haven, Connecticut. She did blackouts and other types of sketch comedyErskine Johnson (Wednesday, January 10, 1945), In Hollywood, The Salt Lake Tribune (Salt Lake City, Utah), p. 12Anonymous (Sunday, August 26, 1945), "Nickname Sticks: Lizabeth Succumbs To Hollywood Fad," The Salt Lake Tribune (Salt Lake City, Utah), p. 41 during her 18-month tour of 63 cities across the US.
Scott then returned to New York City in 1942, where she starred as Sadie Thompson in John Colton's play Rain, which ran on the then-equivalent of off-Broadway. It was her first starring role, but no drama critic reviewed the play,Bernard F. Dick (2004), Hal Wallis: Producer to the Stars, p. 97 although the producer of a Broadway play, Michael Myerberg, did see the show.Victor Gunson (November 7, 1946), "Treason? Film Actress Lizabeth Scott Thinks N.Y. Glamorous, Not Hollywood," Beaver Valley Times, p. 12
Myerberg had just moved an experimental production of Thornton Wilder's new play The Skin of Our Teeth starring Tallulah Bankhead from New Haven to the Plymouth Theatre. Impressed by Scott's Sadie Thompson, he hired her as the understudy for Bankhead, despite Bankhead's protests. Bankhead had signed a contract forbidding an understudy for the Sabina role. Previously, Bankhead had controlled the production by not showing up for rehearsal. Now, Myerberg could simply put Scott in Bankhead's place. Scott has acknowledged that Myerberg used her to keep Bankhead under control and that Bankhead was furious about the situation. Describing her own experience with Bankhead, Scott recalled, "She never spoke to me, except to bark out commands. Finally, one day, I'd had enough. I told her to say 'please', and after that she did."Burt Prelutsky (CreateSpace Independent Publishing Platform, November 3, 2012), Sixty Seven Conservatives You Should Meet Before You Die, p. 466 During her eight monthsDorothy Kilgallen (Thursday, June 24, 1943), "The $64 Questions," The Voice Of Broadway, Times Herald (Olean, New York), p. 13 as the understudy, Scott never had an opportunity to substitute for Bankhead, as Scott's presence guaranteed Bankhead's. During her time with the production, Scott played the role of "Girl/Drum Majorette".Thornton Wilder (Samuel French, first acting edition, January 1, 1944), The Skin of Our Teeth, p. 5George Jean Nathan (Ulan Press, reprint of 1943 edition, October 28, 2012), The Theatre Book of the Year, 1942–1943, p. 132 The play ran from November 18, 1942, to September 25, 1943.
The rivalry between the two actresses is cited as an alternative to the Martina Lawrence-Elisabeth Bergner originSam Stagg (St. Martin's Press, 1st edition, March 18, 2000), All About "All About Eve," pp. 319–335 of Mary Orr's short story, The Wisdom of Eve (1946),Mary Orr, "The Wisdom of Eve," Cosmopolitan, May 1946, pp. 72–75, 191–95 the basis of the 1950 film All About Eve. Broadway legend had it that Bankhead was being victimized by Scott, who supposedly was the basis for the fictional Eve Harrington.Bruce Kirle (Southern Illinois University Press; 1st edition, October 24, 2005), Unfinished Show Business: Broadway Musicals as Works-in-process, p. 191
Rumors of an affair between the married Myerberg and the new understudy were rife.Joel Lobenthal (It Books, October 26, 2004), Tallulah!: The Life and times of a Leading Lady, p. 347 Scott has said that her fondest memory was of Myerberg telling her, "I love you," but the two eventually parted.Burt Prelutsky (CreateSpace Independent Publishing Platform, November 3, 2012), Sixty Seven Conservatives You Should Meet Before You Die, p. 471
The continuing feud between Myerberg and Bankhead worsened Bankhead's ulcer, leading her to not renew her contract.Tallulah Bankhead (University Press of Mississippi, July 7, 2004), Tallulah: My Autobiography, pp. 258–259 Anticipating Bankhead's move, Myerberg suddenly signed 39-year-old Miriam Hopkins in March,David Bret (Robson Books, September 1998), Tallulah Bankhead: A Scandalous Life, p. 174 catching Scott off-guard. Bankhead's final zinger to Scott was, "You be as good as she (Hopkins) is."Eric Braun (Reynolds & Hearn, 2nd edition, May 1, 2007), Frightening the Horses: Gay Icons of the Cinema, p. 1927 For a brief period, Scott understudied for Hopkins. While Scott liked Hopkins much more than Bankhead, she was still disappointed about being passed over for the Sabina role.
Scott eventually quit in disappointment. Before quitting, Scott replaced Hopkins for one night.Karen Burroughs Hannsberry (McFarland & Company, 1998), Femme Noir: Bad Girls of Film, p. 446 When Scott finally went on stage as Sabina, she was surprised by both the approval and fascination of the audience. Her replacement as understudy was another future femme fatale, 19-year-old Gloria Hallward, soon to be known as Gloria Grahame. When Michael Myerberg pulled Grahame from the play for another experimental production in PhiladelphiaLaura Wagner (McFarland & Company, September 2004), Killer Tomatoes: Fifteen Tough Film Dames, p. 66—Star DustAnonymous (September 18, 1943), "Out-of-Town Opening," The Billboard (New York City, New York), p. 25— no understudy was available when Gladys George took over for Hopkins.Anonymous (August 15, 1943), "Myerberg 'Snatches' Gladys George Under Hollywood's Nose," The Brooklyn Daily Eagle (Brooklyn, New York), p. 31. George took over as Sabina on Monday, August 16, 1943.