THE BOX OFFICE STARS: 1959

The decade of the 1950s ended with a lot of great movies and great stars. It was still the golden years of Hollywood. Here are the top box office stars of 1959...

1. Rock Hudson
2. Cary Grant
3. James Stewart

                                                 

4. Doris Day

5. Debbie Reynolds

6. Glenn Ford

7. Frank Sinatra

8. John Wayne

9. Jerry Lewis

10. Susan Hayward.                                         

                                                        

THE RISE AND FALL OF BETTY HUTTON: A STORY OF STARDOM, STRUGGLE, AND ESTRANGEMENT

Betty Hutton wasn’t just a performer—she was a force of nature. Her explosive presence on stage and screen in the 1940s made her one of Paramount’s most valuable stars. Yet behind the dazzling performances lay a life marked by hardship, addiction, emotional turmoil, and ultimately estrangement from her own daughters.

Elizabeth June Thornburg, known later to the world as Betty Hutton, was born in 1921 into a life of instability. Her father abandoned the family when she was two, and her mother supported her daughters by running an illegal speakeasy during Prohibition. Betty began performing for patrons as early as age three, singing to help her mother make ends meet. This turbulent childhood shaped her bold, frenetic performance style and planted the seeds of the emotional struggles that followed her into adulthood. 

Hutton’s natural charisma carried her from Detroit nightclubs to Broadway stages, where shows like Two for the Show and Panama Hattie launched her into the national spotlight. Her success on Broadway attracted Hollywood studios, and Paramout quickly turned her into one of its most bankable stars. She dazzled audiences in The Miracle of Morgan’s Creek (1944) and delivered an unforgettable performance as Annie Oakley in Annie Get Your Gun (1950). 

But even at the height of her fame, Hutton’s life behind the scenes was far from glamorous. She struggled with deep insecurity and relied increasingly on prescription drugs and alcohol to cope with the pressures of stardom.

By the late 1950s and 1960s, Hutton’s career momentum gave way to personal crisis. Conflicts with studios, dwindling opportunities, and her battles with substance abuse accelerated her decline. Reporting from the BBC shows that after her acting and singing engagements dried up, she fell into periods of severe drug addiction and alcoholism. In 1967, she was fired from two Paramount film projects and soon afterward suffered a nervous breakdown and attempted suicide. 

These struggles devastated not just her career but also her relationships—especially with her children.
The estrangement between Hutton and her daughters remains one of the most painful aspects of her story. While only her daughters know the full truth, several well-documented factors help explain the rift.

One of the most consistent explanations is emotional neglect. According to a BBC Radio 2 biography, her children felt she neglected them and never learned how to nurture them. Hutton herself admitted that her career was her “child,” an admission that underscores the emotional distance her daughters experienced growing up. 

Her battles with addiction created further instability within the home. Years of substance abuse, mental health crises, and unpredictable behavior inevitably strained her ability to maintain healthy and supportive relationships with her daughters, compounding their feelings of abandonment and emotional hurt. 

Hutton also made remarks that wounded her daughters deeply. One widely discussed example was her public statement that “my children didn’t bring me happiness,” made when her youngest daughter was only thirteen—a comment that, according to observers, may have shattered the last remaining trust left in the relationship. 

Those who knew her or commented on her interviews described her as someone who struggled to take responsibility for her actions. Her daughters may have viewed her behavior as self-centered, making emotional reconciliation difficult. This perception, combined with the turmoil of their upbringing, likely contributed to their decision to distance themselves, even choosing not to attend her funeral—a testament to the depth of the estrangement.

By the 1970s, Hutton’s life had entirely unraveled. She found herself destitute, without work, and without the family relationships she once had. In desperation, she accepted shelter in a Rhode Island rectory, working for room and board while beginning the long process of rebuilding her life from scratch. 

Her story could have ended there, forgotten and tragic. But Hutton possessed a resilience forged from childhood hardship. Remarkably, she reinvented herself, eventually earning a master’s degree in psychology from Salve Regina University and later teaching acting at Emerson College. Her return to the stage in 1980, when she briefly replaced Alice Ghostley in the Broadway musical Annie, marked a symbolic moment of recovery, showing she still had the spark that once made her a star. 

Betty Hutton’s life was a tapestry of exhilarating highs and devastating lows. She brought joy to millions through her performances, defined an era of Hollywood musicals with her explosive presence, and endured personal struggles that often overshadowed her triumphs. Her story is one of incredible talent, profound wounds, and the painful consequences of emotional and psychological battles she could never fully overcome.

The estrangement from her daughters remains a somber chapter, yet it also reflects the complex and often unseen human cost behind the bright lights of fame. In the end, Betty Hutton’s legacy is not just one of entertainment history—it is a reminder of the fragility behind even the most dazzling stars...

HOLLYWOOD TIDBITS: THE OMEN

For The Omen. one of Richard Donner's first requests to screenwriter David Seltzer was to remove all suggestions of the supernatural, such as cloven-hoofed demons and witches' covens. The golden rule was that nothing was allowed in the script that couldn't happen in real life. The idea was that there should be some degree of doubt over whether or not the main character Thorn was deranged.

Charlton Heston, Roy Scheider, Dick Van Dyke, and William Holden turned down the lead role. Gregory Peck, accepted the lead. One of the reasons why Peck accepted the role of a tortured father, conflicted with guilt, was because he hadn't been around when his son Jonathon committed suicide in 1975. Holden would star in the sequel "Omen II: Damien" (1978).

The film seemed to fall victim to a sinister curse. Peck and Seltzer took separate planes to the UK...yet BOTH planes were struck by lightning. While producer Harvey Bernhard was in Rome, lightning just missed him. Rottweilers hired for the film attacked their trainers. A hotel at which Donner was staying got bombed by the IRA; he was also struck by a car. After Peck canceled another flight, to Israel, the plane he would have chartered crashed...killing all on board. On day one of the shoot, several principal members of the crew survived a head-on car crash. The jinx appeared to persist well into post-production... when special effects artist John Richardson got into a major auto accident and his assistant was cut in half when the vehicle's front wheel sliced through the chassis and into the passenger seat...

STORY BEHIND THE PHOTO: 1998 EMMY AWARDS

Here is a very rare appearance by the Mount Rushmore of television comedy. On September 13, 1998 Milton Berle, Sid Caesar, and Bob Hope appeared together on the Emmy Awards telecast. At the time Milton Berle was 90, Bob Hope was 95, and Sid Caesar was a young 76. Berle passed away first in 2002, Hope in 2003, and Sid lived until 2014...

BLACK COFFEE - SWING'S HIDDEN GEMS

 

BORN ON THIS DAY: ALAN HALE JR

Alan Hale Jr was born on this day in 1921. He was the son of actor Alan Hale Sr. His television career spanned four decades, but he was best known for his secondary lead role as Captain Jonas Grumby, better known as The Skipper, on the 1960s CBS comedy series Gilligan's Island (1964–1967), a role he reprised in three Gilligan's Island television films and two spin-off cartoon series.

Alan Hale MacKahan was born in Los Angeles, California. His father was character actor Rufus Edward MacKahan, who used the stage name of Alan Hale, and his mother was silent film actress Gretchen Hartman. His father appeared in more than 235 films and had a successful screen career, both as a leading man in silent films and as a supporting actor in sound movies. Hale Jr. was in the silent movies as a baby.

In 1931, Hale made his Broadway stage debut in Caught Wet. The play opened on November 4 and closed later that month. He made his screen debut in Wild Boys of the Road which was released in 1933. Although his role was deleted from that film's final release, he still received screen credit for his performance. He later appeared in roles in To the Shores of Tripoli (1942), Yanks Ahoy (1943), Sweetheart of Sigma Chi (1946), and When Willie Comes Marching Home (1950). During the late 1940s and early 1950s, he frequently appeared in Gene Autry films and also had a recurring role from 1950 to 1952 on The Gene Autry Show.

By the early 1950s, Hale began to work in television. In 1952, he landed the starring role in CBS's Biff Baker, U.S.A. The series was canceled in 1954. He continued his career on the small screen by appearing in guest spots on a variety of other series, such as The Range Rider (five times), Annie Oakley, Fireside Theater, Frontier, Matinee Theater, Fury, Northwest Passage, and The Man from Blackhawk.

Despite his growing commitment to roles on television, Hale throughout the 1950s and into 1960s continued his work in supporting roles in feature films. Some of those include The Gunfighter (1950) with Gregory Peck, At Sword's Point (1952) with Cornel Wilde and Maureen O'Hara, The Man Behind the Gun (1953) with Randolph Scott, Silver Lode (1954) with John Payne and Dan Duryea, The Sea Chase (1955) with John Wayne and Lana Turner, The Three Outlaws (1956) with Neville Brand as Butch Cassidy and Hale as the Sundance Kid, The True Story of Jesse James (1957) with Robert Wagner as Jesse James and Jeffrey Hunter as Frank James, and Up Periscope (1959) with James Garner 

In 1964, Hale won the co-starring role as the Skipper on the CBS sitcom Gilligan's Island. The series aired for a total of 98 episodes from 1964 to 1967. His character proved to be the most prominent role of Hale's career, as the show continued in reruns. The popularity of the show typecast its actors, making it difficult for them to successfully pursue different roles. Hale did not mind being so closely identified with the Skipper. According to series creator Sherwood Schwartz, he often visited children in hospitals dressed as the Skipper. And the rest is history...

ETHEL WATERS: A TRAILBLAZING VOICE

Ethel Waters (October 31, 1896 – September 1, 1977) was a pioneering American singer and actress whose life and career broke barriers and reshaped the cultural landscape of the 20th century. Born in Chester, Pennsylvania, Waters overcame a childhood marked by poverty and hardship to become one of the most influential performers in blues, jazz, and theater.

 
Waters was born into extreme poverty and faced a turbulent upbringing. She was married at the age of 12 and began working as a chambermaid in Philadelphia by 13. That same year, she sang publicly for the first time in a local nightclub. By 17, she was performing professionally in Baltimore under the stage name “Sweet Mama Stringbean,” and became the first woman to sing W.C. Handy’s “St. Louis Blues” on stage. Her talent quickly propelled her to New York City, where she performed at Harlem’s Plantation Club in 1925. This led to her Broadway debut and a series of successful stage performances, including the all-Black revue Africana in 1927, Blackbirds in 1930, and Rhapsody in Black in 1931. 

In 1933, Waters broke racial barriers by appearing in Irving Berlin’s As Thousands Cheer, her first show with a mixed-race cast. Her rendition of “Heat Wave” became iconic, and she was soon collaborating with jazz legends like Duke Ellington and Benny Goodman. Songs like “Dinah” and “Stormy Weather” became closely associated with her.

Waters transitioned into dramatic roles with great success. Her first major acting role came in Mamba’s Daughters (1939), followed by a season on Broadway in Cabin in the Sky, which she also starred in for the 1943 film adaptation. Her most acclaimed performance was in The Member of the Wedding (1950), earning her the New York Drama Critics’ Circle Award. She reprised the role in the 1952 film version. Her film career included notable roles in Cairo (1942), Pinky (1949)—for which she received an Academy Award nomination—and The Sound and the Fury (1959). 

Waters was a trailblazer in many respects: she was the first African American woman to star in her own television show and the first to be nominated for a Primetime Emmy Award. Her autobiography, His Eye Is on the Sparrow (1951), became a bestseller and offered a candid look into her life and faith. 

In the 1960s, Waters became deeply religious and frequently appeared alongside evangelist Billy Graham in his crusades. Though her later years were marked by health challenges, her legacy endured through her groundbreaking achievements in music, theater, and film.

Ethel Waters’s life was a testament to resilience, talent, and the power of breaking barriers. From the slums of Philadelphia to the heights of Broadway and Hollywood, she carved a path for future generations of African American performers and left an indelible mark on American culture...