Ida Lupino

Publicity photograph of Lupino for Moontide (1942)

Lupino made her first film appearance in The Love Race (1931) and the following year, aged 14, she worked under director Allan Dwan in Her First Affaire, in a role for which her mother had previously tested.[11] She played leading roles in five British films in 1933 at Warner Bros.' Teddington studios and for Julius Hagen at Twickenham, including The Ghost Camera with John Mills and I Lived with You with Ivor Novello.

Dubbed "the English Jean Harlow", she was discovered by Paramount in the 1933 film Money for Speed, playing a good girl/bad girl dual role. Lupino claimed the talent scouts saw her play only the sweet girl in the film and not the part of the prostitute, so she was asked to try out for the lead role in Alice in Wonderland (1933). When she arrived in Hollywood, the Paramount producers did not know what to make of their sultry potential leading lady, but she did get a five-year contract.[4] While at Paramount, Lupino played the lead in a stage production of The Pursuit of Happiness at the Paramount Studio Theatre.[12]

Lupino starred in over a dozen films in the mid-1930s, working with Columbia in a two-film deal, one of which, The Light That Failed (1939), was a role she acquired after running into the director's office unannounced, demanding an audition.[11] After this breakthrough performance as a spiteful cockney model who torments Ronald Colman, she began to be taken seriously as a dramatic actress. As a result, her parts improved during the 1940s, and she jokingly referred to herself as "the poor man's Bette Davis", taking the roles that Davis refused.[13][14]

Mark Hellinger, associate producer at Warner Bros., was impressed by Lupino's performance in The Light That Failed, and hired her for the femme-fatale role in the Raoul Walsh-directed They Drive by Night (1940), opposite stars George Raft, Ann Sheridan and Humphrey Bogart. The film did well and the critical consensus was that Lupino stole the movie, particularly in her unhinged courtroom scene.[15] Warner Bros. offered her a contract which she negotiated to include some freelance rights.[11] She worked with Walsh and Bogart again in High Sierra (1941), where she impressed critic Bosley Crowther in her role as an "adoring moll".[16]

Her performance in The Hard Way (1943) won the New York Film Critics Circle Award for Best Actress.[6] She starred in Pillow to Post (1945), which was her only comedic leading role.[11] After the drama Deep Valley (1947) finished shooting, neither Warner Bros. nor Lupino moved to renew her contract and she left the studio in 1947.[17] Although in demand throughout the 1940s, she arguably never became a major star although she often had top billing in her pictures, above actors such as Humphrey Bogart, and was repeatedly critically lauded for her realistic, direct acting style.

She often incurred the ire of studio boss Jack Warner by objecting to her casting, refusing poorly written roles that she felt were beneath her dignity as an actress, and making script revisions deemed unacceptable by the studio. As a result, she spent a great deal of her time at Warner Bros. suspended.[14] In 1942, she rejected an offer to star with Ronald Reagan in Kings Row, and was immediately put on suspension at the studio. Eventually, a tentative rapprochement was brokered, but her relationship with the studio remained strained. In 1947, Lupino left Warner Brothers and appeared for 20th Century Fox as a nightclub singer in the film noir Road House, performing her musical numbers in the film. She starred in On Dangerous Ground in 1951, and may have taken on some of the directing tasks of the film while director Nicholas Ray was ill.[7]

Lupino (left) directing The Hitch-Hiker, 1953

While on suspension, Lupino had ample time to observe filming and editing processes, and she became interested in directing.[18] She described how bored she was on set while "someone else seemed to be doing all the interesting work".[14]

She and her then-husband, producer and writer Collier Young, formed an independent company, The Filmakers Inc. [sic], to "produce, direct, and write low-budget, issue-oriented films".[4][19][20] It was formed in 1948 with Lupino as vice-president, Collier Young as president, and screenwriter Malvin Wald as treasurer.[9] The Filmakers produced 12 feature films, six of which Lupino directed or co-directed, five of which she wrote or co-wrote, three of which she acted in, and one of which she co-produced.[21] The Filmakers' mission was to make socially conscious films, encourage new talent, and bring realism to the screen.[22] Their goal was to tell “how America lives” through independent B pictures shot in two weeks for less than $200,000 with a creative “family,” “the ring of truth” emphasized by fact-based stories – a combination of “social significance” and entertainment.[23] In short, low-budget pictures, they explored virtually taboo subjects[23] such as rape in Outrage (1950) and the self-explanatory The Bigamist (1953).[21] The latter received rave reviews at the time of release, with Howard Thompson of The New York Times calling it "Filmakers' best offering, to date".[24] Lupino's best known directorial effort, The Hitch-Hiker, a 1953 RKO release, is the only film noir from the genre's classic period directed by a woman.[25][26]

Her first directing job came unexpectedly in 1949 when director Elmer Clifton suffered a mild heart attack and was unable to finish Not Wanted, a film Lupino co-produced and co-wrote.[11] Lupino stepped in to finish the film without taking directorial credit out of respect for Clifton. Although the film's subject of out-of-wedlock pregnancy was controversial, it received a vast amount of publicity, and she was invited to discuss the film with Eleanor Roosevelt on a national radio program.[21]

Never Fear (1949), a film about polio (which she had personally experienced at age 16), was her first director's credit.[11] The film was noticed by Howard Hughes, who was looking for suppliers of low-budget feature films for distribution by his recently acquired RKO Pictures. Hughes agreed to put up financing and distribute The Filmakers’ next three features through RKO, leaving The Filmakers total control over the content and the production of the films.[27] After producing four more films about social issues, including Outrage (1950), a film about rape (while this word is never used in the movie),[28] Lupino directed her first hard-paced, all-male-cast film, The Hitch-Hiker (1953), making her the first woman to direct a film noir.

Cinematographer Ted McCord, Lupino and Dane Clark in Deep Valley (1947)

Lupino once called herself a "bulldozer" to secure financing for her production company, but she referred to herself as "mother" while on set.[21] On set, the back of her director's chair was labeled "Mother of Us All".[4] Her studio emphasized her femininity, often at the urging of Lupino herself. She credited her refusal to renew her contract with Warner Bros. under the pretenses of domesticity, claiming "I had decided that nothing lay ahead of me but the life of the neurotic star with no family and no home." She made a point to seem nonthreatening in a male-dominated environment, stating, "That's where being a man makes a great deal of difference. I don't suppose the men particularly care about leaving their wives and children. During the vacation period, the wife can always fly over and be with him. It's difficult for a wife to say to her husband, come sit on the set and watch."[9]

Although directing became Lupino's passion, the drive for money kept her on camera, so she could acquire the funds to make her own productions.[14] She became a wily low-budget filmmaker, reusing sets from other studio productions and talking her physician into appearing as a doctor in the delivery scene of Not Wanted. She used what is now called product placement, placing Coca-Cola, United Airlines, Cadillac, and other brands in her films, such as The Bigamist. She was acutely conscious of budget considerations, planning scenes in pre-production to avoid technical mistakes and retakes, and shooting in public places such as MacArthur Park and Chinatown to avoid set-rental costs.[9] She joked that if she had been the "poor man's Bette Davis" as an actress, she had now become the "poor man's Don Siegel" as a director.[9][29]

The Filmakers production company ceased operations in 1955, and Lupino turned almost immediately to television, directing episodes of more than thirty US TV series from 1956 through 1968. She also helmed a feature film in 1965 for the Catholic schoolgirl comedy The Trouble With Angels, starring Hayley Mills and Rosalind Russell; this was Lupino's last theatrical film as a director. She continued acting as well, going on to a successful television career throughout the 1960s and '70s.[30]

Lupino in It Takes a Thief in 1968

Lupino's career as a director continued through 1968. Her directing efforts during these years were almost exclusively for television productions such as Alfred Hitchcock Presents, Thriller, The Twilight Zone, Have Gun – Will Travel, Honey West, The Donna Reed Show, Gilligan's Island, 77 Sunset Strip, The Rifleman, The Virginian, Sam Benedict, The Untouchables, Hong Kong, The Fugitive, and Bewitched.

After the demise of The Filmakers, Lupino continued working as an actress until the end of the 1970s, mainly in television. Lupino appeared in 19 episodes of Four Star Playhouse from 1952 to 1956, an endeavor involving partners Charles Boyer, Dick Powell and David Niven. From January 1957 to September 1958, Lupino starred with her then-husband Howard Duff in the sitcom Mr. Adams and Eve, in which the duo played husband-and-wife film stars named Howard Adams and Eve Drake, living in Beverly Hills, California.[31] Duff and Lupino also co-starred as themselves in 1959 in one of the 13 one-hour installments of The Lucy–Desi Comedy Hour and an episode of The Dinah Shore Chevy Show in 1960. Lupino guest-starred in numerous television shows, including The Ford Television Theatre (1954), Bonanza (1959), Burke's Law (1963–64), The Virginian (1963–65), Batman (1968), The Mod Squad (1969), Family Affair (1969–70), The Wild, Wild West (1969), Nanny and the Professor (1971), Columbo: Short Fuse (1972), Columbo: Swan Song (1974) in which she plays Johnny Cash's character's zealous wife, Barnaby Jones (1974), The Streets of San Francisco, Ellery Queen (1975), Police Woman (1975), and Charlie's Angels (1977). Her final acting appearance was in the 1979 film My Boys Are Good Boys.

Lupino has two distinctions with The Twilight Zone series, as the only woman to have directed an episode ("The Masks") and the only person to have worked as both actor for one episode ("The Sixteen-Millimeter Shrine"), and director for another.[32]

Lupino was diagnosed with polio in 1934. The New York Times reported that the outbreak of polio within the Hollywood community was due to contaminated swimming pools.[38] The disease severely affected her ability to work, and her contract with Paramount fell apart shortly after her diagnosis.[39] She recovered and eventually directed, produced, and wrote many films, including a film loosely based upon her travails with polio titled Never Fear in 1949, the first film that she was credited for directing (she had earlier stepped in for an ill director on Not Wanted and refused directorial credit out of respect for her colleague). Her experience with the disease gave her the courage to focus on her intellectual abilities over simply her physical appearance.[40] In an interview with Hollywood, she said, "I realized that my life and my courage and my hopes did not lie in my body. If that body was paralyzed, my brain could still work industriously...If I weren't able to act, I would be able to write. Even if I weren't able to use a pencil or typewriter, I could dictate."[40] Film magazines from the 1930s and 1940s, such as The Hollywood Reporter and Motion Picture Daily, frequently published updates on her condition.[41][12] Lupino worked for various nonprofit organizations to raise funds for polio research.[42]

Lupino's interests outside the entertainment industry included writing short stories and children's books, and composing music. Her composition "Aladdin's Suite" was performed by the Los Angeles Philharmonic Orchestra in 1937.[6] She composed it while recovering from polio in 1935.[43]

She became an American citizen in June 1948[44][45] and was a staunch Democrat who supported the presidency of John F. Kennedy.[9] She was a Catholic.[46]

Lupino was married and divorced three times. She married actor Louis Hayward in November 1938. They separated in May 1944 and divorced in May 1945.[47][48]

Her second marriage was to producer Collier Young on 5 August 1948. They divorced in 1951. When Lupino filed for divorce in September that year, she was already pregnant from an affair with future husband Howard Duff. The child was born seven months after she filed for divorce from Young.[49]

Lupino's third and final marriage was to actor Howard Duff, whom she wed on 21 October 1951.[50] Six months later, they had a daughter, Bridget, on 23 April 1952.[51] They separated in 1966 and divorced in 1983.[52][53]

She petitioned a California court in 1984 to appoint her business manager, Mary Ann Anderson, as her conservator due to poor business dealings from her prior business management company and her long separation from Howard Duff.