"Camille on Horseback" and Inger in Reno

Inger Stevens arrived at Reno Municipal Airport via United Airlines on August 22, 1959. She wasn't alone that Saturday morning. The plane carried a passenger list that included Lorne Greene, Pernell Roberts, Michael Landon, Dan Blocker, Yvonne DeCarlo, and Vaughn Moore. The group exited the plane to cheers from a crowd of local officials, press, Native Americans from the Nixon, NV reservation plus the Twirleens and Reno Rodeo Queen. After receiving gifts (cowboy hats, of course) and posing for publicity, Inger and the others were rushed to downtown Reno for the Bonanza parade. It would be a full two days of publicity and celebration in honor of a new all-color western drama set to air on NBC the following month. Inger and Yvonne DeCarlo's episodes ("The Newcomers" and "A Rose for Lotta", respectively) were selected for a special premiere at Granada Theater that evening.

Inger (center) arrives in Reno.

Inger examines the cowboy hats with Dan Blocker and Lorne Greene.

There was much for the stars to do between the noon parade (in which Miss Nevada was none other than a 21-year-old Dawn Wells) and the eight o'clock premiere. After traveling in stagecoach from the State House, Inger headed north on Virginia Street to follow a route to Fifth then Sierra before the parade ended in front of the Riverside Hotel on the Truckee River. 

Former actor-turned-politician, Rex Bell led the parade.
Bell was married to actress Clara Bow.

Although she is not visible in this poor quality photo, Inger is in this
 stagecoach shared with Yvonne DeCarlo.

The celebrities were then whisked away for lunch in the Shore Room of the Holiday Hotel before touring the downtown stores—merchants had dressed their windows in western wear and theme for a Bonanza contest. By 5:00 p.m., Inger was meeting citizens and signing autographs at Powning Park. Dinner was at the Nugget in Sparks before entertaining the crowd again at the Granada Theater, where "The Newcomers" and "A Rose for Lotta" were screened for the public (adults only) free of charge.

RCA sponsored the premiere and RCA recording artist Vaughn Moore served as the emcee. Moore received a key to the city for his efforts.

Inger at dinner with the cast in Reno.

Invisible except for the top of her blonde hair and lovely hands,
Inger signs autographs beside Lorne Greene.

After a day full of action, the cast and crew retired to their rooms at the Riverside, Mapes, and Golden hotels. On Sunday, they viewed the gun collection at Harold's Club before traveling back to Los Angeles on Sunday evening.

On Tuesday, August 25, the Today television show devoted a segment to the premiere footage. The massive publicity campaign, color episodes, engaging actors, and highly popular western genre would make Bonanza a hit for 14 seasons. Many don't realize that Inger Stevens was a major player in its initial publicity campaign and contributor to the show's success.

"The Newcomers"

Columnist Dwight Newton summarized the "The Newcomers" as “Inger Stevens…Camille on horseback.” And he's not wrong. Inger played many fragile, sickly or trauma-stricken characters between 1959 and 1962. However, Inger enjoyed freelancing on television and made light of the tragic string when she stated:

Come to think of it, my TV career is beginning to look as if it were sponsored by Blue Cross. I was a nurse in the last Playhouse 90 I did. I play a tubercular in Bonanza. And in Twilight Zone I haven’t long to live.

This interview and the Bonanza premiere came just eight months after Inger's suicide attempt. It cannot be emphasized enough how diligently Inger worked after recovering from the attempt. She participated in two routines on the April 6, 1959 broadcast of the 31st Academy Awards and received an "unusually warm reception...like an outstretched hand of sympathy for a girl who has undergone emotional stress." After that welcome, Inger went back to work on "Diary of a Nurse" for Playhouse 90, "The Indestructible Mr. Gore" for Sunday Showcase, and this Bonanza episode. 

Her suicide attempt, outspokenness about the loneliness and superficiality associated with Hollywood success, and refusal to appear in subpar movies would find Inger working solely in television—after The World, The Flesh, and The Devil premiered in 1959, audiences wouldn't see Inger on their theater screens until 1964 when she appeared in a small, but striking role in the unfortunately subpar movie The New Interns. The amount and quality of the work Inger did on television in those five years between movies is quite astounding—two Twilight Zones, an Emmy-nominated part in Dick Powell Theater, two Route 66 episodes, a powerful Sam Benedict plot and suspenseful Alfred Hitchcock Hour. That list is merely a third of the shows in which Inger appeared at that time and does not even include her starring role in her own show The Farmer's Daughter!

Inger as Emily Pennington

Inger studies "The Newcomers" script.

Inger liked the role of Emily Pennington in "The Newcomers". She said:

They kind of apologized when they asked me to play it, because it’s a western. But I liked the script and it turned out so well that it will be released in Europe as a motion picture–if Paramount approves.

The episode can be viewed in full on Youtube (click here.) In it, Inger's Emily Pennington is the fiancé of prospector Blake McCall (John Larch), a man Emily's brother John (Robert Knapp) says "will do anything for gold." McCall believes there's gold hidden on the Cartwright company but is warned that mining for it will destroy the land. A man who was born without wealth, McCall believes he must make his fortune in order to keep up with the more prosperous Penningtons. Emily assures her fiancé that money means nothing to her and says:

Just give me a chance to get well and just give me a chance to be everything you want me to be.

Battling tuberculosis, Emily Pennington coughs frequently ("Can't you control that miserable coughing?" Blake barks at her. ) but doesn't reveal the gravity of her situation to Hoss (Dan Blocker). Hoss accompanies the Penningtons for protection and is hurt when she backs away from him in fear. Emily softens when she watches the gentle way Hoss brushes and speaks to his horse. 

Emily: You really love horses, don't you?

Hoss: Oh, yes ma'am. I love all animals. You can trust 'em.

Emily: But you can't trust people?

Hoss: Well, I wouldn't say that. It's just that some folks have got a natural mean streak in them that animals just don't know nothin' about, I guess.

As her fiance's mean streak becomes more obvious, Emily develops feelings for gentle giant Hoss.

Inger with Dan Blocker behind the scenes.

Sources: 

“Bonanza Day Premier—” Reno Evening Gazette. August 20, 1959. 

“Bonanza Premir is Staged Here.” Reno Evening Gazette. August 24, 1959. 

“Delegation Arrives for Bonanza Premier.” Reno Evening Gazette. August 22, 1959. 

“Reno Merchants.” Reno Evening Gazette. August 21, 1959. 

“Inger Stevens Gets No Money for TV Stints. Philadelphia Enquirer. September 24, 1959. 

“Movie Stars Arrive for Bonanza Premier Saturday.” Reno Evening Gazette. August 21, 1959. 

“Reno’s Bonanza Permiere in Pictures.” Reno Evening Gazette. August 24, 1959. 

TV-Radio Highlights. San Francisco Examiner. September 26, 1959.

Man on Fire (1957)

Inger landed her first feature film Man on Fire after producer Sol Siegel saw her as a chambermaid in the 1956 Playhouse 90 production of Eloise. Sol inquired about Inger and discovered that she "was one terrific actress and she was under contract to my old studio, Paramount. So I gave her a test. I liked her. Then I discussed her with Bing. Unless we’re both lousy judges, this kid’s got what it takes to become a star—talent, personality, and beauty.”

Inger with Sol Siegel

A movie produced by a major studio and starring Bing Crosby just three years after his Oscar-nominated role in The Country Girl? Being cast as Nina in Man on Fire was a plum role for a rookie film actress and Inger recognized it. Inger told reporters:

Naturally this is very exciting for my first movie. Bing’s very nice. He seems so relaxed it relaxes me. Right now I consider myself a very fortunate girl. I’m doing what I like best—acting. In Man on Fire I play a lawyer’s secretary who saves Bing Crosby from making a lot of mistakes. In the end we wind up together. It’s a good part, but the picture is basically a Crosby vehicle. It was one of the most rewarding experiences of my young life playing opposite Bing. I hope I’m lucky enough to do it again.”

Filming on the drama began in December 1956, but poor Inger was struck with appendicitis after only two days on set. Hesitant around a star of Bing's stature, Inger quickly warmed to him after he showed her kindness following her appendectomy.  Bing and the crew sent Inger a get-well card that read, "Don't linger, Inger." Inger recalled:

The first day of rehearsals I was so nervous I thought he’d fire me. Instead, he was very quiet. I found out later that Bing Crosby takes a good deal of knowing. He weighs things very carefully. He’s cautious. If he likes someone, he opens up. But this takes time. He’s extremely likable and an extremely fine actor. Essentially, he’s an instinctive actor who doesn’t realize how good he really is. He’s not impressed with himself at all. The one thing that bothers him in front of a camera is a lot of takes. He gets stale quickly. The first take is usually best for him. I’d been on the film two days when I had to go to the hospital for an appendectomy. When I came back, Bing greeted me like an old friend. We’d all have tea at 4 o’clock, just sit around and talk. 

Inger and Bing in a shot for
Parade Magazine, June 1957

Inger had married theatrical agent Anthony Soglio in summer 1955, but the couple was estranged before Inger began filming Man on Fire. Twenty-two year old Inger fell for fifty-three year old Bing and shared:

I’ve dated him several times, and for an actor he’s unusual. He doesn’t like to talk about himself. He’s extremely well-read and interested in more subjects than show business. He knows so much about politics, sports, painters and writers you wouldn’t believe it. He’s one of the most well-rounded gentlemen I’ve ever met. After you go out with Bing, you’re spoiled for young men of, say, 25 or 26.

When they were not busy calling Inger the "new Grace Kelly"—prompting Inger to respond "though they are complimentary, I hate comparisons...I'd rather be known as Inger Stevens."—or inserting items about her former Latin Quarter dancing career into gossip columns, the press was tracking the relationship of Inger and Bing. 

In January 1957, Inger filed paperwork to officially separate from Anthony Soglio and would file for divorce in April. Inger and Bing would, as Erskine Johnson put it, "continue to costar after hours" through the spring. In early May, reporters noted that Bing was in love with Inger, but by May 7th Dorothy Kilgallen was sharing the following tidbit:

The Hollywood temperature-takers report Inger Stevens furious over Bing Crosby’s Las Vegas fling with Pat Sheehan. Inger was thought to have inherited the Groaner from Kathy Grant, and it may turn out that she also has inherited the same denouement. 

On June 26, 1957, Inger, despite being sick, signed autographs for fans and confirmed that she was still dating her costar though neither had plans for marriage. 

The film premiered in Los Angeles on July 5, 1957, and Inger received positive reviews for her performance as legal secretary Nina Wylie. Motion Picture Daily reported that the film had "power and dramatic impact" and that Inger had "more than a promise of future greatness." Photoplay noted "lovely Inger Stevens" and "sensitive acting." Variety praised Inger as "another newcomer who should be heard from in the future. She is particularly appealing as she nurses Crosby through his vicious and embittered moods."

The movie is rare because Bing's character never sings. Bing said:

It was my own idea. I figured if I couldn’t get away without singing in this picture, I never could. There’s really no reason for a song. The character is not an entertainer; he owns a small manufacturing company. I always figured before that I was a crooner and people expected me to sing when they saw one of my pictures. But I don’t think anybody’s going to run out of the theater and demand their money back if they don't get a song out of me. I think it destroys some of the illusion of a dramatic picture if you throw in songs. The Country Girl would have been better without them. 

 

In the film, Earl (Bing Crosby) struggles to cope during a custody battle over son Ted (Malcolm Brodrick) with his ex-wife Gwen (Mary Fickett). Earl is still bitter about Gwen leaving him for his former friend Bryan (Richard Eastham). As Nina, Inger serves as Earl's right hand woman and voice of reason throughout the picture. Though Earl is slow to recognize it, the devoted Nina is also deeply in love with him. My favorite scene comes early in the film and finds Earl and Nina sitting at a bar.

Earl: You're the first lawyer I've ever seen with a dimple.

Nina: I'm not really a lawyer. I graduated from law school, but that's all.

Earl: How old are you?

Nina: 25.

Earl: You're very honest

Nina: In that case, I'm 27.

Earl: I would've thought you were younger.

Nina: Why don't you keep on thinking it?

Earl: Been a long time since I was 27.

Nina: I've looked at your passport. You're pretty old, Mr. Carlton.

Earl: If you're going to start talking to me like that you better call me Earl.

Nina: I have been calling you Earl for a long time now...when I think about you.

Earl: Why should you think about me?

Nina: You're one of our best clients, aren't you?

Earl: Ah, I guess that's good enough reason.

Nina: I'm glad I thought of it.

A few moments later...

Nina: Mind if I ask you a very personal question that's really none of my business but I'd certainly like to know? 

Earl: What?

Nina: Why don't you ever go out? You know, women?

Earl: Oh, I'm not the type. I don't think I'd know what to say. Women don't like me very much. I'm kind of awkward, I guess.

Nina: Clumsy's the word. Have some more sugar.

Earl: I say something to make you mad?

Nina: Goodness, no. Why should I be mad?

Earl: I don't know. I just kinda got the idea you were...where were we?

Nina: The subject was romance and we were beating it to death with a stick.

And though the subject was romance with Inger and Bing away from the camera, it was not to last. By October 1957, Bing made a surprise announcement that he'd married Kathryn Grant, a young actress he'd dated seriously before meeting Inger. In fact, both Inger and Kathy were featured in Photoplay's "Favorite Coming Stars of 1958".

Favorite Coming Stars of 1958

Later, Inger would reflect on her relationship with Bing, saying, "He was basically a cold man who trusted no one...he treated women like second class citizens except when he wanted her...In all things he came first." Though the relationship and her feelings about the man soured, the press was incorrect when they assumed the romance with Bing led to Inger's 1959 suicide attempt. In reality, it was a failed romance with leading man Harry Belafonte that shattered Inger so completely that she tried to end her life.

Always a professional, Inger worked with Bing on ABC's Wide World of Entertainment in 1964. By that time, Inger was the star of The Farmer's Daughter and Bing was giving a sitcom of his own a shot. (The Bing Crosby Show only survived one season.)  Kathryn Grant would remain married to Bing until his death in 1977. Unfortunately, Man on Fire has yet to be released commercially on DVD and is not currently available to view online. 

Inger and Bing on ABC's Wide World
of Entertainment, 1964.

Sources: 

All photos are my own scans.

 “Bing’s New Leading Lady.” The Gazette. June 16, 1957. 

“Hollywood’s Nicest Rebel.” Fairbury Daily News. June 9, 1958. 

“Bing and Ing.” Fort Worth Star-Telegram. June 12, 1957. 

“Bing Alter Shy?” Scranton Times. May 7, 1957. 

“Young Inger Stevens Goes Places Fast in Hollywood.” Lancaster New Era. February 15, 1957. 

“Bing’s A Rooter for Inger Stevens.” The San Francisco Examiner. May 5, 1957. 

“Around Hollywood.” Medford Mail Tribune. January 14, 1957. 

“Broadway.” Des Moines Register. January 3, 1957.

 “Inger Stevens, Actress, Goes Under Surgery.” Citizen News. December 10, 1965. 

“Not One Song for Bing in His Latest Picture.” December 29. 1956. 

"Tower Ticker.” Chicago Tribune. June 27, 1957.

"Man on Fire." Motion Picture Daily. June 1957.

"Man on Fire." Photoplay. June 1957.

A Time for Killing (1967)

Director Phil Karlson with Inger and Glenn.

Inger stars as Emily Biddle in the 1967 western A Time for Killing, one of four westerns she would make within two years. Inger's status as the Western dream gal of 1967-1968 prompted Roger Ebert, in his review of Hang 'Em High, to write, "You can tell it's a Hollywood Western because Inger Stevens lives in the boarding house..."

In his book on western filmmakers, Henryk Hoffman praised Inger:

Despite the unimpressive quality of her westerns, Inger Stevens delivered four interesting performances and earned the distinction of one of the most original western leading ladies of the period. 

Inger as Emily Biddle in A Time for Killing, 1967.

Originally titled The Long Ride Home and directed by Roger Corman (who "couldn't get out of his old ways. He was pushing the actors, they were upset, the crew was upset") but quickly taken over by director Phil Karlson, A Time for Killing was based on the 1961 novel A Southern Blade by Nelson and Shirley Wolford. The male leads are Glenn Ford and George Hamilton. Max Baer, Jr. and Paul Petersen also appear and a young Harrison Ford is seen briefly. Paul Petersen would later say that the dismissal of Roger Corman as director was unfair and that the film would've been "ultimately better served" if Corman had continued, because Corman "tried to compensate for the lack of character development in the story by incorporating the Utah landscape."

Filming took place in Utah and Arizona. Realty specialist Darwin Nelson wrote:

Last summer several scenes for The Long Ride Home were made on public domain near the Paria River, and for several weeks Kanab was 'home' for such stars as Glenn Ford, George Hamilton, Max Baer, Jr., Inger Stevens and Paul Petersen. It wasn't the first time Glenn Ford had been on location in Kenab; 25 years ago he spent some time off the set participating in a local rodeo. 

Due to a drought that dried out a riverbed essential to filming, thousands of gallons of water had to be imported from Tucson.  

Inger with actor Todd Armstrong

Glenn Ford was newly married and his wife Kathryn Hayes (known for her decades-long work on As The World Turns plus many guest appearances on 1960's television) visited the set. Glenn's son Peter was happy to be cast in a small role opposite "beautiful Inger Stevens" and made friends with cast members Harrison Ford, Harry Dean Stanton, Timothy Carey, and Paul Petersen. George Hamilton's girlfriend Lynda, daughter of President Lyndon Johnson, also visited the set—with Secret Service agents. 

According to author Patterson, Inger made a rare move and arrived on set with her husband Ike Jones on the first morning of filming. Patterson doesn't reveal the source of this story, but he writes that Inger, with Ike by her side, was confident as she greeted a cast and crew that reacted with "dead silence" and viewed it as an "awkward situation." Inger was seen crying later in the morning and Ike had left by the afternoon. 

Inger waits for dress repairs.

Inger observes a scene.

The film begins with missionary nurse Emily Biddle (Inger) watching her fiance Major Wolcott (Glenn) enforce a death sentence on a Confederate soldier. Major Wolcott must follow the orders of a cruel Colonel, which mercilessly prolong the death of a soldier until Wolcott puts the man out of his misery with a single shot. The treatment of the man's sentence causes a fury among the imprisoned Confederate soldiers, led by Captain Dorrit Bentley (George Hamilton). When he returns to his cabin, Major Wolcott realizes his fiancé witnessed the killing.

Emily: I was watching.

Wolcott calls for a missionary wagon to take Emily to a safe place.

Emily: You're not sending me away?...Why? I've come most of the way across this country to see you.

Wolcott: You couldn't have picked a worse time or place.

Emily: I didn't pick it. The war did. Is it too much to want to share a few days with you?

Wolcott: There are a lot of things I wanted to share with you, Emily, but this was not one of them.

Emily: Couldn't you have done something to stop it? He was a child.

Wolcott: Child or man, he was a soldier and this is a war. And I don't like you seeing it.

Emily:...I've seen the war, Tom, and I hate what I've seen.

Wolcott: I know. I like to see things grow. I don't like to see things die.

The enraged soldiers watch a touching scene as Major Wolcott bids a loving goodbye to Emily and Captain Bentley visibly seethes at the sight of their embrace. After Emily departs, Captain Bentley confronts Wolcott about his sensitivity toward the soldiers.

Bentley: I can see you're frettin' all over their feelings, all leaky-eyed, lovin' them like a brother. Major, they don't have one damn bit of love for you. Whether you own up or not, you hate them.

Wolcott: I hate no man.

Bentley: Well, there's a little time yet.

Wolcott: Captain, what do you want?

Bentley: Well, for you to feel the way I do, that's all.

Wolcott: The war's nearly over.

Bentley: Major, this war will never be over.

The Confederate soldiers make a violent escape from the Union camp overnight. At daybreak, they meet the missionary wagon carrying Emily to safety and overtake it. They kill the Union soldiers protecting Emily and then Captain Bentley abducts her.

Warning: There are major plot spoilers in this paragraph. Please pick up reading after the two shots of Inger and Glenn below if you want to skip them. What follows is a long chase between Major Wolcott and his Union troops and Captain Bentley and his band of Confederate soldiers. Emily Biddle's safety is threatened throughout the film as Captain Bentley lewdly smiles at her. Emily watches as the men imprisoning her become more uncouth and violent toward one another. Emily never backs down. She threatens to kill Bentley several times and insults him many more. Eventually, after many spoken and unspoken suggestions that he will, Captain Bentley viciously rapes Emily—to cause her pain, to cause Major Wolcott pain, and because the ruthless, terrorizing man says "somehow, someplace we got to win before we lose." The build-up to the assault and the assault scene itself are extraordinarily difficult for me to watch. 

Although Inger is exceptional in the scenes she's been given—adding poignancy to her limited lines and a strength of character to Emily—and her striking beauty absolutely glows in Panavision and Pathecolor, I've only been able to watch this movie two times. It's a major trial to sit through, and I'm not alone in this assessment.

Inger and Glenn on set

Inger and Glenn on set

Composer Van Alexander, in his autobiography, remembered that the the movie was "in deep trouble. Directors had been changed in the middle of filming, there were many rewrites on the script and the picture was still lousy...Jonie Taps called me in to save the picture with a good musical score." Alexander scored the film and wrote a main theme for Eddy Arnold to sing.

Alexander wrote that at the film's preview, "the audience laughed in all the wrong places. They laughed during the dramatic sequences. They hissed at the hero and applauded the villain. God, it was awful! Talk about embarrassing! I wanted to crawl under the table."

Later the film would be rescored by guitarist Mundell Lowe to the frustration of Alexander.

Inger and Glenn prepare for the wagon departure scene

Promotion of the film was weak. The promotional materials suggested that exhibitors bring audiences in by focusing on the movie being Glenn Ford's 100th release. The also urged that Inger's character being a nurse from Massachusetts should attract New England women; if you've seen the film you know how ludicrous that tactic would prove. The movie is quite brutal and certainly not what would be termed a "women's picture" in the 1960's.

Peter Ford was right in his summary that the movie had "some strong scenes, but there was a choppy, unfinished feeling to it, perhaps a result of the directorial transference. A Time for Killing went virtually unnoticed on release."

Author Lee Pfeiffer wrote:

If Sigmund Freud had written a Western, the result would be something like A Time for Killing. Admittedly a B Western, the film has the distinction of at least attempting to be something more. However, the script suffers from making the only interesting characters the least important...the film is unremittingly grim and made even grimmer by the efficient but downbeat performances of the cast. 

Halliwell's Film Guide called it a "savage" western about the "corruption of war" while Leonard Maltin kept his response brief by noting, "Director Karlson has made some good minor films in the past; this isn't one of them."

All photos in this post are scans of color transparencies in my collection. You can view more on set photos that are unfortunately not in my collection (including my favorite on set Inger shot—this one! and my second favorite shot—Inger singing) at this site here.

In 2021, A Time for Killing was released on Region 1 DVD as part of a Glenn Ford triple feature. The DVD can be found here. The western had long been available on other region DVDs.

You can read about Inger's other westerns on the blog: Firecreek, 5 Card Stud, and Hang 'Em High.

Inger and Glenn

Sources:

Alexander, Van. From Harlem to Hollywood. Bear Manor Media. 2009.

Ebert, Roger. "Hang 'Em High." https://www.rogerebert.com/reviews/hang-em-high-1968

Ford, Peter. Glenn Ford: A Life. University of Wisconsin. 2011.

Hoffman, Henryk. 'A' Western Filmmakers. McFarland. 2008.

Joyner, C. Courtney. The Westerners. McFarland. 2009.

Maltin, Leonard. Leonard Maltin's 2015 Movie Guide. Penguin. 2004.

Nelson, Darwin. "Little Hollywood." Our Public Lands. 1967.

Pfieffer, Lee. The Films of Harrison Ford. Kensington Publishing. 2002.

Weaver, Tom. Science Fiction Stars and Horror Heroes. McFarland. 2006.

Inger Stevens: Lions Bowl Queen

Inger, Lions Bowl Queen, waves
during the 1965 Christmas parade.
Source: Santa Maria Times.

It was announced via the Santa Maria Times on November 27, 1964 that Inger Stevens would serve as the first queen of the Lions Bowl Junior College football game at Dave Boyd Field on December 5, 1964. The game was sponsored as a benefit for Santa Maria Council for Retarded Children and Inger, as the California Council for Retarded Children’s honorary chair, gladly participated.

Inger arrived in Santa Maria, California, on Friday, December 4th. The following morning Inger was in place as parade entry #6 in the Santa Maria Christmas parade, which featured eight bands and approximately thirty-five floats/cars. In the parade route, Inger followed Harrel Fletcher and Lane Bryant, co-chairmen of the RMA Christmas Committee and she preceded pageant princesses from the local schools.

The Coalinga Falcons beat the Santa Barbara City College Vaqueros with a final score of 41-19 at the game later that day. Inger made a special appearance during the half-time show where she was formally presented the title of Lions Bowl Queen of 1964. A month later, Santa Maria Times reported that a check for $1,125.75 was presented to Dorothy Bell, president of the Santa Maria Council.

Inger speaks to the crowd at the
1964 Lions Bowl festivities.
Source: Santa Maria Times.

Inger was named as Lions Bowl Queen a second time the following year and appeared at the second annual Lions Bowl on December 3-4, 1965. On Friday, December 3rd at 7:00 p.m., Inger attended a cocktail party at Iversen Motor Company, which fully benefited the Santa Maria Council. Inger mingled and signed autographs. The following day Queen Inger rode in the morning Christmas parade (see photo of Inger in the '65 parade at top of this post.) Later in the day, Inger appeared at the game at Dave Boyd Field where she witnessed Harbor College beat Reedley College with a final score of 51-16. Though Inger didn't make a fuss, there was some embarrassment for the Noontime Lions Club when they realized a member forgot to give Inger a bouquet of flowers during the half-time presentation.

Inger uses Lions Club President Al Hall's back
to sign autographs during the 1965 cocktail party.
Source: Santa Maria Times.

Inger frequently filled her weekends with work as the honorary chair of the California Council for Retarded Children (also known as the CCRC). In addition to publicity and charity opportunities arranged by the statewide and local councils, Inger initiated and hosted a series of celebrity art shows to benefit children. As early as 1963 Inger promoted the English translation of aunt Karin Stensland Junker's book The Child in the Glass Ball—a story of Karin's journey as a mother to two children with intellectual disabilities. 

Inger proudly shows aunt Karin's book
The Child in the Glass Ball.
Source: scan from my collection.

Inger not only served as honorary chair of the CCRC, but also volunteered much of her free time with children at the Kedrin Community Health Center and joined the Advisory Board of the Neuropsychiatric Institute at UCLA. One month before her death, Inger stated that the work she completed with the Institute and the Council was the most fulfilling work of her life.

Inger with a child in her work with the CCRC.
Source: Original Jerry Lem site/Darrell Short

Inger's 1966 appointment to the Advisory Board
of Neuropsychiatric Institute.
Source: Original Jerry Lem site.

Sources: 

“Bowl Queen in Parade.” Santa Maria Times. December 4, 1964. 

“Coalinga Wins Lions Bowl game, 41-19.” Santa Maria Times. December 7, 1964. 

“Harbor Stuns Reedley in 51-16 Lions Bowl Route.” Santa Maria Times. December 6, 1965 

“Inger is Lions Bowl Queen.” Santa Maria Times. November 24, 1965.. 

“Lions Bowl Proceeds Presented.” Santa Maria Times. January 14, 1965. 

“Lions Bowl Queen.” Santa Maria Times. November 27, 1964. 

Oppenheimer, Peer J. "Inger Stevens Says: 'I Can't Live Only for Myself.'" Family Weekly. March 8, 1970.

“Parade Officially Opens Christmas Shopping Time.” Santa Maria Times. December 4, 1964. 

“Santa Claus Comes to Town.” Santa Maria Times. December 4, 1965. 

“Signature from a Star.” Santa Maria Times. December 4, 1965. 

“Vaqueros Prep for Lions Bowl.” Santa Maria Times. December 2, 1964.

Take Me to the Fair: Amusement Park Pictorial

In its January 1965 issue, Movie Life magazine featured a pictorial of Inger letting loose at a local amusement park. Obviously staged publicity during the run of The Farmer's Daughter, the editors spun the story as Inger, upon hearing her show's director yell "Cut!", rushing "out of the Screen Gems' parking lot and onto the open road...For a brief hour Inger took her pert nose off the grindstone and poked it into a world of fun. She raced on the merry-go-round, walked barefoot, ate cotton candy. Unwound. For a gal who believes in a firm 'no trespassing' sign on her private life—this was a rare occasion, allowing us a personal glimpse of a wistful, wondrous Inger Stevens."

Sources:

All photos are scans from my magazine collection.

"Off Limits." Movie Life. January 1965.

Inger's Publicity Tour to Fort Worth

Inger talks with Mrs. Flint Key at the Six Flags press luncheon.

With the premiere of The Farmer's Daughter looming in the fall of '63, Inger Stevens traveled to U.S. cities far and wide to drum up excitement for the show. On Saturday, September 7, 1963, Inger's stop was in Fort Worth, Texas. 

The Press Club of Fort Worth had moved to a new 21st floor penthouse at the Blackstone Hotel and citizens celebrated its opening with special events beginning on Thursday, September 5th and ending on Saturday, September 7th. Hundreds of people, including many local political and legal notables, attended a champagne opening on Thursday evening. Friday evening's celebration focused on music provided by the Freshman Adams Combo. 

Inger is interviewed by Bob Brock for the local CBS TV-Extra program.

Saturday was TV Night. With ABC-TV stars Gene Barry, Jason Evers and James Westerfield, Inger attended Saturday's Press Club events. Gene Barry's starring role in Burke's Law was set to premiere that fall of 1963 and the show would end in 1966, as The Farmer's Daughter would. James Westerfield's new series Hazel would also endure for three seasons and end in 1966. Jason Evers was in Fort Worth to promote his new series Channing, in which Evers would star as a college professor and war veteran. Channing would not survive its first season.

Gene Barry, star of Burke's Law, looks on as Inger signs the
guestbook at the Press Club.

Saturday, September 7th  was a long day of press and mingling for Inger. She was at Six Flags fulfilling press luncheon obligations and signing autographs for fans from 10:00 a.m. until 6:00 p.m. That evening Inger attended the dinner party at the Press Club's new location in Blackstone Hotel. 

Inger at the Press Club event on Saturday evening.

The following Monday, columnist Elston Brooks wrote that when he introduced himself to Inger, he blurted, "Miss Stevens, it's only fair that I mention I've been in love with you ever since I saw you in Man on Fire."

Inger shook hands with Brooks then turned to his wife and said, "I'm so delighted to know you. I feel we should be introduced since your husband's love, though appreciated, is unrequited."

Following the long weekend's festivities and its stars' departures, Fort Worth citizens continued to celebrate what Mayor Bayard Friedman proclaimed Press Club of Fort Worth Fortnight through September 22nd.

On Friday, September 20, 1963, the first episode of The Farmer's Daughter premiered. And how did it fare? Writer Rick Du Brow wrote:

The premiere turned out a good deal better than I expected. It was very low-key...real family warmth and a bit of poignancy with the usual overbusy father and a son wanting to be closer to him. Miss Stevens radiated warmth, intelligence and loveliness as the idealistic governess who takes the congressman's son on a tour of historic Washington sites; and William Windom was excellent as the ambitious father, as was Mickey Sholdar as his boy who worships him. It is a situation show, so one shouldn't expect much—but situation shows have been much worse.

Sources:

"Big-Time Reached by Faith." Fort Worth Star-Telegram. September 8, 1963.

Du Brow, Rick. "Du Brow on TV." El Paso Herald-Post. September 21, 1963.

"Elston Brooks: Hearty Handshake Payoff for Unrequited Lover." Fort Worth Star-Telegram. September 9, 1963.

"Nite Notes." Fort Worth Star-Telegram. September 6, 1963.

"Press Club to Hold Dallas Night Opening." Fort Worth Star-Telegram. September 6, 1963.