Zane Grey Theatre: Calico Bait (1960)

Inger costarred with Robert Culp in the Calico Bait episode of Dick Powell’s Zane Grey Theatre. This episode served as episode 26 of season 4 and aired on March 31, 1960. Recently, someone on Youtube shared the full episode in colorized form (it was originally aired in black and white) and you can watch that episode by clicking here. If you have not watched it, you may want to so that the rest of this post does not spoil the story for you.

Inger stars as Beth Watkins, a woman in love with a fugitive named Davey Morse (Burt Douglas). Beth has no one else to depend on (her parents have died) and believes that Davey is innocent of the murder he’s accused. When he abandons her on horse and instructs her to lead a deputy to Chino Rocks by nightfall, Beth is hesitant at first, but quickly agrees to it. Davey praises her, saying “You’re never scared. That’s the only thing about you that scares me.” 

Actor Bob Culp is Deputy Sam Anders and he comes across Beth, mistaking her—in western wear and hair up in a hat—for Davey. Beth clearly has contempt for the deputy and every comment she makes to him is brusque and tinged with criticism. When he captures her, Beth responds, “You’re kind of handsome, you know? Now that I see past that badge. Don’t take much of a man to capture a woman.”

 

The deputy assumes that he is using Beth as bait to entice Davey, not realizing that Davey is also using Beth as bait to reel in the deputy. Beth cannot believe that the deputy has accused Davey of murder, responding, “Nobody saw it. Davey couldn’t kill anyone.” Beth attempts to escape Sam when they stop at a saloon. She begs two men to free her, but doesn’t realize how impure their intentions are. The men follow Sam and Beth back to camp. While one man attacks the deputy, the other man attempts to assault Beth. When Sam takes a bullet to the shoulder in rescuing Beth, Beth’s feelings about her captor begin to change. She remarks, “You didn’t have to get yourself shot at. Why’d ya take the chance?...I’m grateful. You’ll never know how grateful I am.” 

Despite her gratitude, Beth continues to lead the deputy to Chino Rocks. When he realizes that he’s in danger and looks to Beth for answers, she calls out, “I had a great choice. Leave you back there to die or bring you here to get shot at. At least here you’ve got a chance.”

Beth soon understands that Davey is more ruthless than she knew. As the deputy is cornered, Beth assumes Davey will let him go. To Davey, Beth pleads for Sam's safety, “He did a decent thing for me. You listen to me...to my feelings. Or maybe you don’t know I got any? I’m in love with someone who didn’t know a thing about me.” As Davey raises his gun to kill Sam, Beth realizes she’s been in love with a murderer. She shoots Davey to save Sam. Numb at what has taken place, Beth ends the episode with the words, “I didn’t really know him. I didn’t know him. You look for something, somebody, you look everywhere. All you find are strangers.”

Inger’s television roles are always compelling and the character of Beth is no different. Inger simply had a discerning eye when it came to the roles she selected. As Beth, Inger delivers perhaps more scathing lines than we typically hear from her. Beth is a world-weary woman who’s been let down by her father and has made the mistake of falling in love with the wrong man—Inger could certainly relate to those facets of Beth. 

Beth has a tough exterior, but we are able to see her softness and her goodness shine as she makes critical decisions throughout the episode. It is this depth of feeling and a complexity of character that Inger supplies time and time again, role after role.

Highlights from the July 1965 TV-Radio Mirror

Inger in TV-Radio Mirror, July 1965

An article published in TV-Radio Mirror in 1965 deemed Inger "harder to figure out than a Chinese puzzle." The article recycles many old Inger quotes and stories I've posted here before, so I decided to focus on some highlights of the article that were "new."

The writer predicts that Inger will marry actor-producer-director Allen Baron. If you'd like to know more about Baron, click on this link for an excerpt from his memoir. We know that Inger was already secretly married to Ike Jones, so I'm not sure if this was a serious love affair of Inger's or a romance for publicity's sake. In fact, Inger discusses wanting to marry and have children:

I want to marry and have children—soon. I realize that, under my present circumstances, this is very difficult...but these circumstances aren’t going to prevail forever.

While readers assumed Inger's circumstances and difficulty referred to her busy work schedule, I believe Inger's talk of circumstances not prevailing forever was her way of acknowledging (in code, if you will) that she was married to a black man and that the strain and barriers society placed on them would not last—that there would come a time when she felt she could live openly.

Inger with Allen Baron

The article also includes an interesting story about Inger and Steven McQueen. A blurb appeared in a gossip column stating that Inger had complained about Steve inhabiting the dressing room above hers because he loudly dropped heavy bar bells onto the floor on a regular basis. Inger denied that she had complained, but Steve confronted her and accused her of planting the story. Steve apparently got in Inger's face and made a scene, but Inger held her own and argued back. They eventually called a truce, Steve apologized, and they were able to laugh about it.

On a fun note, her young Farmer's Daughter costar Mickey Sholdar taught Inger how to play golf and bragged about how quickly she became skilled at the game.

On her life, Inger reflected:

Actually, I’m looking forward to being around forty five or fifty. I think it will be a nice age. People won’t be chasing after you so much. Life won’t be so hectic. You can get down to the simplicities of life...As much as I enjoy my life, I sometimes feel it’s being eaten up too fast. It’s like a great, big garbage disposal! I come to work at six in the morning, leave at seven in the evening. I come in when it’s dark and leave when it’s dark. The whole week is like one long day, and you put so much energy and thought into it, sometimes I feel it should be directed towards something else. Something more valuable in terms of my own fulfillment.

Source:

"Secrets of a Chinese Puzzle from Sweden Who's Ready to be an American Bride." TV-Radio Mirror. July 1965. 

A Dream of Kings (1969)

The final feature film that included Inger in its cast is the 1969 drama A Dream of Kings (starring Anthony Quinn and Irene Papas) and Inger's exceptional performance is intense and compelling. (If you've not seen it, you can watch A Dream of Kings on Youtube.) Fortunately, Inger was interviewed quite a lot about the film and the steps she took to prepare for the performance.

About the role, Inger said:

I've never done anything before with that amount of emotional violence and intensity.  There were times during the filming when I found myself clawing and biting and kissing and pulling the clothes off the man without realizing what I was doing. Tony plays Matsoukas, an improvident, happy-go-unlucky Greek-American, living in Chicago. In the movie I'm a Polish girl who was married to a Greek. My husband is dead and I run the bakery shop he left me. I live all by myself and have nothing to do with the outside world except to get my supplies and do my job. I have retreated from life and just exist for the memory of my dead husband. The thought of being with another man doesn't enter my mind—until I meet Matsoukas.

When I get home I feel I have really done a good day's work. I'm emotionally exhausted, but in a different way. I must say that Danny Mann is the best director I've worked with and he has given me the courage to do things I've never done before on film.

The bakery scenes were shot at California Bakery on Main Street in Culver City. Dick Kleiner reported that the scenes between Inger and Anthony Quinn took a lot of discussing, mulling over how best to approach them, changing lines as needed. Director Daniel Mann provided input on the scenes as producers nibbled on the bakery's cookies during rehearsals.

When Inger made a mistake that spoiled a take, Mann encouraged her to "make big mistakes. Let the blood run. A whole lifetime of misunderstanding in one minute." On the next take, Inger was perfect.

Inger provided her own costume. When she was understudying bakers, Inger asked them where they purchased their clothes and bought her white shirt, white slacks, and off-white apron at the same place. The dresses she purchased all came from a thrift shop and cost a total of $2.97. This approach to Inger's look (thrifty, real clothes and minimal makeup) and the film itself (its focus, pacing and locations that reflect a real, lived experience) serve as a preview of the new film-making and acting approaches that we would see grow prominent in the 1970s to today—and Inger's performance makes it abundantly clear that she could have tackled and would have dazzled audiences of 1970s cinema had she the chance.

Inger received a lot of press for doing a topless scene in the film. Columnist Robert Sylvester remarked that "Inger Stevens in A Dream of Kings can dream with this king anytime" in his "Dream Street" column and Hollywood Citizen News reported that the Farmer's Daughter was a new sex symbol. When asked about the recent talk of Swedish films being extremely sexual in nature, Inger responded:

I think the emphasis and the ballyhoo are a little out of balance, but there is a much better attitude toward sex than Americans. In Sweden, from the time you're very young you are not ashamed of being a girl or a boy.  There was no sex education as such in the Swedish schools when I was there, but we just acquired it through general living. I don't mind quite frank sex scenes in my own movies as long as they are done with good taste and are essential to the story.

Although reporters were excited to report the scintillating news that she would be briefly topless, most publicity focused on Inger's determination to perfect the role of Anna through a great deal of preparation.

Inger went to Columbus Bakery and Food Market in the Greek neighborhood of Chicago to learn to bake. Inger said:

Food is an aesthetic experience and can be artistically done. Anything that one can do creatively without someone else messing it up, is very satisfying. How many times are we in movies or television shows that don't turn out exactly as we'd liked simply because too many people are involved? It is rarely that you have the complete freedom of expression.  I think painting and cooking are very much in the same area. Cooking, therefore, is my opportunity for total expression.

I went with Katherine Theodore, a Greek actress, to the Greek part of Chicago. We were looking for a bakery where I could get a job without anyone knowing who I was.  We found a little place and I walked into the bake shop where three men were working.  I asked the owner if I could have a job and explained to them what it was for.  

I knew the word gluten, but it wasn't a word I had used before. My grandmother in Sweden made bread and beautiful birthday cakes. My first job, as a matter of fact, was doing odd jobs in her bakery in Sweden. I was a complete failure from the start because I didn't wear mittens! My hands froze to the milk bottles and I dropped four bottles the first morning. I was fired after a few days. I bake bread much better than I carry milk bottles. 

I enjoy cooking very much and since I have a place at the beach I have many visitors. I make a lot of "Kottbullar" (Swedish meatballs). I make mine with lean ground beef, butter, chopped parsley, freshly mashed potatoes, and heavy cream. They're really delicious and I make an awful lot of them, precook and freeze them to have for visitors who drop in on weekends. Lately I've started making black-eyed peas, ham hocks and cornbread. I'm not completely chauvinistic in all areas. Besides, I like to provide various taste thrills for my guests depending upon what they like. I love big salads made with eggs, avocados and Bermuda onions and chopped celery. Frequently I marinate salads overnight to bring out the flavor.  Or I make a delicious bean salad and add lots of chopped fresh dill. The Swedes use a lot of dill in their cooking.  It's such a subtle flavor and adds so much to a salad. And, of course, the fresh dill is far superior to the dried kind.

Inger shared that she preferred to shop for her meals frequently, in local butcher shops and fish shops and discussed her favorite holiday meals to prepare:

I guess that's a carryover from my European upbringing where we shopped everyday. I love the texture of lutfisk. [At Christmas and New Year's] I always make a special glogg that takes several days to make.  That night, I have a spread with the usual ham and turkey. The Swedish infusion of hot spiced red wine, generously laced with aquavit or with brandy, is very potent. The trick is to pace yourself with a little food between sips of glogg.

Inger (right) during filming

Baking was not the only talent Inger mastered during production. Dorothy Manners referred to Inger as being "in line to become the leading linguist of Hollywood" for so quickly learning Greek during A Dream of Kings after having taken up Italian during House of Cards.

Over lunch at a Greek restaurant in between takes, Inger remarked to writer Clyde Gilmour:

It's one of the best parts I've ever had. And I'm excited to be working with Tony Quinn. But I can sing as well as speak lines; I'm especially fond of folk songs, and before too long I hope somebody will give me a chance in a musical. I might even tackle a Broadway musical, except that I don't like the thought of being tied up for a long time in the same part. If the show is a hit, that's what happens, and on Broadway it's the hits that count.

One columnist praised Inger and Tony, who had been lovers during the filming of 1958's The Buccaneer, for working together so professionally and noted that "it's always nice when you can still be friends when the original glow has dimmed." Sadly, neither star could attend the local Los Angeles premiere which benefited UCLA's International Student Center due to other filming assignments.

In the film, lonely widow Anna (Inger Stevens) first meets Matsoukas (Anthony Quinn) when he stops to help her carry something into her bakery. When he asks her if she works at the bakery, Anna answers "we bought it" and when inquired about her husband Anna responds "he sleeps" before announcing that she is a widow and hurries into the shop when Matsoukas tries to wipe flour off her face.

Matsoukas lives with his wife, mother-in-law, two daughters and gravely ill seven-year-old son. Although proud of his family and extremely affectionate and loving toward them, Matsoukas has never met a bottle of liquor or a poker game he didn't like. His wife (Irene Papas) is desperate for her husband to bring home money to feed and clothe the family; but he only comes home with grand, romantic stories about the poker games he loses ("a night of great encounters") and blind optimism about his family's future. Anthony Quinn's Matsoukas is a lovable dreamer, yet he can also be infuriating because he continuously makes the same mistakes—an endless cycle of man-made wins and loses in every single day. 

Matsoukas and the film itself examine life and death and often allude to what constitutes being alive. Although the doctor gives his son just a few months to live, Matsoukas is determined to cure him by bringing him to Greece. Matsoukas explains:

My sons's roots are in the village of Stavros in the foothills of Mount Olympus. His seed is strong as a mountain goat, as strong as the grape vines that grow from the rock. His blood has flowed through valleys where heroes and giants fought. His heart contains the wind and the stars and the mountain sun. What do you and your machines know about that? So don't...don't you tell me that my son is gonna die.

When life gets too hard, Matsoukas turns to playfulness. It is this playfulness that he applies both to his lovemaking with his wife and later, his mistress. Both of those encounters begin with each woman in tears, emotionally exhausted from facing the hard realities of life. Matsoukas' trail of kisses and playful nature lead to both women, in different encounters, turn to laughter and giddy lovemaking themselves.

It is after the news of his son's death that he ventures inside Anna's bakery. He envies her ability to "make something real." He wants to escape the cold truth and stand in the warmth of the ovens. He's upfront about his situation. He tells her he has a wife and children but that he loves her. "I'm not ashamed!" He admits that he is quick to fall in love and prone to "violent emotion." When Anna insists that he doesn't even know her, Matsoukas answers:

Anna, I know you. You live in darkness. I mean you...you're surrounded by it...you have love. It's what's all through you. It's in the way you hold your neck. The...it's in the way you hold your head and in that mouth and it turns down at the corners like one of Michelangelo's women. It's a mouth that was made for kissing, for biting, for love.

He is angry at the doctors for saying his boy will die, wants to bring the light out of Inger and teach her that she is not dead just because her husband is. When the priest talks to him, he asks "Why are you on the side of death?" At a baptism celebration for a new baby, celebrating life, Matsoukas is dancing, laughing, charming all...simply thriving! There's this great transformation that takes place in Anna's face as she's watching the festivities. A friend tells him of his influence, that though his cuffs are shabby and his heels worn, Matsoukas wears them like armor and his friend says that Matsoukas is "alive, and therefore, I am alive."

This search for light and life among the dying is especially poignant since this would turn out to be Inger's last feature film-—television films Run, Simon, Run and The Mask of Sheba followed—and some of the final footage of her. I find this to be one of Inger's finest performances. Her scenes are brief and all too infrequent, but, as Anna, Inger is this suppressed soul existing  in a sort of purgatory she's created for herself. With minimal makeup and simple clothing, Inger is completely raw as Anna—her performance is at turns purposefully quiet and electric. She perfectly and carefully strikes each note of Anna's mourning and awakening. A Dream of Kings is one of my favorite of Inger's roles yet it can be so difficult for me to watch. As Matsoukas' sole focus is to breathe life back into the dead, I find mine to be the same. I want this actress to remain with the living and survive April 1970. I want this role in which she is effective and convincing to lead to another decade of standout performances. I need Inger to live and it is a hard film to view knowing that she would be gone from this earth so soon after filming. Just as Matsoukas wonders if breathing "pure, fresh air" will cure his son, I often wonder if Inger would have survived had she been able to devote more time to her passion of aiding children with disabilities and if she'd had a romantic partner who had shown her more care and support. Inger remarked that playing the role of Anna was "emotionally exhausting" and watching Inger's final feature film is an emotional experience for me each time.

Reviews

A lot of critics found Quinn's Matsoukas to be far too close to his characterization of Zorba in the 1964 film Zorba the Greek. 

Critic Howard Thompson wrote:

The main trouble with this drawn-out soap opera, which National General Pictures opened yesterday at the Orleans and Cinema II, is the hero, who is also his own worst enemy. He is a commonplace fellow, good-hearted, helpless and basically dull…Yet there is a feel and precision about the rest of the film, aside from its main concern, that call for a more arresting hero. The surprise of the picture is Inger Stevens, who does a beautiful job as the lonely, pent-up widow.

San Francisco Examiner felt the movie was "a bummer...saccharine, mushy script...a bathetic bubble bath." Critic Molly Haskell felt that Mann's direction was "overheated" and that the film contained too many "long pauses offsetting the overliterary dialogue. Still, it is not an unpleasant film to sit through, shed a few easy tears over, and admire."

Thomas Blakley disagreed with Haskell, finding the direction "beautiful," the story full of "warmth and flavor," and the performances all top notch.

Critic Charles Faber wrote that the film "works very hard trying to make the ersatz Zorba real, and the final impression is a popular actor, regarded with a great degree of public affection, determined to be twice as lovable as ever before. But it just isn't in the cards for this gambler." He only bestowed the word "credible" to Inger's performance, called director Daniel Mann's direction "lingering and portentous." Irene Papas' performance as Matsoukas' long suffering wife was highly regarded across all critics.

Bernard Drew felt the film had "beautiful moments and several excruciatingly powerful ones...one great performance and a number of very fine ones-—which is not bad for one picture. But it is strangely earthbound. It is down here when it should be up there. It is more than drama...the tragedy of naked truth."

Photo Sources:

The three high quality shots of Inger (two smiling in baker's costume and one on the set in front of the bakery) are scans from my originals.

The newspaper photos of Inger baking are from the December 18, 1969 Philadelphia News article listed below.

All other photos are screenshots from A Dream of Kings.

Information Sources: 

Bacharach, Bert. "Now See Here! Match-making by the Stars. The Morning Call. December 6, 1969.

Blinn, Johna. "Celebrity Cookbook: Baking was Greek to Inger." Philadelphia Daily News. December 18, 1969.

Drew, Bernard. "A Dream of Kings." The Journal News. December 16, 1969.

Faber, Charles. "Anthony Quinn, Dream of Kings." Valley Times. December 25, 1969.

"Farmer's Daughter New Sex Symbol." Hollywood Citizen News. December 26, 1969.

Gilmour, Clyde. "Inger's a Delectable Swedish Dish who Never Lingers." Star-Phoenix. January 31, 1969.

Graham, Sheilah. "Inside Hollywood." The News. October 1, 1969.

"Kings to Premiere at the Fine Arts." Hollywood Citizen News. December 17, 1969.

Kleiner, Dick. "Quinn, Inger Stevens Shot Stalls Dream of Kings Film." Victoria Advocate. January 30, 1969.

Manners, Dorothy. "Hollywood." The Tribune. January 30, 1969.

"Play for Pay." The Los Angeles Times. February 28,1969.

"Star in the Dough." Daily News. December 7, 1969.

Sylvester. Robert. "Dream Street: The Added Lines." Daily News. December 6, 1969.

Thompson, Howard. "Screen: A Dream of Kings." The NY Times. December 16, 1969.

"Zorba is now living in Chicago." The San Francisco Examiner. December 26, 1969.

Inger in Family Weekly (1970)

I knew that an article about Inger appeared in the March 8, 1970 issue of Family Weekly, an insert published in newspapers across the country, and have even shared some quotes from it here before; however, I did not realize that Inger was the insert's cover girl until I saw the cover for the first time this week. 

In one of her final interviews—possibly the final one—Inger tells Peer J. Oppenheimer, "I have achieved a wonderful balance in my life now." She also reflects on what led to her 1959 suicide attempt:

At that moment, it seemed the only thing left to do with my life. I'd taken a good look at the people around me and at myself. And all I saw was emptiness. I sat in my little apartment and stared at the walls. How desperately I wanted to talk to someone! Only there was no one.

Inger discusses how she found new meaning in helping others and taking the focus off herself. When asked if being a star is important to her, Inger replies, "I don't even know what the word means and I could care less." She did, however, care about others and helping them in a meaningful way. The writer relates how Inger supported a stunt man when he was due to lose wages. As filming was taking place in Mexico (both Mask of Sheba and Five Card Stud were filmed in Mexico), the stuntman had to return to the U.S. where his wife and baby were in a hospital. Inger made sure that the man had money to travel home and that he would be paid a salary while he was away from the set.  

What work gave Inger the most pride and fulfillment? Not a certain movie role or piece of art or romantic relationship. No, it is her work on the Neuropsychiatric Institute of UCLA Medical Center's advisory board and her role as active chairman of the California Council for Mentally Retarded Children that fills Inger with pride in March 1970. She spends any free time she has at Kedren Community Health Center, "founded October 22, 1965 by the late Dr. James L. Jones, MD, a child psychiatrist...after the Los Angeles Watts uprising in response to economic disenfranchisement, education deprivation, and minimal or no access to healthcare."

When the writer praises her for the commitment she's made to underserved, developmentally delayed children, Inger's face lights up and she responds, "It is nothing compared to what they have given me! I am happy doing for others. I wake up every day to see it."

Sources:

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

"Our History." Kedren Health. https://www.kedren.org/about/our-history/

Inger at Home

If you've read William Patterson's book on Inger, you already know that Inger possessed a flair for decorating and that her hobbies included collecting art and antiques and creating her own artwork and decorative pieces. Just six months before her death, Inger was interviewed about her Hollywood Hills home and provided a tour to journalist Barbara Bradford. The home was on Woodrow Wilson Drive and is where Inger's final moments took place on April 30, 1970. In the article, Inger also mentions making changes to her Malibu beach house, which was where her estranged husband Ike Jones was living—when not traveling—during their separation.

I've decided to transcribe the entire article here instead of merely highlighting sections of it. I place a high a value on any article or captured moment that shows us the real Inger and the aspects of her life that bring her joy. In this, Inger's passion for decorating and her enthusiasm shine through. As we get a detailed description of her home, we also see that Inger seems to be eagerly planning for future projects and embracing the comforts of home in the last six months of her life. It's difficult to accept that this gorgeous, witty and creative being would be gone shortly after this was published. 

(If you'd like a better look at the above photo, I noticed there is currently a reprint of it on eBay. It's better quality and you can see more details. Click here for that listing.)

"Designing Woman: Inger Stevens Uses Original Decorating Ideas" Published December 7, 1969

Take a melange of gentle colors, a unique art collection, hundreds of books, lots of enveloping comfort, then add a dash of witty decorating flair and you have the basic ingredients of Inger Stevens' home.

It nestles in the Hollywood Hills above Los Angeles, in a secluded area surrounded by trees and natural, almost growing-wild countryside. It is here that the movie and TV star finds peace and tranquility after a busy day at the studio—in the charming house that Inger built herself.

"I didn't really build it all myself," she said with a mischievous smile, as she led me into the large living room. "I sort of added on, made structural changes and rearranged rooms to get this final effect. But the nucleus of the house was already built when I moved in."

Even so it does bear the distinctive stamp of her personality, not only in the attractive decorating schemes but in the many architectural changes she has made. In effect, her redesigning has opened up the rooms for a spacious feeling and brought the outdoors inside for a perennial sunny feeling. And certainly this reflects her equally sunny nature.

"I love decorating," she said, as we settled into deep sofas for our chat. "In fact at the moment I am helping a friend decorate her apartment and I am also putting finishing touches to my beach house at Malibu."

Work on this latter project ceased for a while, since Inger has been on location making her latest movie, A Dream of Kings, which will be released later this month. "But now that I am back home I am working hard on the beach house, and it should be finished in the next few weeks."

Her artistic bent and interest in the decorative arts not only shows up in her choice of home furnishings but also in her own paintings which line some of the walls. She also likes to collect antiques, and many electric pieces from her world travels are incorporated into the whole with a great deal of skill and taste.

But she is highly practical in her approach to decorating. "I like beautiful things, but I don't like them to just sit around. As much as possible I try to make them part of the functioning household."

Certainly her house is full of great comfort and convenience, designed to suit her needs, her hobbies and her lifestyle. The rooms are planned for total relaxation and entertaining, with lots of well grouped seating arrangements, balanced scale in tables and good lighting. She also loves to spend time outdoors in the swimming pool, so this area has been designed to function the year round with a heated pool and all the correct furniture. She also has a sauna bath which she built into her home.

At the very core of the house is the living room. It is filled with those soft, almost hazy colors reminiscent of sand dunes and shady forests dappled with sunlight. The golden sand shade starts on the floor in the wall-to-wall carpeting, then sweeps up onto the main back wall covered with sand-vanilla tinted wood paneling. Natural burlap lines the small walls opposite, while the fireplace wall is a soaring raft of white brick which finds color unity with the white beamed ceiling.

Two pale yellow velvet loveseats and a lime velvet sofa form a semicircle of comfort in the center of the room. Their muted tones are perked up with cushions of yellow, green, orange and brick red silk and Mexican fabric. A glass coffee table and two antique end tables holding green marble lamps round out this main seating area.

"This is my favorite painting," Inger told me, indicating the huge painting of three trolls above the lime sofa, which introduces accent colors of green, red and yellow to the wall. She grinned and turned towards the bookcase at the other end of the room. "High up there you can see the three sister trolls," she explained. She has arranged the three tiny figurines under a spotlight, one of her witty decorative touches since it reiterates the mood of the painting.

Inger has given the white fireplace wall depth and dimension through the use of black and white drawings and colorful paintings. By using different sizes, shapes and frames she has introduced visual movement. A bowl of fir cones, a plant and a broom decorate the fireplace. Balancing the fireplace wall are an antique grandfather clock, and an antique desk and chair which creates a writing corner for the actress.

Two of Inger's structural changes add to the living room's spacious look, while providing additional self-contained room for specific activities. An archway has been cut into the wall facing the three sofas, and the room drops down three steps in a garden-like patio room. Once a tiny garden porch, Inger gave it walls and French doors so that it is now part of the actual house and serves as a second sitting room.

The brick floor is flashed with an area rug in acid greens and black, the walls are lined with natural burlap and the draperies are of oatmeal-colored linen. The main furniture grouping is composed of a yellow and white floral sofa and two French chairs upholstered in olive green linen.

To make the dining room an integral part of the living room it adjoins, Inger removed the doors and created an arch of bookshelves. These move up each side from storage cabinets and carry across the width of the wall below the ceiling, facing into the living room.

The dining room beyond is rich and cozy, the mood created by the wine colored fabric on the walls and the dark wood tones of the antiques. The table is an old Spanish piece, reminiscent of a tavern table, and instead of dining chairs the actress has used two long benches.

"These two cabinets are rather interesting," Inger said, as we moved around the dining room, "This is a Dutch cheese cabinet which was used to store cheese in the 16th century and I found it in Los Angeles. The other is a very old cabinet from a church in San Francisco, and I think they add character to the room."

Source:

"Designing Woman: Inger Stevens Uses Original Decorating Ideas." The El Paso Times. December 7, 1969.

Inger Stevens' Hollywood Hairdos by Leslie Blanchard

Inger Stevens was featured in a striking color cover of the November 1963 edition of Latest Hollywood and TV Hairdos. I hoped that the "five dazzling do's" promised within the magazine's pages would feature more Inger in full, glorious color. Instead, the hairstyles are in the form of sketches by Maning. The article is interesting in that it talks about the contrast of the simple styles worn as Katy Holstrum on The Farmer's Daughter in comparison to the "unbelievably lavish offstage coiffures ever created" that Inger donned offscreen. Those hairstyles and brilliant hair color were all the work of Inger's friend and hairstylist Leslie Blanchard, and were also highlighted on the Clairol ads the two worked on together during the run of the show. More on Leslie and Inger's friendship with quotes and photos after this photo break!

TV-Picture Life magazine highlighted Leslie and Inger's friendship and working relationship in February 1965. The cover of the magazine revealed that the article was titled, "Inger and the Bachelor: TV's Most Whispered-About Affair" and I expected it to be a teaser about Inger's fictional character Katy and Senator Morley on The Farmer's Daughter; I was pleasantly surprised to find it was an article on Leslie and Inger's friendship. The two met at a beauty salon on West 56th Street where Leslie was the color specialist. He recognized Inger immediately and recalled that they shared a common bond and were both discontent with their careers at that time:

We looked at each other and we both felt as if we had known each other for years. We had respect for each other, almost from the first moment...She told me I was strong enough to be on my own. She wasn’t even my client then, but she insisted I go with her, and she kept encouraging me. When I came back to New York, I did strike out on my own...I think she feels her troubles also provided a wonderful awakening for her. She did a lot of thinking and she realized that she didn’t have to be part of the Hollywood whirlwind and that she could succeed by hard work, talent, and just being herself. 

They were frequent travel companions, exploring Colombia, Jamaica, and Europe. Blanchard commented:

We did the tourist bit. We visited museums, went nightclubbing, went to the theatre, and just walked around. 

When the chance to star in The Farmer's Daughter came up, Inger was torn. She was concerned about being tied down to a weekly sitcom. Blanchard said:

I told her she’d have to do what she felt was best for herself. All a friend can do really is be a good sounding board and be a good listener and not a talker. When you listen, they make up their own decision. Well, Inger made up her mind to do the pilot. She is a very sensible, very logical, a very positive thinker, like I am. 

It was when Leslie took Inger to a Clairol press show that Clairol executives found her to be "wholesome and vivacious" and sponsored The Farmer's Daughter, making Inger their spokeswoman due to the fabulous impression made on them. When Inger was shooting a television documentary in Sweden, Leslie traveled with the crew and took care of Inger and her hair. He elaborated:

It’s remarkable because Inger has no Swedish-speaking close friends in America, yet she remembers the language she spoke up to the age of 13. We were together almost all the time. I’d see her at 5:30 am to do her hair, and then while it was drying, I’d fix her breakfast of soft boiled eggs, for her. I kidded her that I wanted more than hairdresser credit on the tv screen, and that I wanted credit as valet and cook. I colored it once, set it once, and combed it three or four times a day in Sweden.

Leslie Blanchard's career continued to rise long past Inger's untimely death and he was renowned the world over as a highly demanded and uniquely skilled hair stylist. 

Finally, here are the gorgeous Clairol ads featuring Inger and Leslie.

Sources: 

"Inger and the Bachelor: TV's Most Whispered About Affair." TV-Picture Life. February 1965. 

Latest Hollywood and TV Hairdos. November 1963.

 

Inger Makes a Splash!

Inger appeared on Les Crane's late night show ABC's Nightlife on September 16, 1965. This episode was filmed for the first time poolside at the Beverly Wilshire Hotel—previously having been recorded from New York. According to a 1966 Silver Screen article and Patterson's book on Inger, Les Crane—known for pushing boundaries—had been asked to keep this first show filmed on the west coast clean and on the level. The guests selected for this show included Inger Stevens, singer Keely Smith, and comedians Bill Dana and Nipsey Russell. Gail Kennaston and Gloria Pall were also present. Although host Les Crane agreed that there would be no surprises, Inger, who possessed a wonderful sense of humor and fun, had other plans. According to everything I've read, Inger's stunt was conceived by her alone and she only shared her plan with a few others on the set. It was not in the script and Les Crane and the other guests reactions of surprise were completely genuine.

When she was introduced as a guest, Inger sat down with the other guests around the table. Wearing a "fur-trimmed, white jersey evening gown," Inger smiled and said hello, made some small talk before swiftly standing back up and removing her dress to reveal a two-piece swimsuit. Inger then jumped into the swimming pool and swam a lap before climbing out and giving host Les Crane a soppy hug and kiss.

Audiences and critics praised Inger for her spontaneity. Silver Screen magazine published the following:

At 31, this swinging Swede has been through a lot that isn't in the script. Her famous "cool," her sweetness and ladylike ways are evidence of sophistication, of the worldliness that comes with having lived a little—not, as some Hollywood acquaintances might have thought, of any lack of passion, fears about life or inhibitions. 

This is a very unconventional woman. A woman who's honest, warm and vibrantly alive—and always has been. So much so, in fact, that it's caused her a lot of trouble—even heartbreak—because Inger's always led with her heart. 

Bill Patterson wrote about this moment in his book. Intrigued, I set out to find a video clip but all my efforts proved unsuccessful. However, I do collect fan magazines on Inger and recently a January 1966 edition of Silver Screen came up for auction. I was astonished that inside a moment-by-moment pictorial account of this appearance was captured for posterity.

Sources:

"The Farmer's Daughter Was a Perfect Lady—Till She Took Her Clothes Off." Silver Screen. January 1966.

Patterson, William T. The Farmer's Daughter Remembered. Xlibris. 2000.

Photos are my own scans.