Sex and the Single Girl, starring Natalie Wood, Tony Curtis, Henry Fonda, and Lauren Bacall (1964)

Tony Curtis and Natalie Wood discover some shocking information when they read the book the movie was based on.

Tony Curtis and Henry Fonda in Sex and the Single Girl, 1964. Henry looks like he's saying, "I don't know why I'm in this movie."

The lovely Natalie Wood, 1964.

Natalie looking stunning in her white dress, 1964.

Sex and the Single Girl was a change of pace for Natalie Wood as an actress. It was her first comedic role as an adult, and it was the second of three movies she made with Tony Curtis, the first being 1958’s Kings Go Forth, and the last being 1965’s The Great Race. Sex and the Single Girl was based on Helen Gurley Brown’s 1962 non-fiction best-seller. The movie didn’t really have anything to do with the book, the studio just wanted the titillating title, and paid $200,000 for the film rights. 

The movie is an example of a very specific genre, the “sex comedy” that flourished in the late 1950’s and early 1960’s. Of course, thanks to the production code that was still in effect, the main characters don’t actually have sex until they are safely married. Perhaps the ne plus ultra of sex comedies from this era is 1959’s Pillow Talk, starring Rock Hudson and Doris Day. Sex comedies are replete with characters assuming false identities, and that becomes integral to the plot of Sex and the Single Girl. 

Natalie Wood is cast as Helen Gurley Brown, and the film has changed her occupation to psychoanalyst. In real life, Gurley Brown worked in advertising and publishing. In 1965, shortly after the movie was released, Gurley Brown got the job that she’s best known for, as she became the editor in chief of Cosmopolitan and transformed the magazine into one of leading women’s magazines. Tony Curtis plays Bob Weston, a writer for Stop magazine, which takes pride in being the lowest of the scandal rags. As the movie opens, another writer for Stop has just published a scalding critique of Gurley Brown’s best-selling book, titled Sex and the Single Girl. But Weston thinks there’s more to this story, and he wants to meet Gurley Brown in person, as he thinks she’s a virgin who is masquerading as a sex expert. (This is not the movie to see if you’re looking for enlightened attitudes about men and women.) It seems odd that Stop magazine would want to publish another story about Gurley Brown, since their takedown of her just appeared. 

Weston goes to Gurley Brown for treatment, but he doesn’t tell her his real identity. Instead he tells her the marital problems his friend Frank, played by Henry Fonda, is having with his wife, played by Lauren Bacall. Gurley Brown is much too nice to Weston, and quickly develops a crush on him. Hilarity, or something meant to approximate it, ensues. 

And there the plot summary stops. It’s no use telling you about how “funny” it is when Weston fakes a suicide attempt, only to have Gurley Brown save him from drowning (it’s always a little sad when Natalie Wood’s movies feature her in a water tank) or how completely “hilarious” the ten minute long car chase at the end of the movie is. I put “funny” and “hilarious” in quotation marks because I didn’t find Sex and the Single Girl to be very funny. It’s a movie that has not aged very well, and it’s ideas and stereotypes about women are hopelessly dated. I know, I should let it go, but the movie just didn’t work for me.

Tony Curtis is a charming and funny actor, but he doesn’t get to do much that’s very funny in this movie. He’s much funnier in Some Like It Hot and Operation Petticoat. I like Tony Curtis a lot, and his voice is just great. You can tell in Sex and the Single Girl that Tony is starting to lose his hair in front, as it’s always combed forward. Natalie Wood does the best she can, and she brings an earnest conviction to the role that is appealing, but the movie doesn’t give Helen Gurley Brown very much depth. I wonder how the real Helen Gurley Brown felt about the movie? I would imagine that she was probably excited that someone as beautiful and talented as Natalie Wood was playing her, but it probably annoyed her that she was turned into a woman who at the end of the movie gives up her career for her man. 

The real problem with Sex and the Single Girl is the script. It’s a real dog, and oddly enough, it was written by Joseph Heller, of Catch-22 fame. The funniest part is probably when Tony Curtis is wearing Natalie Wood’s nightie (long story) and he remarks that he looks like Jack Lemmon in that movie where he dresses up like a girl. Curtis’ character can’t remember the name of the movie, but of course, it’s Some Like It Hot, which Tony Curtis starred in. It’s a funny joke, but then it gets overdone as everyone remarks on how Bob Weston looks like Jack Lemmon. There are also some bewildering jokes about Tony Curtis’ character having to put coins in everything in the Stop office building. Curtis even needs a coin so a mirror will be revealed so he can comb his hair in the men’s room. I assume this was a joke about the popularity of automats, as after the scene in the men’s room Curtis goes to the automat for lunch, but automats had been popular for decades before 1964. They weren’t exactly a new thing, so it seems like an odd joke. 

Henry Fonda and Lauren Bacall don’t have much to do in the movie. But I could listen to Henry Fonda read the phone book. He had such a great voice. The supporting cast is rounded out by Mel Ferrer, playing the rather pointless role of Rudy, another doctor in Gurley Brown’s practice whose only purpose in the movie is to flirt relentlessly with her. Although a successful actor in his own right, Mel Ferrer is probably best known today for being married to Audrey Hepburn. 

Natalie Wood looks beautiful throughout the film, and her Edith Head wardrobe is fantastic. In particular the white dress and the white robe she wears are just jaw-dropping. 

Wood’s biographer Suzanne Finstad researched her contract for Sex and the Single Girl, and discovered that, in addition to being paid $160,000 for her role, Wood had a lot of “riders” in her contract. Wood stipulated the color of the phone that was to be in her dressing room. (Unfortunately, Finstad doesn’t reveal the color.) “She requested white cigarette holders from a shop in London, a special oil of gardenia available in Cairo, and stipulated days off during her menstrual period.” (Natasha: The Biography of Natalie Wood, by Suzanne Finstad, p.290) 

Finstad interviewed Tony Curtis for her book, and she got some very interesting quotes from him. Curtis told Finstad that he had the best on screen chemistry of any of his co-stars with Wood. Curtis said, “Natalie and I had to be careful, because we found each other quite attractive, but I just didn’t want to degenerate the relationship and neither did she.” Curtis then tells Finstad the real reason he didn’t sleep with Natalie: “Natalie’s boom-booms weren’t big enough. To each his own.” (Finstad, p.293) That’s just the dumbest thing I’ve ever heard. Of course, that might only be Curtis’ lame excuse. The truth might be that she just didn’t want to sleep with him. Clearly something happened in their relationship, because by the time they started filming The Great Race, shortly after Sex and the Single Girl wrapped, Curtis and Wood were estranged. (Finstad, p.295)

Wood was likely less than happy with the way the script of Sex and the Single Girl made fun of analysis, as during this time in her life she was going to therapy almost daily. Wood said, “I was in analysis for some time, and I found it very beneficial…for me it was a different way of looking at things. I think it made me less introspective, more open to other people. It really changed my life.” (Natalie Wood: A Biography in Photographs, by Christopher Nickens, p.131)

Sex and the Single Girl was released in December 1964. Cue magazine called it “thoroughly coarse, irritating and stupid.” (Nickens, p.126) Despite unfavorable reviews, it grossed $8 million and was the 20^th highest grossing film released in 1964. It’s an interesting time capsule, but one that hasn’t aged very well. Despite the movie’s shortcomings, you can still enjoy the beauty and talent of Natalie Wood in it.

Gypsy, starring Rosalind Russell, Natalie Wood, and Karl Malden (1962)

Original poster for Gypsy, 1962.

Natalie Wood as Louise, and Rosalind Russell as Rose in Gypsy.

Natalie Wood as Louise and Karl Malden as Herbie in Gypsy. (Note Caroline the cow in the background.)

Natalie Wood, after Louise's transformation into Gypsy Rose Lee. *Sigh* She was so beautiful.

Natalie Wood on the set with the real Gypsy Rose Lee, who was at least 5 inches taller than Natalie.

Natalie Wood in her dressing room. I love this photo, and not just because of what Natalie's wearing. It's such a great composition, the way Natalie is standing is such an interesting pose. She seems unaware of the camera, and there's the mystery of all the people whose faces we don't see. Who are they?

The 1959 Broadway musical Gypsy introduced the world to a character with a huge personality: dedicated stage mother Rose Hovick, whose only ambition in life is to make her daughter June a vaudeville star. No matter that vaudeville is already on the way out, Rose will find a way to make it happen. The character of Rose is widely known in pop culture as “Mama Rose,” but she’s actually never referred to that way in either the play or the 1962 movie version. Gypsy featured a book written by Arthur Laurents, with music by Jule Styne, and lyrics by Stephen Sondheim. Laurents and Sondheim had previously collaborated on West Side Story. Oddly enough, Natalie Wood starred in both the movie versions of West Side Story and Gypsy. 

The score of Gypsy is simply fantastic, and it features many great songs like “Small World,” “You’ll Never Get Away From Me,” “All I Need is the Girl,” “Everything’s Coming Up Roses,” and “Let Me Entertain You.” While the Broadway production starred the legendary Ethel Merman as Rose, the movie starred three actors not known for their singing voices: Rosalind Russell, Natalie Wood, and Karl Malden. The decision was made by someone to cut all of the songs that Karl Malden’s character, Herbie, sings, turning it into a non-singing part. That decision meant ditching the super cute song “Together (Wherever We Go),” which was filmed, but then cut. It’s included on the DVD as a bonus feature. Natalie Wood had her singing voice dubbed for West Side Story, much to her annoyance, and she did all of her own singing in Gypsy. Rosalind Russell had appeared in musicals before, as she starred in the original Broadway production of Wonderful Town, with lyrics by Betty Comden and Adolph Green, and music by Leonard Bernstein. But for Gypsy her vocals were mixed with those of Lisa Kirk. Some songs, like “Mr. Goldstone, I Love You” are all Russell’s voice, while others are a mix, and Kirk did an excellent job of matching Russell’s voice. 

In terms of acting, Russell, Wood, and Malden all did excellent work. The role of Herbie, Rose’s long-suffering boyfriend, requires a “normal guy” actor, and Karl Malden certainly fit that bill. Malden is by turns intense and also good-naturedly laid-back, and it’s another superb performance from an actor whose career was full of them. Russell is marvelous as Rose, who comes off as something of a more intense version of Russell’s Auntie Mame. Like Mame, Rose sucks all the oxygen out of any room she’s in. Sometimes in a good way, and sometimes in a bad way. Wood is fabulous as Louise, the plain older sister who is never the star, but finally blossoms into the burlesque queen Gypsy Rose Lee. For the role of Louise, you need someone who is believable as both a shy wallflower and as the belle of the ball. Wood was such a good actress that she pulled it off very convincingly. I know, we all KNOW Natalie Wood is gorgeous, even when she’s dressed up as plain as she can possibly be. The costume designers did a really good job of making Wood look plain as Louise. (Orry-Kelly designed Natalie’s dresses for the burlesque scenes, but I doubt he had anything to do with the drab clothes Wood wears as Louise.)

Gypsy was directed by Mervyn LeRoy, who had a long career in Hollywood stretching back to the dawn of the talkies. An old school studio director who could handle any genre, two of LeRoy’s best known films today are Mister Roberts and Quo Vadis. I really enjoyed the sets in Gypsy. The sets throughout the movie are obviously fake. For example, the train station where Rose sings “Everything’s Coming Up Roses,” and the Western set as Louise becomes the new star of the act after June leaves. I think it was an obvious choice to make the sets look like sets, and I took that to be a way of showing the audience that these characters don’t exist in the “real world.” Their whole lives revolve around showbiz, and they are disconnected from any other kind of reality. Especially Rose, who creates her own reality wherever she goes. 

There aren’t many interesting behind the scenes stories from the set of Gypsy. As a small nod to my ongoing fascination with Warren Beatty, I’ll point out that Beatty was dating Wood during the production of Gypsy, and most days he could be found on the set, being a supportive boyfriend. According to Gavin Lambert’s 2005 biography of Natalie Wood, the reason that Rosalind Russell played Rose instead of Ethel Merman was a simple one: Russell’s husband, theatrical producer Frederick Brisson, owned the film rights to Gypsy, and sold the rights to Warner Brothers on the condition that Russell would play Rose. (Natalie Wood: A Life, by Gavin Lambert, p.184) 

Natalie Wood began her career as an actress at the age of 5, and Wood’s biographer Suzanne Finstad has a rather dramatic view of her role in Gypsy: “Natalie was driven by demons to play the stripper with the stage mother of all stage mothers, Mama Rose-played in the movie by Rosalind Russell-viewing Gypsy as the catharsis for all her years as a child star under the tyranny of Mud.” (Mud was a nickname for Natalie’s mother Maria Zakharenko.) (Natasha: The Biography of Natalie Wood, by Suzanne Finstad, p.279) However, Christopher Nickens’ 1986 book Natalie Wood: A Biography in Photographs, says the opposite. Nickens writes, “Maria realized early on that Natalie was destined to be a performer, and she was wise enough to encourage her daughter’s talents and help her make the most of them.” Nickens also includes two quotes from Natalie to back up his point. Natalie told Hedda Hopper during the filming of Gypsy, “My mother was the furthest thing from a stage mother.” When asked how she dealt with being a child actor, Wood told the Los Angeles Times: “It all depends more than anything else on the parents. I happened to enjoy it all. I wanted it. I wasn’t being pushed. I was lucky.” (All three quotes from Natalie Wood: A Biography in Photographs, by Christopher Nickens, p.113) 

So, which was it? Was Gypsy just like Natalie Wood’s own childhood? Or was her mother nothing at all like Rose Hovick? The truth is probably somewhere in the middle. I think it’s fair to say that Wood had a sometimes difficult relationship with her mother, and she probably related to Louise in some ways. Natalie’s beautiful rendition of the song “Little Lamb” is proof enough for me that she felt a connection to Louise. 

Another member of the Wood/Zakharenko family who might have felt a close connection to the overlooked Louise was Natalie’s little sister, Lana Wood, who also became an actress but whose career never climbed to the same heights as Natalie’s. 

Wood was at the peak of her movie stardom when Gypsy was released in November 1962, and if you watch the trailer you’ll see that Warner Brothers was really selling the movie as “Natalie Wood Strips,” while in reality it’s only the last 15% of the movie that’s about Louise’s transformation into Gypsy Rose Lee. Wood received some stripping tips from Gypsy Rose Lee herself on the set. Wood was understandably a bit nervous about the stripping scenes, but in the finished film she handles them with aplomb. Because Wood was so petite, with reports of her height ranging from 5’0” to 5’3”, and the real Gypsy Rose Lee was 5’8”, director Mervyn LeRoy and director of photography Harry Stradling Sr. did their best to make Natalie look as tall as possible during the stripping scenes. Natalie’s clothes were made to accentuate her legs and give the illusion of greater height. Most of the camera angles are low, so you’re looking up at Wood, making her look taller. And notice how during the New Year’s Eve strip, the showgirls disappear into the wings by the time Natalie appears on screen, so you never see a showgirl towering over her. Wood certainly looked glamorous and very beautiful and attractive in the scenes where she’s Gypsy Rose Lee.

Gypsy was a financial success, earning $11 million at the box office, making it the 9^th highest grossing movie of 1962. Warner Brothers’ other 1962 musical release, The Music Man, made just under $15 million, making it the 5^th highest grossing movie of 1962. Wood and Russell were both nominated for Golden Globes for Best Actress in a Motion Picture: Musical or Comedy, and Russell took home the trophy. Malden was nominated for Best Actor in a Motion Picture: Musical or Comedy, losing out to Marcello Mastroianni in Divorce, Italian Style. 

Gypsy is a wonderful film of one of the great American stage musicals, and it showcases great performances from Rosalind Russell, Natalie Wood, and Karl Malden.

This Property is Condemned, starring Natalie Wood and Robert Redford, directed by Sydney Pollack (1966)

Robert Redford and Natalie Wood make a gorgeous couple in This Property is Condemned, 1966.

Director Sydney Pollack talks things over with stars Robert Redford and Natalie Wood, while Charles Bronson relaxes in the background.

The stunningly beautiful Natalie Wood in This Property is Condemned, 1966.

A Southern accent lets you get away with a lot. If you’re a movie character from the South, you can be as weird and eccentric as you want, and people will just write it off. If you acted the same way, but were from the North, people would instantly think you’re crazy. That thought came to me as I was watching This Property is Condemned, starring Natalie Wood and Robert Redford. It’s based on a one-act play by Tennessee Williams, who virtually trademarked Southern eccentrics. Early on in the movie, Redford’s character has a short speech where he says, “Do you know there was a cat once who fell asleep in the sun and dreamt that he was a man who fell asleep and dreamt he was a cat. When he woke up, he didn’t know if he was a man or a cat.” What the hell does that mean? Because that speech is delivered in Redford’s Southern accent, it sounds vaguely poetic, as though there’s a deeper hidden meaning in that story. Had that same speech been delivered in a Northern accent, I would have quickly come to the conclusion that Redford’s character was a deranged serial killer, and I would have been shouting at the TV, telling Natalie Wood’s character to get out of his room.

This Property is Condemned plows the same fields as much of Williams’ other work, and it’s not one of his major works. As Gore Vidal wrote of Williams in his excellent 1976 essay, “Some Memories of the Glorious Bird and an Earlier Self,” “Tennessee is the sort of writer who does not develop; he simply continues. By the time he was an adolescent he had his themes. Constantly he plays and replays the same small but brilliant set of cards.” (United States: Essays 1952-1992, p.1146) This Property is Condemned is set in a small town in Mississippi during the Great Depression, and it focuses on Alva Starr, (the luscious Natalie Wood) her domineering mother Hazel (Kate Reid) and Alva’s younger sister Willie (Mary Badham). Hazel runs a boarding house, and she’s basically pimping out the beautiful Alva for dates with men in order to make some extra money. Ironically, Kate Reid was only 7 years older than Natalie Wood, which shows the difference between being a leading lady and a character actress. Things get shaken up when handsome stranger Owen Legate (the super handsome Robert Redford) takes a room at the boardinghouse. Legate is in town to hand out pink slips to some of the railroad men, who all seem to also live at the boardinghouse. (Look for the always creepy Robert Blake in a small part as Sidney.) Legate is at first dismissive of the flirtatious Alva, but he eventually realizes his attraction to her. 

Owen and Alva spend a passionate night together after he’s beaten up by some of the angry railroad workers he laid off. (Being a super handsome guy like Robert Redford means that you get the shit kicked out of you a lot on screen. See also: Tom Cruise.) Alva wants to leave her annoying mother and move to a big city, so Owen buys her a train ticket to New Orleans, where he lives. But then he overhears Hazel telling someone about their plans to move to Memphis with a rich older gentleman and angrily confronts Alva and leaves town in a huff. Knowing she’s lost Owen, a drunken Alva confronts her mother, her mother’s sleazy boyfriend J.J. (Charles Bronson) and Mr. Johnson, (John Harding) the rich older gentleman who wants the Starrs to move to Memphis. It’s one of the best scenes in the movie, and Wood delivers an exquisite performance as she demolishes their hypocrisy. Unfortunately, Alva drunkenly demands that J.J. should marry her that night if he really loves her. Her behavior doesn’t really make much sense, as it’s been clear throughout the movie that she despises J.J.’s attempts to flirt with her. Anyway, they get married, spend the night together, and the next morning Alva steals his money and takes a train to New Orleans. Fortunately, she finds Owen again, and it looks like things will end happily for them. The movie seems to go through a tonal shift once we get to New Orleans. It suddenly feels like the 1960’s rather than the 1930’s, as Alva moves into Owen’s apartment and happily waits for him to come home from work. But then Mother shows up and ruins everything. She tells Owen of Alva’s marriage to J.J., Alva runs out into the rain, catches a cold, and dies. 

The acting in This Property is Condemned is superb, as Wood delivers an amazing performance. I suspect that she probably identified with Alva’s situation, as Wood’s real-life mother was basically the stage mother from hell, and closely controlled Wood’s life as a child actress. Wood was enthusiastic about playing the role of Alva, saying it was “probably the closest I’ll ever get to playing Blanche DuBois.” (Natasha: The Biography of Natalie Wood, by Suzanne Finstad, p.304) Wood is beautiful, sexy, and touching as the hopelessly romantic Alva. Wood’s wardrobe is amazing, and the dresses that Edith Head created for her show off her beauty very well. Wood and Redford make a stunningly attractive screen couple, and their chemistry is obvious. Although the film was not a hit when it was released in August, 1966, Wood was nominated for a Golden Globe for Best Motion Picture Actress in a Drama, but she lost to Anouk Aimee, who won for her role in A Man and a Woman. 

Wood had previously starred with Robert Redford in 1965’s Inside Daisy Clover, and during the shooting of that film she approached him about pairing with her again in This Property is Condemned. At that point in his career, Redford had done a lot of TV work, but he wasn’t yet a big movie star, as his breakthrough roles came in 1967’s Barefoot in the Park and 1969’s Butch Cassidy and the Sundance Kid. Redford said yes to Wood, and he pushed for his friend Sydney Pollack as director, even though Pollack had only directed one movie. This Property is Condemned was the first movie directed by Pollack that Redford starred in, and they would go on to make seven movies together. I always like Robert Redford’s confidence on screen. Of course, I’d be confident too if I looked like Robert Redford. Redford seems to have that confidence in every role he plays, and it works especially well for Owen’s character. If someone else were playing Owen, he might seem like a real jerk. 

The supporting cast is excellent as well, particularly Mary Badham as Willie. Badham is best known for playing Scout Finch in To Kill a Mockingbird and This Property is Condemned is one of her only other acting roles. Pollack’s direction is very good, and he’s helped out by the legendary cinematographer James Wong Howe, who gets to do several of his trademark long tracking shots from helicopters. Perhaps the most impressive tracking shot is the one as Alva is riding the train to New Orleans. The camera starts outside the train, focusing on Natalie Wood’s face, and then pulling back to reveal the entire train as it crosses a bridge. It’s a beautiful shot.

If you’re a fan of the beautiful and talented Natalie Wood or the handsome and talented Robert Redford, or you just need a Tennessee Williams fix, check out This Property is Condemned.