Biography ] Performing Arts Her father and her uncle were U.S. congressmen. Her grandfather was a U.S. senator. Although born to privilege in Alabama and groomed in a convent school, Tallulah Bankhead resolved not to be just another southern belle.
Quickly she rose to the top and became an acclaimed actress of London's West End and on the Broadway stage. Her performances in
Biography ] Performing Arts Her father and her uncle were U.S. congressmen. Her grandfather was a U.S. senator. Although born to privilege in Alabama and groomed in a convent school, Tallulah Bankhead resolved not to be just another southern belle.
Quickly she rose to the top and became an acclaimed actress of London's West End and on the Broadway stage. Her performances in many plays of the 1920s brought her to the notice of Hollywood. She starred in such Paramount films as "My Sin," "Faithless," "The Devil and the Deep," and "Thunder Below." Even though she won a New York Film Critics Circle Award for her leading role in Alfred Hitchcock's "Lifeboat" (1944), she never achieved the prominence in movies that she enjoyed in the theater and on radio. On the New York stage she originated the starring roles of Regina Giddens in Lillian Hellman's "The Little Foxes" and of Sabina in Thornton Wilder's "The Skin of Our Teeth."
Tallulah, like Eudora, Flannery, and Coretta, was a southern woman identifiable by her first name. Her flamboyant public personality may be the most fully realized and memorable character Bankhead ever played. She became famous for her snappy repartee, candid quotes, and scandalous lifestyle. She was disposed to remove her clothes and chat in the nude. Overfond of Kentucky bourbon and wild parties, she was a lady baritone who called everybody "Dahling."
In "Tallulah," first published in 1952 and a New York Times bestseller for twenty-six weeks, Bankhead's literary voice is as lively and forthright as her public persona. She details her childhood and adolescence, discusses her dedication to the theater, and presents amusing anecdotes about her life in Hollywood, New York, and London. Along with a searing defense of her lifestyle and rambunctious habits, she provides a fiercely opinionated, wildly funny account of American stage at a time when the movies were beginning to cast theater into eclipse. This is not only a memoir of an independent woman but also an insider look at American entertainment during a golden age.
Tallulah Bankhead (1902D1968) headlined NBC's "The Big Show," a ninety-minute weekly radio extravaganza that aired from 1950 to 1952. In 1965 she appeared in her last movie, a British film titled "Fanatic" ("Die, Die, My Darling!" in U.S. release)."
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Paperback
,
341 pages
Published
July 7th 2004
by University Press of Mississippi
(first published 1951)
An autobiography. Not the best, not the worst. I was bored at times. It was a bit like a listing of events.
Tallulah was bawdy and capricious and brash. She seemed to downplay each of the major events in her life, almost as if to apologize for them. Maybe the tamer version is the true version. Who knows. I'm not above admitting that I prefer the picture in my mind to the watered down version she purported to be. Isn't fantasy usually preferable to reality?
As you might expect from an actress for such a panache for extravagance, Ms. Bankhead can be a bit long-winded in her autobiography. There were some very interesting stories, and more than a handful of moments that made me laugh out loud (literally)...but there were just as many passages that bored me to tears. Someone else made the comment that the book is written as if she's telling stories at a party, and that is spot on. There are many parts where she goes off on tangents for pages, before r
As you might expect from an actress for such a panache for extravagance, Ms. Bankhead can be a bit long-winded in her autobiography. There were some very interesting stories, and more than a handful of moments that made me laugh out loud (literally)...but there were just as many passages that bored me to tears. Someone else made the comment that the book is written as if she's telling stories at a party, and that is spot on. There are many parts where she goes off on tangents for pages, before reverting back to her original line of thinking. But at the end of the book, I really felt like I had sat down and had a conversation with her, albeit a one-sided one. So with that in mind, I would recommend this book if you've ever found her interesting.
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Hamstrung by homespun digressions about long-lost relatives and riddled with off-putting inside jokes, this autobiography is a testament to the immensity of Tallulah's ego. This is fine; she was famous for it. But it's a little much. I feel like if her authorial intent was to cement her immortality, she succeeded: the book of her life never ended because I never finished it. Bravo, Tallulah!
This was a fascinating read, not a scholarly bio but interesting to read about a gal who hails from the south and becomes a name on the entertainment and social set in NYC. Who could not be fascinated by a woman named Tallulah Bankhead?