Remembering Lurene Tuttle in Indiana

Publicity shot for ‘Don’t Bother to Knock’

Actress Lurene Tuttle, who appeared in Don’t Bother to Knock (1952) and Niagara (1953), will be the subject of a presentation by Elten Powers of the Steuben County Genealogical Society at the Carnegie Public Library in Angola, Indiana on Monday, September 17 from 6:30 – 8:00 pm, KPC News reports.

Born into a family with theatrical connections in nearby Pleasant Lake in 1907, Lurene Tuttle became a radio actress in the 1930s, and made her movie debut in 1947. In Don’t Bother to Knock, Lurene plays Ruth Jones, who is staying in a  hotel with her husband during a business conference, when the elevator operator suggests they hire his niece, Nell Forbes (played by Marilyn) to babysit their young daughter.

It soon becomes clear that Nell is a troubled young woman, and after Ruth leaves her alone with the little girl, Nell puts on Ruth’s negligee, jewellery and perfume. Towards the end of the film, Ruth returns to find her daughter bound and gagged in the bedroom, and a struggle ensues in which Ruth ultimately overpowers Nell.

This brief scene was recreated in a rather lurid series of publicity photos featuring Lurene and Marilyn. They did not appear together in Niagara, in which Lurene plays Mrs Kettering, the cheerful, long-suffering wife of honeymooning ad-man Ray Cutler’s loquacious boss. Her character mirrors that of Polly Cutler (played by Jean Peters.)

500 Year Itch: Shelley Niro’s Mohawk Marilyn

Shelley Niro, a Mohawk visual artist and filmmaker born in Niagara Falls in 1954, is the subject of a current exhibition at the Ryerson Image Center in Toronto until August 5, Blouin Artinfo reports.

“This retrospective includes both seminal projects and never-before-shown photographs, along with some of the artist’s most recent works. A member of the Six Nations Reserve, Bay of Quinte Mohawk, Turtle Clan, Niro combines beadwork designs, archival images, family pictures, videos, and installation to question traditional representations of Indigenous peoples, with a particular focus on womanhood. Challenging stereotypes, Niro’s portraits explore notions of culture and identity with sensitivity and humor.

She is most noted for her photographs using herself and female family members cast in contemporary positions to challenge the stereotypes and cliches of Native American women. Niro explored the oral history of the Iroquois people in general and the diaspora of Mohawk people in particular. She is known for her photography, which often combines portraits of contemporary Native women with traditional Mohawk imagery. She uses herself, friends, and family members as models. Her 1992 photographic series, ‘This Land Is Mime Land’ and ‘500 Year Itch’ employ humorous pop culture references, such as Elvis Presley and Marilyn Monroe. Niro often works in diptychs and triptychs, using photographic processes such as photo montage, hand tints, and sepia tones.

Shelly Niro is often compared to the artist Cindy Sherman because they both cast themselves in different roles in an attempt to break down various stereotypes. Niro, however never fully disguises herself. ‘She wants the viewer to recognize her within her manifestations.'”

Marilyn, Billy and the Fabulous Fifties

As part of an ongoing series for The Guardian, Wendy Ide names the 1950s as her favourite decade in film.

“Marilyn Monroe was the blond bombshell of choice – although for a while it looked as though Judy Holliday (Born Yesterday) might be a contender – and became a global icon. Hers was a career that played out almost entirely during the 50s. A supporting role in All About Eve led to a studio contract and a star-making double whammy of Niagara and Gentlemen Prefer Blondes. Highlights of her decade, The Seven Year Itch and Some Like It Hot, saw her teamed with director Billy Wilder …”

And over at Film School Rejects, Will DiGravio argues that the comedy classic, alongside other greats like Hitchcock’s North by Northwest and Hawks’ Rio Bravo, makes 1959 the best year in movies.

“Today, it seems as though many know Monroe only for her beauty, not as the greatest comedic actress of all time. Tony Curtis and Jack Lemmon are hilarious in the film as two musicians pretending to be women in order to play with a female band in Florida and escape the Chicago mob after they witness a murder. Yet, their performances pale in comparison to Monroe’s, whose comedic timing and delivery is so effortless it is easy to under-appreciate her brilliance.”

Marilyn Gets Lost in ‘Noir City’

Marilyn is the latest cover girl for Noir City, a digital quarterly published by the Film Noir Foundation. Inside, there’s an eight-page illustrated article, with Jake Hinkson analysing her diverse roles in The Asphalt Jungle, Clash by Night, Don’t Bother to Knock and Niagara. Fellow bombshells Diana Dors and Gloria Grahame are also profiled in this issue. To subscribe to Noir City, join their mailing list and donate $20 or more to the foundation, who host regular screenings across the US and a yearly film festival, and also publish an annual print round-up of the best features.