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Lizabeth Scott played the girl we were involved with in the movie. In real life, she was involved with Hal Wallis. This was a problem.

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Very often, she'd be in his office for a long time, emerge teary-eyed, and be difficult to work with for the rest of the day. Though relations between Lancaster and Scott had previously been romantic, a falling out happened. Lancaster's behavior toward Scott was chilly, especially during one kissing scene, leaving Scott looking exasperated.

He claimed it violated a previous freelance deal, but added that he did not want to work with Scott anymore. I wanted Lizabeth Scott. I didn't want some blonde with big tits. You had to believe that this girl was real. Even if I took one of these over-sexed types who could not act, it would change how the Powell character is drawn into the affair. Remember the point of the script was that he's just a middle-level insurance investigator. He's tired of his job, spending time in his little office with a drab secretary.

So I could have made a different picture, with a prettier girl than Lizabeth Scott, and told the story of that girl, her problems, but that wasn't this movie.

That would make it phony, if you cast it with Marilyn Monroe , a type like that. I needed somebody real. Scott was slated to play the club secretary. Then, she replaced Ball as leading lady. The final film, titled Easy Living , received a generally negative response when it was released.

The New York Times review was uncommonly positive, though dismissive of Scott's performance. This Hitchcock-like, black-and-white noir is widely considered Scott's best film and performance. Decades later, one film historian noted the film's staying power: " Too Late for Tears is a relatively 'unknown and unseen' noir and deserves this recognition, especially for its storyline, acting, and the incredible performance of Lizabeth Scott in the femme fatale role. At the end of , Scott shifted dramatic gears in Paid in Full During this same period, the press reported rumors of Scott's stage fright.

It was all sweetness and light. Finally, Scott decided to legalize her stage name. Having been known professionally as "Lizabeth Scott" for almost seven years, she legally changed her name from Emma Matzo on September 14, Scott acted in four films in While Greer's beauty [] was toned down for the film, Scott's was not. As a result, critics were generally unconvinced that the leading man would choose the dowdy Diane over Joan.

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Most critics thought that Scott and Greer were miscast, and should have switched roles. Scott played her third torch-singer role in Dark City , a traditional film noir. Her boyfriend, Danny Haley— Charlton Heston in his film debut—is a bookie who is the apparent target of a vengeful brother of a dead man whom Haley swindled. Originally, Burt Lancaster was cast as the leading man, but he refused to work with Scott again. In a May interview, Scott said she was reading the entire oeuvre of Aldous Huxley. Red Mountain is set in the s, starring Scott as Chris, the only member of her family to survive the American Civil War.

Red Mountain was the second of Scott's three Westerns, though the only traditional non-noir one. Scott played her fourth and last torch-singer role in The Racket , another conventional noir. Irene Hayes Scott is caught up in a struggle between a big-city police captain Robert Mitchum and a local crime boss Robert Ryan , who resembles the real-life Bugsy Siegel.

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The film was released two months after the Kefauver hearings , in which Virginia Hill , and mistress of Siegel's, [] denied having any knowledge of organized crime. While Irene Hayes was thought to be modeled on the smoky-voiced Hill, Scott denied the rumor. Scott returned to Britain in October to film Stolen Face , a noir that presages Alfred Hitchcock 's Vertigo by several years. Later that spring, Scott returned to her beginnings as a comedian when she began work on her first comedy noir, Scared Stiff , with Dean Martin and Jerry Lewis.

Scott played an heiress who inherits a haunted castle on Lost Island off the coast of Cuba. Scott found Lewis' impersonations of her offensive, while a jealous Hal Wallis instructed director George Marshall not to let the romantic scenes between Scott and Martin get too steamy. Despite Scott's best efforts, including making excuses for Lewis' behavior to the press, most of her scenes were cut. In April , the year-old Scott made her last film as a Paramount contractee.

In Bad for Each Other , Scott played a decadent heiress who tries to dominate a poor but idealistic physician Charlton Heston. Patricia Neal was originally cast as Helen, [] but when Scott replaced Neal, Lancaster had to be replaced by Heston. Eight months later in February , Wallis and Scott parted ways.

Scott was now a freelancer. Later that month, it was announced that she would be the host of High Adventure — , a travelogue television series for CBS, but she never appeared in it. It was just a spark, I can't explain it. Though the public response to Scott was generally favorable during the Paramount years, the film critics were less so, repeatedly making unfavorable comparisons to Lauren Bacall and Tallulah Bankhead, [] [] [] beginning with Bob Thomas' March comment about her screen test: "Her throaty voice may well make Lauren Bacall sound like a mezzo soprano.

I told him how hard everyone worked to make such a beautiful movie, and I couldn't understand how he could be so cruel. I must say he took it awfully well, and was very kind to me. Lizabeth Scott has no more personality than a model in the window of a department store. Scott's style of acting, characteristic of other film actors of the s—a cool, naturalistic underplay derived from multiple sources [] —was often deprecated by critics who preferred the more emphatic stage styles of the pre-film era or the later method styles.

Typical of the '40s was Dick McCrone: "Miss Scott, who is an excellent clothes horse, rounds out the principals as Lancaster's moll. Otherwise, she's still the same frozen-face actress she was in Desert Fury and a couple of pictures before that. Others, though, see Scott's acting in a different light.

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The dreamwalker seemed to mirror all our own fears. His and her numbness was the crazed underside of that cinematic energy in the wake of the Second World war. During the Golden Age of Radio , Scott reprised her film roles in abridged radio versions. For Rushmore, it was a return to his days as film critic of the communist Daily Worker , but on the opposing side. He had been fired from the Worker in for giving an ambivalent review of Gone with the Wind Rushmore became a professional anticommunist.

The publisher, Robert Harrison , was initially intrigued, but skeptical. To verify some aspects of the story, he hired an out-of-work actress, Veronica "Ronnie" Quillan, [] to have luncheon with Scott, giving Quillan an opportunity to make a pass at Scott. Quillan was to be bugged with a wristwatch microphone supplied by the Hollywood Detective Agency, but the agency's owner, H.

Von Wittenburg, backed out and the plan was never implemented. What Scott read was that a police raid occurred on a Hollywood Hills bungalow [] at Laurel View Drive the previous autumn. The police found an address book with the names and telephone numbers of various people in the film industry, including two numbers allegedly belonging to Scott. The Rushmore article further stated that Scott spent her off-work hours with "Hollywood's weird society of baritone babes" a euphemism for lesbians.

He also linked Scott's trip to Cannes to a Parisian woman named "Frede": "In one jaunt to Europe, Scott headed straight for Paris and the left bank where she took up with Frede, the city's most notorious Lesbian queen and the operator of a night club devoted exclusively to entertaining deviates like herself. Hollywood Research Inc. It was run by Marjorie Meade, Robert Harrison's year-old niece and one of the most feared people in Hollywood since her arrival in January In retaliation, Confidential published the Scott story in the next issue.

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The next spring, despite Giesler's reassurances to the press, the legal efforts against Confidential went nowhere. David quashed Scott's suit on March 7, , on the grounds that the magazine was not published in California. Despite this setback, Giesler said that he would refile in New York.

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Meanwhile, Rushmore tried to get Harrison to publish a story about former First Lady Eleanor Roosevelt allegedly having an affair with her African-American chauffeur. Rushmore offered to testify against Confidential in exchange for a job in Hollywood. Giesler rejected the offer. Robert Harrison, et al. Rushmore, now the state's star witness, testified that the magazine knowingly published unverified allegations, despite its reputation for double-checking facts: "Some of the stories are true and some have nothing to back them up at all.

Harrison many times overruled his libel attorneys and went ahead on something. According to Rushmore, Harrison told the attorneys, "I'd go out of business if I printed the kind of stuff you guys want. In the wake of the sensational trial, Scott was forgotten by the media. Scott had begun her career at a time when many established actors were away at war, giving then unknowns like Scott a chance at stardom. When the older stars returned, many of the newer stars faded away. Film historians generally agree that Scott's career essentially peaked between and Between the end of her contract and Rushmore's article, she had turned down numerous scripts, including a part in Wallis' The Rose Tattoo Erskine Johnson reported in January that Scott was being trained by Hollywood voice teacher Harriet Lee, [] and later by Lillian Rosedale Goodman —the final result was that Scott "has a vocal range of two octaves, A below C to High C," [] making Scott a mezzo-soprano.

In July , Johnson reported that Scott was under the management of Earl Mills, who also managed the singing career of Dorothy Dandridge.

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Scott was planning to debut as a torch singer on the nightclub circuit. Scott re-emerged from retirement in Loving You , Elvis Presley 's second musical. During the shooting of Loving You , Scott was reported to have been infatuated with Presley. During a kissing scene, she playfully bit him on the cheek, leaving a red mark, which she called "just a little love nibble. Though Hal Wallis tried to get Scott's singing voice undubbed for the production, he was overruled by the studio heads, despite all of Scott's previous voice training. Production ran from late January to mid-March Simply titled Lizabeth , the 12 tracks are a mixture of torch songs and playful romantic ballads.