‘Fate is the Hunter’ 1964

Suzanne Pleshette is a stewardess and lone survivor of a plane crash, Glenn Ford is the meticulous investigator, in 'Fate is the Hunter.'

While Fate is the Hunter is no classic, I'm surprised that the airplane drama received poor reviews and crashed at the box office in ’64. A shame, since Fate is an engrossing flick which spins the “Grand Hotel in the sky” genre. 

'Fate' derives its drama from the aftermath of a plane crash, unlike most airplane epics.

Instead of drama caused during a perilous flight, Fate is the Hunter tells, in Citizen Kane-style flashback, from its characters, their recollections of a flight captain whose plane has crashed. The investigator hero tries to get at the truth and restore the reputation of his war buddy, which may not be the same thing, according to his naysayers. 

Glenn Ford's Sam McBane retraces the last day of pilot Jack Savage's life,
right through to the plane crash, with traumatized stewardess Suzanne Pleshette.

Fate is the Hunter is definitely escapist entertainment: the story is clever, cast is solid, and cinematography and score are beautiful. Yes, it follows the tropes of the genre. Yes, the movie appears to be filmed on a B+ budget. And yes, the characters are archetypes or stereotypes, depending on your love of old movies. But it is briskly told, with several strong performances, and Fate works just fine within its conventions. At an hour and forty five minutes, Fate’s flight time is much more efficient than Airport or The High and the Mighty, two smash hits of the genre. 

Despite the lack of big special effects, the build-up to the crash and the aftermath are intense.

Glenn Ford has never been one of my favorite actors, especially as he grew older. He seemed solid at best, stolid at worst. Yet, Ford has done some good work, and he's especially effective here. As Sam McBane, the man investigating the crash, he is a perfectionist and a believer in facts. Yet he's emotionally conflicted, as he is both investigating and defending the character of his best friend. Sam gradually finds out that he knows more about science than he does his best friend. Ford has several emotional scenes that seem very uncharacteristic for his acting style. Yet, he plays them earnestly and effectively. And unlike other actors of the era, he's not macho, but empathetic. 

Glenn Ford is an empathetic hero who is trying to resolve what went wrong with the plane that best pal Rod Taylor was flying that fateful night.

 

Rod Taylor, on the other hand, is an actor I always liked and think was underrated in his heyday. However, as the playboy pilot Jack Savage, he's over the top at times, in playing this big personality. At times, you wonder why anyone could find someone so insufferable so irresistible. Even when you find out "the rest of the story," as Paul Harvey would say, Rod as Jack is still too much. But Taylor does have his more subtle scenes, especially with Nancy Kwan.  Everyone else in this movie comes and goes, as they are parts of this charismatic character's life. Nancy Kwan is his last love, and gives Sam some food for thought on how to view the case. Kwan plays a scientist and it's great that she gets to do so in a non-sexist way. She is no "lady scientist." Her Sally Fraser may be stunningly lovely, but she is a strong, wise person. And Kwan plays her simply and strikingly.

Rod Taylor is the late pilot whose rep is on the line. Here is the captain in a flashback,
with Nancy Kwan, as the scientist who sees the real Jack Savage.

Constance Towers plays Sam's loyal assistant and love interest, Peg Burke. Powers, who made a big splash in Sam Fuller's pulp films about this time, has such a bland role here, though her presence and intelligence are evident.

An unbilled Dorothy Malone plays Jack's ex-fiancee, a rich heiress who seems like a tamer version of Malone's mambo loving party girl in Written on the Wind. She sure knows how to milk her few moments on screen, with those wide eyes and energetic eyebrows working overtime!

Dorothy Malone makes an unbilled cameo appearance with Marilyn Monroe's "Happy Birthday, Mr. President" hairdo!

And Suzanne Pleshette is Martha Webster, the stewardess on the ill-fated plane. Pleshette is essentially in the beginning and end of the movie, but her striking looks, great humor, and no-nonsense acting are always refreshing. Suzanne had that quality which Ann Sheridan also possessed. Most of Pleshette’s scenes are with Taylor and Ford, and she holds her own against the leading men. 

Suzanne Pleshette as no-nonsense stew Martha Webster, looking lovely here.

While it's not an all-star cast, Ford was number #1 at the box office in ‘58, and Malone was still coasting on her '57 Oscar win. The younger cast—with Taylor, Pleshette, Kwan, and Towers—were considered strong up and comers. And the supporting cast had a bevy of familiar faces. Wally Cox is a standout with his memory of the real Jack, along with Mary Wickes as the pilot’s nosy landlady, and a strong performance by Mark Stevens as Jack’s drinking buddy. As a favor to the producer, Jane Russell appears in a WWII USO show flashback as herself. Frankly, I’ve never cared for Russell’s rudimentary singing and dancing, but Jane’s good humor still comes across. Maybe Fate just seemed like another old fashioned movie at the time? Hard to say!

Jane Russell as herself, performing 'for the boys,' like she did 20 years earlier in real life.

PS about the cast: Why was Rod Taylor made up to look older in the current scenes, while his war buddy, Glenn Ford looks the same in both present day and flashback? Ford was 16 years older than Taylor, and quite honestly, looked it. Were they trying to even things out in the present day scenes?

Ralph Nelson, who specialized in smaller, realistic movies like Lilies of the Field, directed. It’s notable that the way women and two black characters are treated was forward-thinking. The prolific Jerry Goldsmith created one of his first film scores here, and it’s lovely. Milton Krasner got the film’s sole Oscar nomination for his almost noir-like cinematography.

Secret's in the sauce! That's a subtle hint, as Glenn's investigator recreates the fateful flight.

This is one of those movies that plays well within its genre and is fun to curl up with, when you're in the mood for something entertaining, with familiar faces you’re fond of.

Here’s more on Suzanne Pleshette!

My tribute to Suzanne, a childhood favorite: https://ricksrealreel.blogspot.com/2016/07/suzanne-pleshette-next-liz-taylor-who.html

My review of Youngblood Hawke: https://ricksrealreel.blogspot.com/2019/07/writing-women-dont-mix-for-youngblood.html

FYI: I put all the movie overflow on my public FB  movie page. Check it out & join!  https://www.facebook.com/groups/178488909366865/

 

Here's a sweet set shot of Rod Taylor, Jane Russell, and Glenn Ford!

 

Writing & Women Don’t Mix For ‘Youngblood Hawke’ 1964

Suzanne Pleshette is James Franciscus' beautiful conscience in 'Youngblood Hawke.'

A type of soap opera that Hollywood doesn’t make any more—for better or worse—is 1964’s “literary” melodrama, Youngblood Hawke. The sudsy saga was based on Herman Wouk’s bestseller, film-friendly author of The Caine Mutiny, The Winds of War, and Marjorie Morningstar. The 700-plus page novel was whittled down for length and censorship, but still clocked in at 2 hours and 20 minutes. The resulting film was largely panned, loved as camp, but still has its serious fans.

Despite what critics said, the romantic trio of 'Youngblood Hawke' is more lifelike than here.

James Franciscus plays the title role of a Kentucky boy wonder/writer who comes of age in the NYC literary jungle. Suzanne Pleshette is his loyal editor who loves the man even more than his purple prose and Genevieve Page is the worldly socialite who is just hot for the southern stud. The medium-wattage trio is bolstered by a big cast of veteran character actors and future familiar TV faces. They put over this over-plotted and sometimes preposterous soap opera.

The main problem with 'Youngblood Hawke' was while James Franciscus was appealing,
his charisma didn't exactly leap off the screen much less across a room.

Youngblood Hawke was originally to be in color and star Warren Beatty. Though most dramas were still shot in B&W, such lavish soap operas by Delmer Daves and Ross Hunter usually got the Technicolor treatment. When promising movie star Beatty dropped out, WB then cast television star James Franciscus, and they cut the budget and filmed in B&W. Some film writers/historians have bemoaned the loss of Beatty, but Warren was an especially drowsy onscreen presence in the ‘60s. Hawke is supposed to be a force of nature, which Franciscus frankly wasn’t, but neither was sleeping Beatty. Though burly Rod Taylor would have hewed closer to the novel’s Hawke, rough-edged yet vulnerable Steve McQueen might have been a perfect film compromise.

James Franciscus as Arthur "Youngblood" Hawke

The story of Youngblood Hawke was inspired by Thomas Wolfe. Legendary for Look Homeward, Angel, Writer Wolfe was a North Carolina lad who died of pneumonia at age 37. Here, “Youngblood” aka Arthur, drives a coal truck for the family business by day, and feverishly writes all night. As his mother dukes it out with her brother-in-laws over mineral rights, Youngblood finally gets the call that his manuscript has been accepted. He is whisked off to New York City Dec. 23, signs a contract Christmas Eve, attends his first fancy cocktail party that same night, and finally, goes home with one of the film’s leading ladies. Several guests mention Hawke will always remember Dec. 24—no kidding! That’s how this whole movie unreels, where a tragedy is immediately followed by a triumph, or vice-versa. For instance, after a final breakup with the married socialite, Arthur gets a telegram that he’s won the Pulitzer Prize. Quite a consolation prize!

The rags to riches saga of 'Youngblood Hawke' has some evocative NYC location filming.

The movie is truly a hodgepodge of the good, bad, and the ugggh. In a nutshell—what’s good? There’s rock solid Suzanne Pleshette, evocative location shooting and photography, nifty production values, and a stellar supporting cast. And despite their uneven portrayals, Franciscus and Page have their moments. What’s bad? The Hollywood “smart” dialogue is hilariously hokey. What’s ugggh? Some of the situations and characters are such eye rolls that they undermine what’s worthwhile about Youngblood Hawke.

James Franciscus as struggling writer/truck driver, who frequently takes his shirt off!
Mildred Dunnock as his mama.

James Franciscus generally got panned as Arthur “Youngblood” Hawke. The kneejerk criticism is unduly harsh, to me. We’re not talking director Delmer Dave’s fave Troy Donahue here. Franciscus was a genuinely handsome, intelligent, sincere actor and brings those qualities to the role. He is also boyishly charming, as he enters the new world of NYC. Franciscus is effective in his quiet scenes, especially with his two female co-stars. A set piece where Arthur gets publicly roasted by a literary critic for his latest tome is subtly handled. However, what Franciscus lacked was the spark and rough edges that make Hawke so irresistible to the NYC literary crowd. Franciscus comes off as patrician and gentlemanly most of the time, and when he goes into his country boy routine for some of the big scenes, it’s overdone.

Franciscus' Hawke gets publicly panned by Edward Porter's acerbic critic,
as Pleshette's Jeanne Green glares daggers.

Ultimately, James Franciscus just isn’t dynamic enough as Youngblood Hawke, and wasn’t charismatic enough for film stardom. Paul Newman and Robert Redford played similar roles at the beginning of their careers and were just as wooden. But both actors were cultivating a cool, anti-hero image, whereas Franciscus had his feet planted in the ‘50s style of handsome leading man who’s a solid, but at times, stolid actor. Hence, Newman and Redford went off to become better actors and cool movie stars, and Franciscus went on to TV stardom.

Suzanne Pleshette shines as savvy and sympathetic editor Jeanne Green.

Suzanne Pleshette is sympathetic and refreshingly natural as career woman Jeanne Green. I wish Pleshette had a more substantial film career. She was very attractive, starting off as a snub-nosed version of Elizabeth Taylor. In fact, she’s sports the same bubble do that ET unfortunately made popular. Yet, Suzanne’s warmth, humor, and no-nonsense personality are all her own, and Pleshette should have gone farther in feature films. But this was the ‘60s, where actresses were carrying movies less and less. The already established actresses benefited from the studio era, branding them with strong images: Doris Day, Audrey Hepburn, Sophia Loren, and Elizabeth Taylor, etc. Pleshette’s essential normalcy may not have made her a top ‘60s movie star, but this quality was key to her becoming a popular TV star in the ‘70’s, as Emily in The Bob Newhart Show.

Let's just say that Frieda Winter (Genevieve Page) isn't as sensible as romantic rival Jeanne.

I wasn’t charmed by Genevieve Page as Frieda Winter, though she got some of the best reviews from critics. I found her accent hard to understand, especially when she was lobbing bon mots. And Page has a habit of crinkling her nose and giggling coyly as she seduces Hawke, which I found off-putting for this alleged woman of the world. Frieda’s character motives and backstory seem more like plot machinations or to garner sympathy. Frieda is far more upset when caught with Arthur by his mother, than earlier in the film, when they are walked in on by her young son! I found her character tiresome and Page less than charismatic. Apparently, the role was originally for an older actress, like Gene Tierney. A Mrs. Robinson type would have been more intriguing, and a way to underscore that Hawke is out of his depth.

Suzanne Pleshette & James Franciscus share a rare happy moment in the super soap 'Youngblood Hawke.'

Some of the tragedies are just tragically lame. For example, when Frieda’s young son commits suicide, due to boarding school bullies taunting him over gossip about her affair with Hawke, he hangs himself by jumping off a stack of Arthur’s doorstop novels. Or when Arthur collapses from overwork and falls into a ditch on the way to the mailbox, to send off his latest draft!

After Hawke's golden boy luck begins to run out, Arthur takes a scenic walk to clear his head.

One of the biggest head scratchers, as it’s a major plot point, is why Arthur takes his new found wealth and invests in his uncle’s latest development project. It’s established at the movie’s opening that Arthur’s uncles have been ripping off him and his mother from their share of the profits mining coal on Hawke’s property. Yet, Arthur goes into business with the dirtbag?

Socialite Frieda has a yen for Youngblood Hawke, and who can blame her?

It also seems unlikely that prominent socialite Frieda Winter would brazenly pick up Hawke at a huge Christmas party on the It Boy’s first night in town, and not set off a firestorm of gossip. In fact, publisher Ross Hodge comments that it was the first time he ever saw Frieda leave a party with anybody but her husband.

What knocked me out is when one character mentions near the finale how much Youngblood Hawke has experienced in one year… I just assumed it took place over several years, and it still felt like several lifetimes!

A toast for Youngblood Hawke. That's Mary Astor second from left. The dark, handsome guy is Robert Aiken, whose agent was predatory legend Henry Willson, who first dubbed him Ford Dunhill. Guess that's classier than Tab or Rock!

In the end, it’s the cast that will help you suspend disbelief over the (mis)adventures of Youngblood Hawke. Aside from James Franciscus’ earnestness, Suzanne Pleshette’s pragmatic persona, and Genevieve Page’s Gallic allure, there is the stellar supporting cast.

Kent Smith, as Paul Winter, Sr., Frieda’s wealthy, older husband, is once again WB’s resident bland, put upon male. Don Porter is sardonically amusing as Ferdie Lax, the literary lawyer who takes on Hawke. Porter is a scene stealer, especially in his big scene, railing against Hawke’s soon to be ex-publisher. Lee Bowman is authoritative as Jason Prince, the first publisher who signs Hawke on. Mark Miller is a refreshing ‘60s movie male, as Ross Hodge, a tough business man who is still a good guy. Mildred Dunnock, often the quavering noble type, this time out is a kick ass Southern mama. John Dehner chews the scenery and cigars as Hawke’s shyster uncle, Scotty Hawke.

I love that sexy little look in Franciscus' eyes when he gazes upon his dream girl, Frieda Winter.
Eva Gabor plays the literary hostess with the mostess.

Edward Andrews is campy fun as Quentin Judd, the literary critic, given to public performance-style critiques. Mary Astor brings authority and class as legendary actress Irene Perry. And Robert Aiken, once one of notorious agent Henry Willson’s boys, later star of Russ Meyer epics, is here Hawke’s literary rival, Howard Fain.

Franciscus and Pleshette are joined by other actors who also found fame on TV: Hayden Rorke of I Dream of Jeannie, Werner Klemperer from Hogan’s Heroes, and Eva Gabor of Green Acres all show up, as well.

Author Herman Wouk, who passed away in May of 2019.

Depending on your mood, Youngblood Hawke is a tall tale made highly entertaining by the old-school WB production and the fine, familiar cast. Or, this loony literary epic will have you looking for a good book to read.

Aside from the obvious, this shot of Franciscus in the pool is noteworthy, because the camera uses Hawke's underwater POV to see people standing around the pool, predating 'The Graduate' by a three years.

FYI: I put all the movie overflow on my public FB  movie page. 

Check it out & join!  https://www.facebook.com/groups/178488909366865/

Suzanne Pleshette: "Next Liz Taylor" Became TV's Cool Comedienne

Suzanne Pleshette in her early '60s starlet days.

Suzanne Pleshette as a sex-crazed society girl,in John O' Hara's "A Rage to Live."

Elizabeth Taylor won her first Oscar as a
sex-crazed call girl in John O'Hara's "Butterfield 8."

There have been a million “new” Marilyns—studios thought that Monroe was so manufactured they could just construct their own MM. By contrast, Hollywood offered only a few “new” Liz Taylors. Though Taylor’s perfect beauty and swift rise to stardom set her apart from mere starlets, Hollywood couldn’t help itself in trying to create another Hollywood Cleopatra. First up was Joan Collins, aptly dubbed “the poor man’s Elizabeth Taylor.” Millie Perkins big moment, starring in The Diary of Anne Frank, had her looking more like National Velvet. Next up vying for Liz’ limelight was Suzanne Pleshette. 

Suzanne's witty spots on Johnny Carson won her the role of Emily on "The Bob Newhart Show."

Audiences remember Suzanne Pleshette for her comedic finesse on The Bob Newhart Show. The classic ‘70s sitcom finally allowed Suzanne to shine in all her smart, sexy, warm, funny glory. Pleshette was a popular actress from the age of 20 for nearly 50 years.

Suzanne Pleshette, with her dark good looks, husky voice, and self-assured demeanor, found work on stage, television, and film from the get-go. Pleshette came close to big-time stardom twice. Suzanne was nearly picked to play Broadway’s Gypsy, opposite Ethel Merman. While the producers thought Pleshette was the better actress, they decided on Sandra Church, who was a trained singer. Later, Dick Van Dyke asked her to play his TV wife, Laura Petrie, but Suzanne was already committed to a possible series for Norman Lear. Van Dyke then proposed TV matrimony to Mary Tyler Moore and Pleshette’s Lear pilot went nowhere.

"When I was 4," Pleshette said in 1994, "I was answering the phone, and (the callers) thought I was my father. So I often got quirky roles because I was never the conventional ingenue.”

Watch the birdies, Annie! Pleshette in "The Birds."

During the ‘60s, Pleshette seemed to guest-star on every hit TV show. But Suzanne hoped for movie stardom, and starred in a number of plush big-screen soaps, like Rome Adventure and A Rage to Live. Her biggest break was when Hitchcock cast Suzanne as the schoolteacher and Tippi Hedren’s love rival in The Birds. Even though Pleshette intrigued audiences as torch-carrying Annie—her feathered co-stars and Hitchcock discovery Hedren got all the press and screen time. Pleshette’s husky voice is a joy to listen to compared to Tippi’s flat delivery. In Hitchcock’s world, a smoldering brunette, even with Liz Taylor-esque hair and makeup, is no match for an iceberg blonde! Pleshette, a method actress who studied with famed acting teacher Sanford Meisner, said much later, “Hitch didn’t know what to do with me.” 

Suzie went on a "Rome Adventure" and all she won was Troy Donahue!

Liz on her own Rome adventure!

Rome Adventure gives Suzanne the star treatment, only to upstage her with Angie Dickinson as the slinky divorcee who steals heartthrob Troy Donahue away. In real life, Pleshette won Donahue, who turned out to be the booby prize. Donahue, a teen idol with a big drinking and drug problem, and very little talent, was Suzanne Pleshette’s version of marrying Eddie Fisher. During this time, Elizabeth Taylor was ditching Fisher and having her own Rome adventure with Richard Burton!

The closest Suzanne Pleshette came to playing an Elizabeth Taylor-type role was her turn in A Rage to Live. The book was based on John O’Hara’s novel, who had also penned Butterfield 8, which was made into a super-soaper starring Liz. Both have O’Hara high-class nymphomaniacs as protagonists. Male characters were made crazy by these wanton women. Tears and tragedy ensue as the price to pay for the earlier soft-core antics. Suzanne rarely looked lovelier on the big-screen, playing the high society tramp in no-nonsense, low-key Pleshette style. Maybe that’s why Suzanne was made more for the small screen. Elizabeth Taylor knew when to turn on the pyrotechnics, especially if it was for igniting wooden vehicles like Butterfield 8 and Raintree County.

Pleshette wore plush falls in her starlet days.

Liz ALWAYS loved big hair!

Pleshette tried to establish herself on the big screen, but guest-starring roles on such popular series like The Wild, Wild West, The Fugitive, and The Invaders were becoming more frequent than movie roles. The best of which, If It’s Tuesday, It’s Must Be Belgium, showed Pleshette’s flair for comedy and what was around the corner in the ‘70s.

Liz with big hat instead of big hair!

Suzanne in a straw hat, so popular in the '60s.

Suzanne Pleshette came from a New York City showbiz family—her father was a theatre owner and her mother, a dancer. Pleshette had plenty of anecdotes and made a great talk show guest. I remember my parents—particularly my mother—enjoyed watching Suzanne trade quips about her showbiz life with Johnny Carson. My Mom wasn’t the only one. The producers of the upcoming The Bob Newhart Show caught a Tonight Show episode with Newhart sharing Carson’s sofa with Pleshette. They were so struck by their chemistry, that they cast Suzanne as Emily Hartley, Bob’s witty, level-headed wife. A star was belatedly born. The Bob Newhart Show ran for six seasons and Pleshette received two Emmy nominations.

Silver foxy: Suzanne Pleshette in mid-career.

Even after the show ended, Suzanne Pleshette’s Emily Hartley was considered television’s “perfect wife,” right up there with Laura Petrie, the role that Pleshette had to turn down a decade before. Pleshette continued working, often the best thing about most of the TV movies, mini-series, or guest spots she appeared in the next three decades.

E.T. became an AIDS activist in later years.

After the Troy Donahue fiasco, Pleshette’s 32 year marriage to Texas oilman Tommy Gallagher ended only with his death in 2000. She frequently mentioned him with great humor on talk shows, reciting ribbing but loving poems about their life together.

Pleshette & Poston rekindled romance in 2001.

One more romance came into Pleshette’s life that cinema sister Liz Taylor would have certainly thought romantic. She reunited with costar Tom Poston, with whom she had appeared on Broadway and enjoyed a romance back in 1959. They remained friends through the years, with many personal connections in common. Both had recently lost their spouses and rekindled their romance. Pleshette and Poston married in 2001.

In 2006, when Suzanne was fighting cancer and Poston with health issues of his own, Pleshette’s bawdy humor helped. Pleshette sent this note in Oct. 2006 to veteran Hollywood reporter Army Archerd:

BAD NEWS

I lost all of my hair

I look like shit

Tom has a catheter in his dickie

We have round-the-clock nurses, a walker and a wheelchair

GOOD NEWS

I'm saving a fortune on bikini waxes

Tom has lost all peripheral vision so he doesn't know

At his age we're just glad he

has a lump in his pants

We're madly in love

And we feel lucky.

AIN'T LIFE GRAND!!!!!!!

Old age ain't for sissies: Taylor, Poston, & Pleshette at a benefit in 2001.

"He was such a wonderful man. He had fun every day of his life," Pleshette said after Tom Poston died in 2007. Like many stars of her era, Pleshette was a heavy smoker throughout her life and was diagnosed with cancer in 2006. Pleshette claims she was cured, though part of a lung had to be removed. In the fall of 2007, Pleshette reunited with the Newhart cast for a TV Land tribute in a wheelchair. Frail but funny, this was Pleshette’s last public appearance. Despite serious pulmonary issues that nearly prevented her from participating, Pleshette put on her gregarious game face:  "I'm cancer-free, my (breasts) are great and ... I'm extremely, extremely rich!"

Suzanne passed away Jan 19, 2008 of respiratory failure, less than two weeks before her 71st birthday Jan. 31. When asked in a Emmy TV Legends interview how she would like to be remembered, Suzanne Pleshette replied, “…as a good daughter, wife, and friend.”

Suzanne Pleshette loved her rebel, Steve McQueen as "Nevada Smith."

Liz loved her rebel: with James Dean,  filming "Giant."

Suzanne Pleshette also loved animals, like Elizabeth Taylor.

Suzanne Pleshette was a star, who to this baby boomer kid, seemed to be on every television, talk, or game show, as well as TV movie, when I was growing up. I remember seeing one of her early big-screen efforts on the local TV afternoon movies. It was Nevada Smith with Steve McQueen. I recall saying to Mom that Suzanne looked just like Liz Taylor; Mom thought Pleshette had a better figure—well, yeah! And Pleshette seemed infinitely more practical. Still, there was something about Liz, who at the time was divorcing and remarrying Richard Burton. The two brunette beauties seemed to share a bawdy sense of humor, love of dogs, men, cocktails and cigarettes, and a realistic view of show business. Some stars, like Elizabeth Taylor, seemed remote and unreal, almost a myth. That changed later, with Taylor’s AIDS activism and openness about her addictions. Others were familiar faces, like Suzanne Pleshette, who seemed like a particularly fun friend who stopped by to visit, by way of your television.

Plenty of Pleshette here!

Youngblood Hawke: 

https://ricksrealreel.blogspot.com/2019/07/writing-women-dont-mix-for-youngblood.html

Fate is the Hunter:

https://ricksrealreel.blogspot.com/2021/01/fate-is-hunter-1964.html

Myrna Loy was called 'the perfect wife' of movies. Suzanne Pleshette the perfect wife of TV!

FYI: I put all the movie overflow on my public FB  movie page. 

Check it out & join!  https://www.facebook.com/groups/178488909366865/