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| Carlotta Mercedes Agnes McCambridge. March 16, 1916 – March 2, 2004 |
While reading absorbs a great deal of my leisure time, the books I value most are those I know will remain with me for the rest of my life. Somewhat to my surprise, this happened with the Mercedes McCambridge autobiography.
Overall, I tend to enjoy memoirs written by or about those who took part in films where, not allowed the visual effects and erotic scenes of current movies, were obliged to create programs, whether comic or dramatic, with well-scripted dialogue, in order to grasp and retain listeners’ absorption.
(As a proud, self-proclaimed curmudgeon, I believe the easy reliance on visual effects and erotica available in our time has eroded creativity while making it easy for laziness regarding to dialog and characterization.) Beginning her acting career in radio, Ms. McCambridge was described by Orson wells as the finest living radio actress.
Early on, in this autobiography, she gives homage to nineteenth-century actress Sarah Siddons, who wrote of herself, “I was an honest actress.” In an age where cosmetic surgery was either nonexistent or hazardous, anyone hoping for public appeal needed to gain it by talent, charisma, and yes, an honesty which could reach the souls of an audience. Like Sarah Siddons, once television took over, she felt she could not compete, at least on a visual level, with Ava Gardner, Lana Turner, and the then thought incomparable Elizabeth Taylor.
Born on March 16 1916 in Joliet Illinois into an Irish Catholic family, christened Carlotta Mercedes Agnes McCambridge, later shortened to “Mercy” (Indeed, her book begins with her saying she enjoys this abbreviation, as it is difficult to voice the word “mercy” with any real anger.) Having said that, she shows us, though she does not seek out confrontation, she does not deflect it when it seems vital, in order to shield herself or a person or animal cherished by her. Her parents’ marriage, like many during that time, was one in which the wife remained tight-lipped and long-suffering, while the husband sought pleasures.
In one characteristic example, as a young man, her father promised his priest he would not imbibe even one sip of alcohol for a year. The sole flexibility lay in his freedom to drink at weddings, funerals and wakes. While adhering to his word, Mr. McCambridge scrutinized newspaper announcements of any of the above-mentioned ceremonies or solemnities, within one hundred miles of his home.. Having found such a ceremony, he would arrive uninvited, fully partaking in all available types of refreshments. Evidently, his charm was such as to allow him to mingle with guests or mourners while evoking no inquiries which necessitated his demanded departure.
It may have been this enjoyment of drinking which predisposed Ms. McCambridge to the alcoholism which was to haunt her middle years. Still, given the candor of every part of this book, she does not attempt to blame anyone for a dependence which resulted in several hospitalizations.
During an era when a guest in one’s home, at almost any hour, was offered a drink as casually as coffee is in our day, it was often difficult to perceive the edge beyond which conviviality deepened into a condition which ended or shortened the lives of so many of both the famous and unknown. Due to her own determination and the bolstering of fellow members of Alcoholics Anonymous, she grew brave enough to publicly acknowledge this struggle, and admit to the anguish of overcoming its grip.
Although causing her family some chagrin, her statement allowed many others to accept and seek help. A further dimension of this book is her cameo portraits of various intimates, directors, fellow actors and political figures. One of the most poignant moments occurs when an aging actor, asked by a student from a group he was addressing, the best way to become a good actor, paused a moment, then replied with no trace of sarcasm, “By acting in about four-hundred plays."
A unique encounter occurred between actress Marlene Dietrich and Ms. McCambridge. Ms. Dietrich, staving off the onslaught of time with increasing effort, but with success, once spoke to Ms. McCambridge in a way which initially sounded amazingly rude. Beginning with the obligatory Hollywood “Darling”, she told Ms. McCambridge she need not look as bad as she did. Still, this comment was based on a benevolence which later emerged when Ms. Dietrich sent her four of her loveliest gowns from which to choose for her appearance at the upcoming Academy Awards.
Having chosen a chiffon dress, Ms. McCambridge returned all four gowns to Ms. Dietrich after the event. With true grace, Ms. Dietrich sent back the chosen one, advising her to wear it all the time. Though this advice was a bit eccentric, Ms. McCambridge understood it stemmed from a genuine kindness. In fact, she did receive an Oscar for her role in the 1949 film All the King’s Men, and a similar nomination for her role in a movie adapted from the Edna Ferber novel, Giant.
Undoubtedly, her most exotic role was as the demon in the 1973 film The Exorcist, a novel by William Peter Blatty. To gain the horrific speech and breathing patterns and rhythms required, she forced herself to swallow raw eggs and be tied to a chair. Later, the magnificence of her performance would be marred, in the minds of many, by an exhaustive contractual dispute as to whether she had relinquished the right to the listing of her name among the credits. Given the pivotal nature of this demon who she made seem so credible, it is hard to conceive of how any controversy could have arisen. Still, given the decades, in addition to the elevation of this film’s classic, any behind-the-scenes squabbles and quarrels have been, in all probability, largely forgotten.
Her numerous roles on radio, in films, and on television can be easily found. In addition, the names and outlines of her two husbands and son are available in the briefest of profiles.
This book, starting with its opening sentence, made a connection deep within me, and I hope it will have the same impact upon future readers.
