Lurene Tuttle

Pleasant Lake, Indiana, USA

Biography

​From Wikipedia, the free encyclopedia.   Lurene Tuttle (August 29, 1907, Pleasant Lake, Indiana - May 28, 1986, Encino, California) was a character actress, who made transitions from vaudeville to radio, to films and television. Her most enduring impact was as one of network radio's most versatile actresses. Often appearing in 15 shows a week, comedies, dramas, thrillers, soap operas, and crime dramas, and she became known as the First Lady of Radio. Heaven Only Knows (1947) was her first film. She went on to roles in other films such as Orson Welles's Macbeth (1948), Mr. Blandings Builds His Dream House (1948) and Alfred Hitchcock's Psycho (1960), as the wife of Sheriff Chambers. In Don't Bother to Knock (1952) she portrayed a mother who lets a disturbed Marilyn Monroe babysit her daughter. The next year she appeared again with Marilyn in Niagara, as Mrs. Kettering. She had a rare starring role in Ma Barker's Killer Brood (1960). She played Grandma Pusser in the original Walking Tall film trilogy, and also appeared in horror films such as The Manitou (1978), starring Tony Curtis. Her final film role was in the 1983 film Testament. Tuttle became a familiar face to millions of television viewers with more than 100 appearances from 1950 to 1986, often in the role of an inquisitive busybody. On television and in films, Tuttle streamlined herself into a pattern of roles between wise, loving wives/mothers or bristling matrons. She was familiar to the early television audience as wife/mother Lavinia (Vinnie) Day in Life with Father (1953–1955). Columnist Hedda Hopper called the selection of Leon Ames as Father and Tuttle as Mother "what I consider 22 carat casting with two all-Americans." Description above from the Wikipedia article Lurene Tuttle, licensed under CC-BY-SA, full list of contributors on Wikipedia.

Movies

Matinee Theater is an American anthology series that aired on NBC during the Golden Age of Television, from 1955 to 1958. The series, which ran daily in the afternoon, was frequently live. It was produced by Albert McCleery, Darrell Ross, George Cahan and Frank Price with executive producer George Lowther. McCleery had previously produced the live series Cameo Theatre which introduced to television the concept of theater-in-the-round, TV plays staged with minimal sets. Jim Buckley of the Pewter Plough Playhouse recalled: When Al McCleery got back to the States, he originated a most ambitious theatrical TV series for NBC called Matinee Theater: to televise five different stage plays per week live, airing around noon in order to promote color TV to the American housewife as she labored over her ironing. Al was the producer. He hired five directors and five art directors. Richard Bennett, one of our first early presidents of the Pewter Plough Corporation, was one of the directors and I was one of the art directors and, as soon as we were through televising one play, we had lunch and then met to plan next week’s show. That was over 50 years ago, and I’m trying to think; I believe the TV art director is his own set decorator —yes, of course! It had to be, since one of McCleery’s chief claims to favor with the producers was his elimination of the setting per se and simply decorating the scene with a minimum of props. It took a bit of ingenuity.

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Matinee Theater
1955