Her teaming with the stunningly tragic Thelma Todd in a series of comedy shorts in the ’30s brought the zaftig Patsy Kelly fame and critical renown for her clowning abilities. But by the ’40s, her career had dried up. Hollywood was not ready to accept Kelly’s refusal to hide her lesbianism or to even downplay her preferences to the masses.
Unfortunately, this proud, unwavering stance forced her to live through some lean years. A friendship with the iconic Tallulah Bankhead (Die, Die, My Darling) carried her through the ’50s and ’60s. (Kelly worked both as a real life and on stage companion to that mercurial talent.) Thankfully, by the early ’70s (with many of the Tinsel Town executives who shunned her either forgotten or dead), Kelly found latter day success in a number of Broadway vehicles. These turns eventually found her gainful employment – of all places – in two Disney flicks, including Freaky Friday (with future notable Sapphic, Jodie Foster).
Thankfully, in 1968, this unforgettable performer (who also provided ample buffoonery to 1939’s The Gorilla with Bela Lugosi), also made a pit stop in Classic Terror Town with her affably odd performance of Laura-Louise in Rosemary’s Baby. Playing a character who is overly devoted to Rosemary’s demonic offspring, Kelly resonates most in her final moments of the film. But any time she is onscreen here, particularly when she is sharing space with fellow golden oldie Ruth Gordon, is a fine one – making this often overlooked entertainer, a true unsung heroine of horror!
Until the next time, SWEET love and pink GRUE, Big Gay Horror Fan!
Big Gay Horror Fan 