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!
When I was a pre-teen, my mother and I looked like we were exactly the same age. Other high schoolers would avoid us in movie theaters, sitting rows away, muttering to their friends that they wanted to watch the movie in peace. Their idea of fun wasn’t witnessing two kids holding hands and making out the entire time, fer christ’s sake! My mom, of course, ate this assumption up. I, quite understandably, was revolted. I would beg her to set the record straight. “Tell them we’re not boyfriend and girlfriend, mom,” I’d whisper as loudly as I could. But she would smile softly to herself and say, “Oh, I couldn’t possibly do that, Brian. It’s really not a big deal. Let them think what they want.”
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That Moore makes those supporting contemporaries an often sympathetic and aggregable bunch is another of this film’s strengths. Even as she tries to strangle the few tremulous ambitions that Henry retains, actress Victoria Posey brings a soft vulnerability to Patsy, Lyle’s needy, traumatized mother. Moore, himself, brings a ray of fun and energy into the film’s world with his take on the flamboyant Jarvis Coker, a zany addict who ingratiates himself into Henry’s life after they meet at a support group.
Big Gay Horror Fan 