Fact-checked by Grok 2 weeks ago

Anabel Shaw

Anabel Shaw (born Marjorie Henshaw; June 24, 1921 – April 16, 2010) was an American actress and writer best known for her supporting roles in film noir and other Hollywood productions during the 1940s and 1950s. Born in Oakland, California, she adopted the stage name Anabel Shaw early in her career and appeared in notable films such as Shock (1946), Secret Beyond the Door... (1948), and Gun Crazy (1950), often portraying complex or dramatic characters in a mix of lead and supporting parts. After retiring from acting in the mid-1950s, she pursued writing, publishing the novel Quintet in Asia Minor in 2010, and made occasional television appearances later in life. Shaw graduated from the , in 1943, where she studied drama, and trained at the Neely Dixon School of Drama before signing contracts with and later 20th Century Fox in 1946. Her film debut came in 1944 with Here Come the Waves, and she continued working steadily through the decade, contributing to the golden age of film noir with performances that highlighted her versatility in suspenseful narratives. Personally, she was married twice: first to sociologist Joseph B. Ford from 1948 until their divorce in 1986, with whom she had three children—Anabel, , and —and later to George "Hap" Skopecek from 1986 until his death in 1992. In her later years, Shaw resided in , where she battled before her death at age 88; her body was donated to UCLA Medical School for research. Her legacy endures through her contributions to classic cinema, particularly in that have gained status over time.

Early Life

Birth and Family

Anabel Shaw was born Marjorie Henshaw on June 24, 1921, in Oakland, California. She was the second daughter, with an older sister Elinore Jane, of Ransom Henshaw, a real estate broker, and Elinore Earl Henshaw. The family had deep roots in California, with connections to the lumber industry in Mendocino, land development in Owens Valley, and water resources at Lake Almanor. Her grandfather, Guy Chaffee Earl, was a prominent attorney, state senator, and regent of the University of California. Shaw spent her early childhood in Oakland before the family relocated to during the . Within this environment, her interest in began to emerge, supported by her despite initial opposition from her father, who disapproved of a career in film. This familial dynamic, amid her exposure to through early , influenced her path toward adopting the stage name Anabel Shaw upon entering the acting profession.

Education

Anabel Shaw, born Marjorie Henshaw, attended the private Marlborough School for Girls in , graduating from high school there before pursuing higher education. She enrolled at the , where she earned a degree in 1943. Following her graduation, Shaw pursued formal acting training at the Neely Dixon School of Drama in to prepare for a career in film and theater.

Acting Career

Early Roles

Anabel Shaw, born Marjorie Henshaw, adopted her upon signing a contract with 20th Century Fox in 1946, marking her formal entry into the industry under a professional moniker. Shaw's film debut came in 1944 with the Paramount musical comedy Here Come the Waves, directed by , where she played the supporting role of Isabel, a WAVE recruit, appearing alongside stars and in this wartime entertainment promoting naval service. Credited initially as Marjorie Henshaw, the film showcased her in ensemble scenes amid the production's patriotic theme, reflecting the era's emphasis on morale-boosting cinema. She followed with additional 1946 roles in Strange Triangle as Betty Wilson, One More Tomorrow as a secretary, and Home Sweet Homicide as . Following her debut, Shaw took on more prominent supporting parts, including the lead female role in the 1946 film noir Shock, directed by Alfred L. Werker for 20th Century Fox. In it, she portrayed Janet Stewart, a fragile wife who witnesses a psychiatrist's murder of his unfaithful spouse and subsequently suffers a catatonic breakdown, enduring institutionalization and psychological torment. Contemporary reviews praised the film's taut suspense, with Shaw's portrayal of hysteria and vulnerability earning notice for its emotional depth in a cast dominated by Vincent Price and Lynn Bari. In 1947, Shaw appeared in the Columbia mystery Bulldog Drummond Strikes Back, directed by Frank McDonald, playing Ellen Curtiss #2, an imposter posing as a missing heiress in a plot involving intrigue and impersonation alongside Ron Randell as the detective. Her dual role with Gloria Henry, who played the genuine heiress, added layers of deception to the adventure, receiving favorable mentions for the film's brisk pacing and the actresses' convincing contrast in the thriller format. After graduating from the , in 1943 with a background in drama studies at the Neely Dixon School of Drama, Shaw transitioned to amid World War II's final years, a time when the industry faced material shortages and shifted toward propaganda productions, yet offered breakthroughs for emerging talents spotted by scouts like those from , where she initially screen-tested. This period's demands for versatile performers enabled her rapid progression from student to contract player despite the era's logistical hurdles.

Notable Films

Anabel Shaw reached the height of her film career between 1947 and 1950, appearing in a series of supporting roles in genre films that showcased her versatility in noir and thriller contexts. During this period, she contributed to several low-budget productions that gained cult followings for their stylistic innovations and thematic depth, though she received no major award nominations. One of Shaw's early standout roles in this phase was as the Intellectual Sub-Deb in Fritz Lang's psychological thriller Secret Beyond the Door... (1947), where she appears at a garden party and delivers a line suggesting psychoanalysis could prevent murders in Mark Lamphere's collection of deadly rooms, embodying a smug, detached intellectualism that underscores the film's Freudian undertones of marital paranoia and hidden traumas. The film, starring Joan Bennett and Michael Redgrave, explores a woman's growing suspicion that her architect husband intends to kill her, blending gothic suspense with surreal dream sequences to heighten its atmospheric tension. Shaw's brief but pointed contribution highlights the ensemble's role in amplifying the protagonist's psychological unraveling. In High Tide (1947), Shaw portrayed Dana Jones, the secretary to newspaper publisher Clinton Vaughn, whose character arc begins with reluctant coercion by leader Nick Dyke, leading her to leak information before confessing her remorse to Tim Slade and actively aiding his probe into . This noir drama, directed by John Reinhardt, follows Slade's entanglement in a wreck where Fresney recounts a tale of gang violence, shootings, and a hidden , with Jones's transition from to ally emphasizing themes of amid escalating betrayals. Shaw's performance adds emotional layers to the film's critique of urban vice and moral compromise. Shaw's role as Mrs. Jean Albert in City Across the River (), an adaptation of Irving Shulman's , casts her as the supportive wife of community center director Stan Albert, briefly assisting in rescuing a girl during a gang brawl at a , representing the stabilizing family influence strained by Brooklyn youth delinquency. The film depicts teenager Frankie Cusack's navigation of home life versus his involvement with "The Dukes" , culminating in tragedy after an accidental shooting and rooftop chase, with Shaw's character underscoring the community's futile efforts to counter urban crime's pull on the young. Her arc, though concise, ties into the narrative's focus on ethical dilemmas and societal neglect. Perhaps Shaw's most enduring contribution came in Joseph H. Lewis's Gun Crazy (1950), where she played Ruby Tare Flagler, the older sister who raised protagonist Bart Tare after their parents' death and defends his character during a childhood hearing by attributing his gun fixation to trauma from accidentally killing a chick. As Bart () spirals into a crime spree with sharpshooter Laurie Starr (), Ruby provides a familial anchor when the fugitives seek refuge at her home, her protective interactions with Dall conveying a deep sibling bond that grounds the film's exploration of obsession and fatal attraction. Inducted into the in 1998, Gun Crazy endures as a noir landmark for its long-take bank heist and influence on later crime dramas like , with Shaw's role enhancing the emotional stakes of the Tare family's dysfunction.

Later Appearances and Retirement

Following her peak in the late 1940s, Anabel Shaw's film roles became increasingly sparse, reflecting a transition to supporting parts in mid-1950s Westerns and dramas. In 1955, she portrayed Helen, the sister of protagonist Audie Murphy, in the biographical war film To Hell and Back, directed by Jesse Hibbs. That same year, Shaw appeared as Ann Clark (uncredited), the wife of the town marshal, in the Western At Gunpoint, starring Fred MacMurray and directed by Alfred L. Werker. These uncredited or minor roles marked her final substantial contributions to cinema before a prolonged hiatus. Shaw supplemented her declining film work with several television appearances in the late 1950s, capitalizing on the medium's growing popularity. She guest-starred as Rhoda Forbes in the 1957 episode "The Deadly" of Alfred Hitchcock Presents, a suspense anthology series, where her character supports the central blackmail plot. In 1958, she featured in the episode "The Parrish Gang" of the Western series 26 Men, portraying a supporting role in a story involving a lawman's undercover operation. Additionally, Shaw appeared as Miss Leonard in the 1958 episode "Little Luke's Education" of The Real McCoys, a family sitcom, where her character interacts with the elderly Grandpa Amos McCoy in a school setting. By the mid-1950s, Shaw effectively retired from acting to focus on family life after her 1948 marriage to sociologist Joseph B. , with whom she raised three children while living abroad and in . Her professional output dwindled to occasional uncredited work, including a brief appearance as a nurse in the 1971 The Mephisto Waltz, directed by and starring . Despite this rare return over a decade later, Shaw made no major comebacks, prioritizing personal commitments over her career.

Personal Life

Marriages and Family

Anabel Shaw, born Marjorie Henshaw, married sociologist Joseph Brandon Ford on December 11, 1948. Their marriage lasted until their divorce in 1986, during which time Shaw largely set aside her acting career to support Ford's academic pursuits and raise their family. The couple had three children: daughters Anabel Ford and Cecilia Ford, and son Stephen Ford. Family life involved frequent relocations tied to Ford's professional positions, including extended stays abroad in and the during the 1950s and 1960s, which further paused Shaw's involvement in . Following her divorce, Shaw married George Randolph "Hap" Skopecek in , a longtime acquaintance from her earlier years in . Skopecek, born in 1917, passed away on April 20, 1992, after the couple had relocated to Oakland in 1988. Shaw became a to Skopecek's children from a previous , integrating into an network that included her own grown children and grandchildren. Her son later gave her two grandchildren, Elinore and Tyler. Eldest daughter Anabel pursued , while Cecilia lived in . These family ties provided Shaw with a supportive circle in her later decades, emphasizing her shift from public life to private familial roles.

Later Years

Following the dissolution of her first marriage to Joseph Ford in 1986, Anabel Shaw remarried George Randolph Skopecek in 1986 and relocated to , in 1988, where she began a new chapter marked by community engagement, including involvement with the Oakland Museum. During this period, she also participated in local theater by acting in plays at the Claremont Club, reflecting her ongoing interest in the away from Hollywood productions. After Skopecek's death in 1992, Shaw moved to , where she resided for the remainder of her life, first in a home on Miradero and later at the Vista del Monte due to considerations. In , she embraced a more private retirement, focusing on personal and social pursuits such as home decorating, attending symphony performances, and hosting thematic gatherings with friends. Her activities included community-oriented events, like a screening of her 1946 film Shock! at Vista del Monte, and travel with family to destinations including , Mendocino, , , , and . Shaw's later interests aligned with her education, emphasizing cultural and intellectual engagements through her support of local arts and social circles, while maintaining close relationships with her children and grandchildren. This phase represented a deliberate shift from her earlier public career in to a quieter, family-centered existence, distanced from the entertainment industry.

Death and Legacy

Death

Anabel Shaw, born Marjorie Henshaw, passed away on April 16, 2010, in , where she had resided for many years, at the age of 88. The cause of death was , following a determined struggle with the aggressive form of the disease. In the immediate aftermath, Shaw's body was donated to the UCLA Donated Body Program, reflecting her commitment to medical science in her final act. No traditional service or was reported; instead, her remains contributed to anatomical and at the . She was survived by her three children—Anabel, Cecilia, and Stephen Ford—from her first marriage to sociologist Joseph B. Ford, as well as two grandchildren, Elinore (age 10) and Tyler (age 5). Her second husband, George Randolph "Hap" Skopecek Jr., to whom she had been married since 1988, had predeceased her in 1992. The family was acknowledged in her obituary published later that year, highlighting their presence in her life during her later years in Santa Barbara.

Legacy

Anabel Shaw's legacy endures primarily through her supporting roles in classic productions of the and , particularly her portrayal of Ruby Tare Flagler in Gun Crazy (1950), a film that has achieved lasting acclaim as a B-movie masterpiece. The movie, directed by , was selected for preservation in the United States in 1998 for its cultural, historical, and aesthetic significance, recognizing its innovative storytelling and stylistic flair in depicting a spree driven by obsession. Modern retrospectives continue to celebrate Gun Crazy for its blend of erotic tension and existential dread, with festival screenings such as the UCLA Festival of Preservation's 2013 restoration premiere underscoring its influence on the genre. Shaw's performance as the sister of the contributes to the film's intimate family dynamics, enhancing its exploration of flawed characters amid moral decay. Biographical accounts and obituaries portray Shaw as a distinctive presence in Hollywood's B-movie landscape, often noted for her poised and intelligent screen persona in supporting parts that added depth to ensemble casts. Sources like film databases and memorial notices highlight her work in noir staples such as Shock (1946) and Gun Crazy, positioning her as an underrecognized talent from the studio era who brought elegance to low-budget thrillers. In later years, Shaw engaged with her legacy by appearing at a 2000s screening of Shock in Santa Barbara, where she fielded questions about her Hollywood experiences, fostering appreciation among film enthusiasts. While Shaw's career did not yield widespread stardom, her contributions have inspired retrospective interest in the roles available to women in supporting cinema, with critiques emphasizing how performers like her elevated genre films through subtle emotional layering. This recognition persists in academic and archival discussions of , where her body of work exemplifies the era's blend of artistry and commercial constraints.

References

  1. [1]
    Anabel Shaw (1921-2010) - Find a Grave Memorial
    Actress. She is remembered for her roles in the films "Shock" (1946, with Vincent Price and Lynn Bari), "Secret Beyond the Door..." (1947, with Joan Bennett and ...
  2. [2]
    Marjorie Henshaw AKA Anabel Shaw - The Santa Barbara ...
    Oct 8, 2010 · Marjorie Henshaw, actress and writer, died on 16 April 2010 after a valiant effort to keep Triple Negative Breast cancer at bay.
  3. [3]
    Anabel Shaw(1921-2010) - IMDb
    Anabel Shaw was born on 24 June 1921 in Oakland, California, USA. She was an actress, known for Here Come the Waves (1944), Gun Crazy (1950) and Bulldog ...
  4. [4]
    Anabel Shaw - Biography - IMDb
    Anabel Shaw was born on June 24, 1921 in Oakland, California, USA. She was an actress, known for Here Come the Waves (1944), Gun Crazy (1950) and Bulldog ...<|control11|><|separator|>
  5. [5]
    Marjorie Henshaw (1921–2010) - Ancestors Family Search
    Anabel Shaw was born Marjorie Henshaw on June 24, 1921 in Oakland, California. She was the second daughter of Ransom Henshaw, a real estate broker, and Eleanor ...
  6. [6]
    Here Come the Waves (1944) - IMDb
    Rating 6.1/10 (508) Anabel Shaw · Isabel; (as Marjorie Henshaw). Terry Adams · Wave ... first aired in Phoenix Wednesday 19 August 1959 on KVAR (Channel 12); it was ...Missing: debut | Show results with:debut
  7. [7]
    AFI|Catalog
    Here Come the Waves (1944). 99-100 mins | Musical comedy | 1944. Cast: Bing ... Anabel Shaw. Marjorie Henshaw. Isabel · Harry Barris · Band leader · Mae Clarke.
  8. [8]
    Shock (1946) - IMDb
    Rating 6.3/10 (3,621) In San Francisco, Mrs. Janet Stewart (Anabel Shaw) checks in a hotel late night to meet her husband Lieutenant Paul Stewart (Frank Latimore).
  9. [9]
    Shock (1946) - A Shroud of Thoughts
    Nov 16, 2023 · The review in Variety described Shock (1946) as "good enough for top billing in many spots" and stated that it "should contribute strongly to ...Missing: critical reception
  10. [10]
    Bulldog Drummond Strikes Back (1947) - IMDb
    Rating 6.4/10 (130) A Scotland Yard Inspector, seeking a missing heiress, is murdered in his own home. Bulldog Drummond finds one of the two women claiming to be the real heiress.
  11. [11]
    Bulldog Drummond Strikes Back (1947) - Turner Classic Movies - TCM
    Cast & Crew ; Frank Mcdonald. Director ; Ron Randell. Bulldog Drummond ; Gloria Henry. Ellen Curtiss ; Pat O'moore. Algy Longworth ; Anabel Shaw. Ellen Curtiss #2 ...
  12. [12]
    Secret Beyond the Door (1948) - Turner Classic Movies - TCM
    Anabel Shaw. Intellectual sub-deb · Rosa Rey. Paquita · James Seay. Bob Dwight · Mark Dennis. David [Lamphere] · Virginia Brissac. Sarah · Houseley Stevenson.<|separator|>
  13. [13]
    Secret Beyond the Door - AFI|Catalog - American Film Institute
    Paul Cavanagh. Paul Cavanaugh. Rick Barrett · Anabel Shaw · Intellectual sub-deb · Rosa Rey · Paquita · James Seay · Bob Dwight · Mark Dennis · David [Lamphere].
  14. [14]
    High Tide (1947) - Turner Classic Movies - TCM
    A reporter hires a bodyguard to protect him from a gang boss he has been investigating. After a car accident traps the two of them inside the car with the ...
  15. [15]
    High Tide (1947) - IMDb
    Rating 6.4/10 (755) Top Cast14 ; Lee Tracy · Hugh Fresney ; Don Castle · Tim Slade ; Julie Bishop · Julie Vaughn ; Anabel Shaw · Dana Jones ; Regis Toomey · Inspector O'Haffey.
  16. [16]
    City Across the River
    ### Plot Summary
  17. [17]
    Gun Crazy (1950) - Turner Classic Movies - TCM
    Anabel Shaw. Ruby Tare. Photos & Videos. View All. Gun Crazy - Lobby Cards. 4 Photos. Gun Crazy (1949) -- (Movie Clip) You Can Sure Scare Him Off · Gun Crazy ( ...
  18. [18]
    To Hell and Back (1955) - Full cast & crew - IMDb
    To Hell and Back (1955) - Cast and crew credits, including actors, actresses ... Anabel Shaw · Helen. Mary Field in Ministry of Fear (1944). Mary Field.
  19. [19]
    Full cast & crew - At Gunpoint (1955) - IMDb
    At Gunpoint (1955) - Cast and crew credits, including actors, actresses ... Anabel Shaw · Ann Clark. (uncredited). Harry Strang · Harry Strang.
  20. [20]
    "Alfred Hitchcock Presents" The Deadly (TV Episode 1957) - IMDb
    ... Alfred Hitchcock Presents" The Deadly (TV Episode 1957) - Cast and ... Anabel Shaw · Anabel Shaw · Rhoda Forbes. Peggy McCay in Days of Our ...
  21. [21]
    "26 Men" (Russell Hayden production) Season 1 (1957-58)
    Anabel Shaw Hal Hopper Synopsis: Travis poses as a bank robber to learn the location of a gang's hide-out. [RF] 1.25 [--] 26 Men: HOAX AT GLOBE (copyright title)
  22. [22]
    Anabel Shaw - TV Guide
    Anabel Shaw. Profession Actress. Actress. 25 Credits. The Mephisto Waltz as Nurse ... Here Come the Waves. Self. 1 Credit. Mad Movies with the L.A. Connection.
  23. [23]
    The Mephisto Waltz (1971) - Full cast & crew - IMDb
    Anabel Shaw · Anabel Shaw · Nurse. (uncredited). William Stevens · William Stevens · Detective Investigating Bill's Death. (uncredited). Tim · Tim · Robin.
  24. [24]
    MARJORIE HENSHAW obituary, Santa Barbara, CA - Legacy.com
    Sep 26, 2010 · HENSHAW, MARJORIE 24 June 1921 - 16 April 2010AKA ANABEL SHAW ... Ford to build an academic life and family. She divorced in 1987, married ...
  25. [25]
    Marjorie Henshaw Obituary (2010) - Los Angeles, CA - Legacy
    Oct 3, 2010 · Marjorie Henshaw Aka Anabel Shaw 24 June 1921 - 16 April 2010 ... marrying Sociologist Joseph Ford to build an academic life and family.Missing: marriages | Show results with:marriages
  26. [26]
    Gun Crazy (1950) - Anabel Shaw as Ruby Tare Flagler - IMDb
    Peggy Cummins and John Dall in Gun Crazy (1950). Anabel Shaw: Ruby Tare Flagler. Gun Crazy. Anabel Shaw credited as playing... Ruby Tare Flagler. Quotes1.
  27. [27]
    Complete National Film Registry Listing - The Library of Congress
    Gun Crazy aka Deadly Is the Female, 1949, 1998. The Hitch-Hiker, 1953, 1998. The Immigrant, 1917, 1998. The Last Picture Show, 1971, 1998. Little Miss Marker ...
  28. [28]
    [PDF] UCLA FESTIVAL PRESERVATION
    Our Festival opens with the restoration of Gun Crazy (1950), directed by. Joseph H. Lewis, and one of the most celebrated films noir made on Holly- wood's ...
  29. [29]
    Gun Crazy | Rotten Tomatoes
    Rating 91% (66) Well-acted and strikingly filmed, Gun Crazy (Deadly Is the Female) delves into the darkness of human nature with noir-fueled B-movie flair.