Barbara Bates
Barbara Bates (August 6, 1925 – March 18, 1969) was an American actress and singer best known for her supporting role as the ambitious secretary Phoebe in the classic film All About Eve (1950).[1][2] Born Barbara Jane Bates in Denver, Colorado, as the eldest of three daughters to a postal clerk father and a registered nurse mother, she began her career as a ballet dancer and fashion model in her teens before transitioning to acting.[2] After winning a local beauty contest that earned her a trip to Hollywood, she signed a contract with Universal Pictures in 1944, debuting in the film Strange Holiday (1945) and appearing in bit parts in movies such as Salome Where She Danced (1945) and A Stolen Life (1946).[1][2] Her breakthrough came with a move to Warner Bros. in 1947, where she earned acclaim for supporting roles in films like My Reputation (1946) and June Bride (1948) alongside Bette Davis and Robert Montgomery, as well as The Inspector General (1949) with Danny Kaye.[2] Bates transitioned to 20th Century Fox, securing her most iconic role in All About Eve, directed by Joseph L. Mankiewicz, which highlighted her talent for portraying scheming yet vulnerable characters and earned the film six Academy Awards.[1] She continued with notable appearances in family comedies like Cheaper by the Dozen (1950) as Ernestine Gilbreth, while also venturing into television on shows such as It's a Great Life (1954–1955).[2] In her personal life, Bates married publicist Cecil Coan in 1945 after his divorce from his previous wife; they remained married until his death from cancer in 1967, during which she cared for him; she later wed William Reed in 1968 and converted to Catholicism.[1][2] Despite early promise, her career waned in the late 1950s due to typecasting, studio changes, and personal struggles with depression and insecurity, leading her to retire from acting by 1958 and return to Denver.[1][2] On March 18, 1969, at age 43, Bates died of carbon monoxide poisoning in her mother's garage in Denver, an incident ruled a suicide, reflecting the tragic end shared by several Hollywood figures of her era chronicled in works like Kirk Crivello's Fallen Angels.[1][2]Early life
Birth and family
Barbara Jane Bates was born on August 6, 1925, in Denver, Colorado.[1][3] She was the eldest of three daughters in her family; her father, Arthur William Bates, worked as a postal clerk, while her mother, Eva Irine Bates (née Jenkins), was a registered nurse.[3][4] The Bates family resided in Denver, where they maintained a middle-class lifestyle supported by their respective professions in public service and healthcare.[4] Bates grew up in a supportive household in Denver's urban environment, which offered exposure to local cultural activities that sparked her early interest in performance. Her mother, recognizing her shy nature, encouraged her involvement in such pursuits to build confidence.[4][5] This familial influence laid the groundwork for her later transition to modeling as a teenager.[4]Modeling and move to Hollywood
Bates began her artistic pursuits in Denver with ballet studies under instructor Claire Dane, continuing until she was 13 years old.[2] Encouraged by her family, she transitioned into teen fashion modeling around age 16 or 17, securing assignments for local publications and national magazines including Life and Yank, the Army Weekly.[2][6] Her work in these outlets highlighted her demure, dark-haired beauty and helped build her visibility in the industry.[6] In early 1944, at age 19, Bates accompanied her mother on a trip to Los Angeles after winning a local beauty contest that included a Hollywood visit.[2] During this excursion, she met United Artists publicist Cecil Coan, who recognized her potential and introduced her to producer Walter Wanger.[6] This connection led to Bates signing a contract with Universal Pictures in September 1944, prompting her and her mother to relocate permanently to the city to pursue opportunities in entertainment.[2][6] Transitioning from modeling, Bates quickly entered the film world as a contract player, taking on early bit parts and chorus roles that capitalized on her poised, youthful appearance.[2] These initial assignments at Universal allowed her to gain on-screen experience while continuing occasional modeling layouts, marking her evolution into a professional actress in Hollywood.[6]Career
Film debut and early roles
Barbara Bates signed her initial seven-year contract with Universal Pictures in September 1944, marking her entry into the film industry as a contract player.[6] Her modeling background, which included pin-up work and beauty contests, aided in securing these early opportunities by highlighting her wholesome, approachable appeal to studio executives.[7] Bates made her screen debut in the 1945 propaganda drama Strange Holiday, directed by Arch Oboler, where she portrayed Peggy Lee Stevenson, the daughter of an American businessman who returns home to find a fascist takeover.[8] The film, starring Claude Rains, provided Bates with her first credited role, though it was a modest supporting part in a low-budget production.[9] Following her debut, Universal loaned Bates to other studios, allowing her to appear in a series of minor and uncredited supporting roles from 1945 to 1948. These included bit parts as one of the Salome dancers in Salome Where She Danced (1945), a palace maiden in the biblical comedy Night in Paradise (1946), and a telephone operator in The Fabulous Joe (1947), a comedy short.[10] She also had uncredited appearances in films like Lady on a Train (1945) and a supporting role as Kim in My Reputation (1946, Warner Bros., on loan), often playing youthful, innocent characters that underscored her emerging ingénue persona.[10] In 1947, Bates signed with Warner Bros. As a contract player during this period, Bates encountered typical challenges of the studio system, including frequent typecasting in "girl-next-door" roles that emphasized her fresh-faced charm over dramatic depth.[11] This limited her to secondary positions in ensemble casts, such as her supporting turn as Barbara "Boo" Brinker in the romantic comedy June Bride (1948), opposite Bette Davis and Robert Montgomery, where she played the bubbly sister of the lead, and an uncredited role in Johnny Belinda (1948).[12] Despite these constraints, her consistent work in over a dozen films helped build visibility, though she remained far from stardom.[10]Breakthrough and peak success
Bates' career gained momentum in 1949 when she transitioned from Warner Bros. to 20th Century Fox, securing a contract that led to more prominent billing in major productions. This shift followed her dismissal from Warner Bros. for refusing a publicity trip, but Fox quickly capitalized on her appeal by casting her in key supporting roles that highlighted her charm and versatility.[13] A significant step forward came with her portrayal of Leza, the romantic scullery maid, in the Technicolor musical comedy The Inspector General (1949), directed by Henry Koster and starring Danny Kaye as the hapless traveler mistaken for an official. The film, adapted from Nikolai Gogol's play, was lauded for its lavish production, Kaye's comedic timing, and satirical take on corruption, earning praise as a "thoroughly commanding" entertainment dressed in "handsome color." Bates' performance was described as pretty, contributing to the lighthearted romance amid the farce.[14] The following year marked further ascent with her role as Ernestine Gilbreth, one of the twelve children, in the family comedy Cheaper by the Dozen (1950), based on the autobiographical book by Frank Bunker Gilbreth Jr. and Ernestine Gilbreth Carey. Starring Clifton Webb and Myrna Loy as the efficiency-expert parents, the Technicolor adaptation was celebrated as a "fast, funny" depiction of domestic chaos, blending humor with heartfelt moments and achieving commercial success at the box office. Bates' depiction of the teenage daughter added authenticity to the ensemble of young actors portraying the bustling Gilbreth household.[15] Bates' most notable film achievement during this period was her brief but impactful turn as Phoebe, the scheming high school fan, in Joseph L. Mankiewicz's All About Eve (1950), a sharp drama exploring ambition in the theater world. Featuring Bette Davis as the veteran star Margo Channing and Anne Baxter as the manipulative upstart Eve Harrington, the film received widespread critical acclaim for its "literate, adult" screenplay, sophisticated dialogue, and plush production under Darryl F. Zanuck. It garnered 14 Academy Award nominations, including Best Picture, tying the record at the time, and won six, solidifying its status as a Hollywood classic; Bates' closing scene as the wide-eyed yet calculating Phoebe underscored the film's theme of endless cycles of betrayal and aspiration.[16] In 1951, she appeared in the film noir thriller The House on Telegraph Hill, directed by Robert Wise, playing a supporting role in a story of deception and murder set against a Holocaust survivor's assumed identity. The film blended gothic suspense with noir elements, earning recognition for its atmospheric tension and Valentina Cortese's lead performance as the vulnerable protagonist. During her peak from 1949 to 1952, Bates was frequently highlighted in fan magazines like Photoplay and Modern Screen as an emerging talent, with industry observers predicting her rise to leading lady status based on her fresh-faced allure and growing list of credits.[17]Television work
Following her success in films such as All About Eve, Bates received television offers that marked her entry into the medium.[18] She landed her first major TV role starring as Katy Morgan, the spirited daughter in a military family, in the NBC sitcom It's a Great Life.[19] The series, which aired from 1954 to 1956 and ran for 78 episodes across two seasons, followed two ex-GIs navigating civilian life while rooming with a widowed mother and her family at a trailer park near Hollywood.[20] Bates appeared in 21 episodes during the first season, portraying the young Katy alongside co-stars Michael O'Shea, William Bishop, and James Dunn.[21] The role in It's a Great Life boosted Bates' visibility in the rapidly expanding television landscape of the 1950s, where sitcoms were gaining popularity as family entertainment.[22] It allowed her to adapt her film experience—characterized by expressive supporting parts—to the more intimate, character-driven format of weekly TV series, often involving multi-camera setups and audience-friendly narratives.[10] Although much of early TV relied on live broadcasts for anthologies, It's a Great Life was produced on film, enabling Bates to deliver consistent performances suited to syndication and home viewing.[20] Prior to and alongside her starring role, Bates made guest appearances on prominent anthology programs, showcasing her versatility in dramatic and light roles. In 1952, she appeared on Lux Video Theatre, an NBC series adapting popular stories for television.[23] The following year, she guest-starred on Schlitz Playhouse of Stars, a CBS anthology known for its high-profile rotating casts and original teleplays.[23] The series concluded after its second season in 1956, after which Bates' TV work became more infrequent, limited to occasional guest spots such as on The Millionaire in 1955 and The George Burns and Gracie Allen Show in 1958.[23]Career decline
Following the conclusion of her successful television series It's a Great Life in 1956, Barbara Bates faced increasing difficulty in securing prominent roles in either film or television. Her post-series film work was confined to small supporting parts, such as in the British mystery Town on Trial (1957), where she played Elizabeth Fenner, and the Western Apache Territory (1958), opposite Rory Calhoun.[10] These limited opportunities reflected broader industry transitions in late-1950s Hollywood, including the erosion of the studio system and a growing emphasis on younger, more versatile talent that marginalized actors typecast in wholesome, girl-next-door roles like Bates'. Personal factors further compounded her professional setbacks, as health-related issues resulted in unreliable attendance and led to her being written out of or dropped from multiple assignments, including during the run of It's a Great Life. In a bid to revitalize her career, Bates signed a contract with the Rank Organisation in England for a potential comeback, but she was released after exhibiting instability on set. By the early 1960s, her appearances had become exceedingly rare, culminating in a minor guest role as Helen Ravenna in the The Saint episode "The Loaded Tourist" (1962), marking her final credited performance and leading to her de facto retirement from acting.[24]Personal life
Marriages and relationships
Bates' first significant romantic involvement was with Cecil Sidney Coan, a 45-year-old publicist for United Artists who was married and the father of three sons at the time. The pair began an affair in early 1945, which drew scandal in Hollywood due to the 26-year age gap and Coan's marital status; he quickly divorced his wife Helen and secretly wed Bates on March 27, 1945, in Chihuahua, Mexico.[2] Their union provided Bates with personal stability amid her rising career, though it integrated her into a blended family as stepmother to Coan's children, with no offspring of their own.[2] The marriage endured for over two decades until Coan's death from cancer on January 25, 1967. Bates, then 42, reportedly struggled with the loss, which compounded the emotional toll of her earlier personal challenges.[2] In December 1968, Bates remarried William Reed, a sportscaster and her childhood acquaintance from Denver, seeking renewed companionship after years of widowhood. Around this time, she formally converted to Roman Catholicism.[25][2] The relationship, marked by familiarity from their shared past, offered brief respite but ended abruptly four months later with Bates' death.[2]Health challenges
In the mid-1950s, as Barbara Bates' acting career stalled after early successes in films like All About Eve (1950), she began grappling with deepening depression and severe mood swings, symptoms of untreated mental illness that had surfaced earlier in her Hollywood tenure. These struggles were intensified by industry pressures, including typecasting in supporting roles, career setbacks such as losing the lead in Limelight (1952) to another actress, and the exploitative environment of studios like Columbia, where she faced unwanted advances from executives.[26] Personal tragedies compounded her emotional turmoil, particularly the prolonged illness and death of her husband, Cecil Coan, from cancer in January 1967; Coan had been diagnosed in 1960, forcing Bates to balance caregiving with sporadic work amid financial strain from poor investments. Earlier, in 1956, she suffered a nervous breakdown while filming in England, highlighting the cumulative toll of professional instability and isolation.[5][26] Bates made multiple suicide attempts reflecting the severity of her condition, including another in the early 1960s—reported in contemporary tabloids—when she slashed her wrists in distress over Coan's deteriorating health. Rushed to Cedars-Sinai Hospital, she survived but received only acute medical intervention rather than sustained psychiatric care. Subsequent efforts at treatment, such as brief stays in medical facilities, proved largely unsuccessful in stabilizing her, as her symptoms persisted and eroded her professional dependability.[11][27]Death
Final years
Following the death of her first husband, Cecil Coan, from cancer in January 1967, Bates relocated from California back to her hometown of Denver, Colorado, later that year.[28] Devastated by the loss, she moved in with her mother, Eva Bates, in an effort to rebuild her personal life amid growing isolation.[6] In late 1968, Bates entered a brief second marriage to William Reed, a childhood friend and sportscaster, with hopes of achieving some measure of stability.[4] The union, however, offered little respite, as she continued to withdraw from public view, limiting her social interactions to a small circle of family and acquaintances.[29] Financially strained after her Hollywood career ended, Bates became dependent on her family's support while taking occasional low-paying jobs, such as a nurse's aide, to make ends meet.[6] Her ongoing struggles with depression further compounded her reclusive existence during this period.[4]Suicide and aftermath
On March 18, 1969, Barbara Bates died by suicide at the age of 43 from carbon monoxide poisoning after locking herself in her mother's garage in Denver, Colorado, with a car engine running.[4] Her mother discovered the body upon returning home and finding the garage sealed.[6] The coroner's report ruled the death an intentional act, linked to ongoing depression.[1] Bates was buried at Crown Hill Cemetery in Wheat Ridge, Colorado, following a private funeral service attended only by close family members.[1] Her death was portrayed in contemporary media as a poignant symbol of faded Hollywood promise.Filmography
Feature films
Barbara Bates appeared in approximately 25 feature films between 1945 and 1958, primarily in supporting roles, with several uncredited early appearances. Her debut was an uncredited part in a Universal Pictures production, and she later gained notice through roles at studios like 20th Century Fox and Warner Bros.[10] The following table lists her feature film credits in chronological order, including role details and notes on credit type and studio affiliation where applicable.| Year | Title | Role | Notes |
|---|---|---|---|
| 1945 | Strange Holiday | Uncredited; debut; Universal Pictures[10] | |
| 1945 | Lady on a Train | Hat Check Girl | Uncredited; Universal Pictures[10] |
| 1945 | The Crimson Canary | Uncredited; Universal Pictures[10] | |
| 1945 | Salome Where She Danced | Salome Dancer | Uncredited; supporting; Universal Pictures |
| 1945 | This Love of Ours | Mrs. Dailey | Uncredited; supporting; Universal Pictures |
| 1946 | A Stolen Life | Uncredited; supporting; Warner Bros.[10] | |
| 1946 | A Scandal in Paris | Flea Circus Girl | Uncredited; supporting; United Artists |
| 1946 | My Reputation | Susan Van Orman | Supporting; Warner Bros.[10] |
| 1946 | Night in Paradise | Palace Maiden | Uncredited; Universal Pictures[10] |
| 1947 | The Fabulous Joe | Chorine | Uncredited; supporting; Eagle-Lion Films |
| 1948 | Romance on the High Seas | Girl at Wedding | Uncredited; supporting; Warner Bros. |
| 1948 | June Bride | Jeanne S. Brinker | Supporting; Warner Bros. |
| 1948 | Johnny Belinda | Girl at Party | Uncredited; supporting; Warner Bros. |
| 1949 | The Inspector General | Leza | Supporting; Warner Bros. |
| 1950 | Quicksand | Helen Calder | Supporting; United Artists |
| 1950 | All About Eve | Phoebe | Supporting; 20th Century Fox |
| 1950 | Cheaper by the Dozen | Ernestine Gilbreth | Supporting; 20th Century Fox |
| 1951 | I'd Climb the Highest Mountain | Jenny Brock | Supporting; 20th Century Fox |
| 1951 | The Secret of Convict Lake | Barbara Purcell | Supporting; 20th Century Fox |
| 1951 | Let's Make It Legal | Joyce Mannering | Supporting; 20th Century Fox |
| 1952 | Belles on Their Toes | Ernestine Gilbreth | Supporting; 20th Century Fox |
| 1953 | The Caddy | Lisa Anthony | Supporting; Paramount Pictures |
| 1954 | Rhapsody | Effie Cahill | Supporting; Metro-Goldwyn-Mayer |
| 1957 | Town on Trial | Elizabeth Fenner | Supporting; Columbia Pictures |
| 1958 | Apache Territory | Jennifer Fair | Lead; Republic Pictures |
Television appearances
Barbara Bates's television career was relatively brief but featured a prominent regular role alongside several guest spots in anthology and drama series during the 1950s and early 1960s. Her work on the small screen often highlighted her talent for portraying relatable, everyday characters, building on her film experience. Her breakthrough in television came with the lead role of Cathy "Katy" Morgan, the spirited daughter in a boarding house family, in the NBC sitcom It's a Great Life (1954–1956). Bates appeared in all 78 episodes of the series, which followed the lives of ex-servicemen and their landlady near a military base.[19] Beyond this series, Bates made notable guest appearances in popular programs:- The George Burns and Gracie Allen Show (1952) – Guest role in the episode "The English Dot" (Season 3, Episode 11).
- Matinee Theatre (1955) – Appeared in two episodes, including adaptations of dramatic shorts.
- The Millionaire (1955) – Marian Curtis in the episode "The Uncle Robby Story" (Season 1, Episode 26).
- Studio One (1956) – Guest in a summer stock episode focused on theatrical themes.
- The Saint (1962) – Helen Ravenna in the episode "The Loaded Tourist" (Season 1, Episode 7).[24]