Una Merkel
Una Merkel (December 10, 1903 – January 2, 1986) was an American actress renowned for her versatile supporting roles in over 100 films, as well as her work on stage and television, spanning Hollywood's Golden Age from the silent era through the 1960s.[1][2] Born in Covington, Kentucky, as the only child of Arno and Elizabeth Merkel, she began her career as a teenager touring Southern stock companies and studying at the Alviene School of Dramatic Art in New York City.[1] Merkel's breakthrough came on Broadway in 1927 with a role in Coquette alongside Helen Hayes, after which her resemblance to Lillian Gish landed her a stand-in position for Gish in the 1928 silent film The Wind.[1][3] She transitioned to sound films with her debut in The Truth About Youth (1930) and, under contract with MGM from 1932 to 1938, appeared in nearly 60 pictures, often portraying sassy, wisecracking best friends or sisters to leading ladies like Jean Harlow, Barbara Stanwyck, and Myrna Loy.[1][4] Notable films include Abraham Lincoln (1930), The Maltese Falcon (1931), 42nd Street (1933), Red-Headed Woman (1932), and her iconic hair-pulling brawl with Marlene Dietrich in Destry Rides Again (1939).[5][6] In the 1940s and 1950s, Merkel diversified into radio shows like The Great Gildersleeve and television appearances, while returning to Broadway for acclaimed performances, including her Tony Award-winning role as Edna Earle in The Ponder Heart (1956).[1][7] She received an Academy Award nomination for Best Supporting Actress for her portrayal of Pearl Burden, the sympathetic mother figure, in Tennessee Williams' Summer and Smoke (1961), opposite Geraldine Page.[7] Her final film was Spinout (1966) with Elvis Presley, after which she retired to Los Angeles, where she passed away at age 82; she was buried in Fort Mitchell, Kentucky, beside her parents.[1][2] Merkel also earned a star on the Hollywood Walk of Fame in 1960 for her contributions to motion pictures.[3]Early life
Childhood and family background
Una Merkel was born on December 10, 1903, in Covington, Kentucky, as the only child of Bessie (née Phares) Merkel[8] and Arno Merkel.[1] Her father worked as a traveling salesman and inventor, holding a patent for an electrical audio phonograph amplifier.[1] The family resided initially at Fourth and Greenup Streets in Covington, but Merkel's early years were marked by frequent moves across the Southern United States due to her father's unstable employment, including tours through various states that contributed to a nomadic childhood.[1][9] The Merkels were devout Methodists, and young Una participated actively in the choir at Union Methodist Episcopal Church (later renamed First United Methodist Church) in Covington, an involvement that reflected the family's strong religious values and exerted a lasting influence on her personal principles throughout her life.[1] This faith-based upbringing provided stability amid the relocations, fostering a sense of community and moral grounding in her formative environment. Her mother Bessie, who tragically died by suicide in 1945, shared these family ties during Una's childhood.[10] From an early age, Merkel bore a striking physical resemblance to silent film star Lillian Gish, a likeness first observed within her family and later pivotal in her entry into the entertainment world.[11] These childhood experiences, shaped by mobility and familial piety, laid the groundwork for her resilient character before her teenage years brought further changes.Education and initial aspirations
At the age of fifteen, Una Merkel's family relocated from Covington, Kentucky, to Philadelphia, Pennsylvania, where she attended and graduated from high school.[12][6] This move marked a transitional period in her youth, providing exposure to a larger urban environment that influenced her emerging interests in performance. Following her time in Philadelphia, which lasted approximately one year, Merkel's family settled in New York City in the early 1920s, driven by her growing ambitions in acting.[12][13] In 1920, she enrolled at the Alviene School of Dramatic Art in New York, a prominent institution for aspiring performers.[6][1] At the Alviene School, Merkel received formal training in dramatic arts, emphasizing techniques essential for stage presence, such as delivery of lines, personal appearance through makeup and deportment, histrionic talent via pantomime and emotional expression, and the capacity for dramatic characterization. These elements were integrated into courses that combined acting with practical rehearsals and public student performances to build confidence and polish. Her studies focused on self-expression, interpretive skills, and the unity of voice, movement, and characterization, preparing her for professional opportunities. Merkel's initial foray into cinema came in 1923 with an uncompleted silent film titled World Shadows, where she was cast in a minor role as the youngest sister of Lillian Gish, owing to her physical resemblance to the star.[14][12] The production, intended as an early showcase for her talents, was abandoned due to insufficient funding, resulting in no screen credit for Merkel and serving primarily as her first exposure to the film industry.[14][12]Career
Stage and early performances
Una Merkel entered the professional theater scene in New York during the mid-1920s, following her initial acting training in Kentucky and brief stints as a stand-in for Lillian Gish in silent films. Her Broadway debut came in small supporting roles, including a bit part in the short-lived comedy Two by Two (1925), where she delivered just one line as part of the marriage license bureau ensemble, and similar uncredited chorus work in productions like The Poor Nut (1925). These early appearances allowed her to build experience in the vibrant New York theater milieu, honing her skills in ensemble dynamics and light comedic delivery amid the fast-paced revue and farce scene.[15][16] Merkel's breakthrough arrived with her role as Betty Lee Reynolds, the younger sister to Helen Hayes' Norma Besant, in the Pulitzer Prize-winning drama Coquette (1927–1929), directed by George Abbott. The production ran for 366 performances at Maxine Elliott's Theatre, providing Merkel with extensive stage time to showcase her supporting talents. Critics noted her sharp comedic timing in lighter moments, which complemented Hayes' lead performance and helped elevate the play's blend of romance, tragedy, and Southern family tensions, drawing significant attention to Merkel's emerging versatility.[17][18][19] In the same year, Merkel demonstrated her range in the farce The Gossipy Sex (1927), playing Anna Sterling in a brief but lively run that highlighted her adeptness at quick-witted, ensemble-driven comedy. This role, alongside her work in Coquette, underscored her ability to shift between dramatic depth and humorous levity, solidifying her presence in Broadway's supporting cast before her pre-1930 pivot toward film. While she made an early screen appearance in the two-reel short Love's Old Sweet Song (1923)—an experimental Phonofilm production marking one of her first speaking parts—stage work remained her primary outlet during this period, offering consistent opportunities to refine her craft in live performance.[20][21][22]Hollywood film roles
Una Merkel's Hollywood career began with her resemblance to Lillian Gish, which led to her serving as a stand-in for the actress in D.W. Griffith's silent film Way Down East (1920).[23] This connection paved the way for her on-screen debut as Ann Rutledge, Abraham Lincoln's early love interest, in Griffith's first sound feature Abraham Lincoln (1930), marking her transition from bit parts to speaking roles.[24] In 1932, Merkel secured a contract with Metro-Goldwyn-Mayer, under which she remained until 1938 and appeared in more than 20 films, frequently loaned out to other studios.[3] Typecast as the sharp-witted best friend or comic foil to leading ladies, she brought a distinctive Southern drawl and effervescent humor to her characters, often providing relief in pre-Code comedies and dramas.[16] Notable collaborations included playing the loyal Sally alongside Jean Harlow's ambitious gold-digger in Red-Headed Woman (1932) and Dixie Dare, the sassy companion to Loretta Young's innocent protagonist, in They Call It Sin (1932).[25][26] Merkel's screen persona solidified in the early 1930s with roles that showcased her versatility in mystery, musical, and ensemble pieces. In the 1931 adaptation of The Maltese Falcon, she portrayed Effie Perine, the resourceful secretary to private detective Sam Spade (Ricardo Cortez), injecting subtle wit into the film's noir atmosphere.[27] Her musical comedy flair emerged prominently as Lorraine Fleming, a seasoned chorus girl, in the backstage hit 42nd Street (1933), where she bantered alongside Ginger Rogers and supported Ruby Keeler's rise to stardom.[28] By the late 1930s, Merkel transitioned to more independent productions outside her MGM tenure, delivering one of her most iconic performances as Lily Belle, the feisty saloon patron whose hair-pulling brawl with Marlene Dietrich became a highlight of the Western comedy Destry Rides Again (1939), co-starring James Stewart as a non-violent deputy.[29] The 1940s brought a decline in Merkel's film prominence, as she received fewer substantial roles amid the shifting priorities of the studio system and the rise of newer talent.[1] She made sporadic appearances in supporting parts, such as the exasperated wife in W.C. Fields' The Bank Dick (1940), but increasingly turned to radio for steady work, including the recurring role of Adeline Fairchild on the popular sitcom The Great Gildersleeve starting in the late 1940s.[1] This period reflected a broader tapering of her cinematic output before a later resurgence in theater and television.Television and comeback work
In the 1950s, Una Merkel revitalized her career through a notable return to the stage, particularly with her Tony Award-winning performance in the Broadway revival of The Ponder Heart. Adapted from Eudora Welty's novella, the production opened on February 20, 1956, at the Hudson Theatre, where Merkel portrayed the gossipy Southern narrator Edna Earle Ponder with a depth that captured the character's wry humor and regional nuances, earning widespread acclaim for her authentic depiction of Southern eccentricity.[30][11] For her role, she received the 1956 Tony Award for Best Featured Actress in a Play, marking a significant resurgence after a period of reduced visibility in the late 1940s.[30] Merkel also experienced a resurgence in films during this period, appearing in supporting roles that highlighted her character acting strengths. Notable among these was her portrayal of Pearl Burden, a sympathetic mother figure, in Tennessee Williams' Summer and Smoke (1961), opposite Geraldine Page, for which she earned an Academy Award nomination for Best Supporting Actress. She also played the meddlesome Aunt Ora in Disney's The Parent Trap (1961), adding comic energy to the family comedy starring Hayley Mills.[2][31] Merkel's transition to television began in 1952 with her debut on the anthology series Four Star Playhouse, where she appeared as Rose Barton in the episode "My Wife Geraldine," a comedic tale involving mistaken identities and domestic intrigue.[32] This marked her entry into the burgeoning medium of dramatic television, where she quickly established herself in anthology formats. She followed with a guest role on Playhouse 90 in 1957, playing Louise Hoagland in "The Greer Case," a suspenseful drama about a contested will; critics noted her warm and human portrayal of the supportive wife amid the ensuing family conflicts.[33][34] These appearances showcased her versatility in transitioning from light comedy to more layered dramatic parts on the small screen. Throughout the mid-1960s, Merkel made recurring guest spots on popular series, including three episodes of Burke's Law between 1963 and 1965: as Miss Samantha Cartier in "Who Killed Cynthia Royal?" (1963), Clara Lovelace in "Who Killed the Man on Deck?" (1964), and Mrs. Thomas Barrett in "Who Killed the Strangler?" (1965), often embodying quirky, no-nonsense supporting characters that added levity to the detective procedural's murder mysteries.[35][36] She also appeared as Aunt Alta in the 1968 I Spy episode "Home to Judgment," portraying a resourceful farm aunt aiding undercover agents in a tense rural showdown.[37] Merkel's final screen role came in the 1966 musical comedy Spinout, where she played the meddlesome Violet Ranley opposite Elvis Presley as a race car driver navigating romantic entanglements; this lighthearted part highlighted her enduring talent for eccentric maternal figures and effectively closed her film career.[38] Post-war, her work increasingly focused on character roles as mothers, aunts, or housekeepers in both stage and media productions, reflecting a shift toward portraying wise, feisty older women that leveraged her sassy wit and grounded presence.[11]Personal life
Marriages and relationships
Una Merkel married Ronald L. Burla, an executive at North American Aviation, on January 1, 1932, in Tijuana, Mexico.[5] The couple had no children during their marriage.[39] The couple separated in April 1944.[39] Merkel filed for divorce in December 1946, citing desertion, and the union was formally dissolved in March 1947 in Miami, Florida.[39] Following the divorce, Merkel embraced a single life in Hollywood, prioritizing her professional independence and personal autonomy without entering into any further marriages.[16] Her lifelong commitment to the Methodist faith underscored the values of resilience and self-reliance that shaped her approach to relationships.[1]Health challenges and tragedies
One of the most devastating events in Una Merkel's life occurred on March 5, 1945, when her mother, Bessie Phares Merkel (also known as Mrs. Arno Merkel), approximately 61 years old, committed suicide by slashing her wrists and turning on four gas jets in the kitchen of their shared apartment in New York City.[10][8] Merkel was overcome by the fumes and was found unconscious in her bedroom. Police revived her using an inhalator squad, and she was hospitalized at St. Clare's Hospital, where her condition was reported as good. Her mother was buried in Highland Cemetery, Fort Mitchell, Kentucky.[8] Nearly seven years later, on March 4, 1952—almost to the day of the anniversary—Merkel experienced her own near-fatal health crisis through an accidental overdose of sleeping pills. Discovered unconscious by a nurse caring for her, she was rushed to a hospital in Santa Monica, California, and lapsed into a coma that lasted a full day before she regained consciousness and began recovering. The incident took place amid mounting professional pressures as her Hollywood stardom diminished in the post-war era.[40] These tragedies left a lasting emotional toll on Merkel, contributing to ongoing psychological challenges that she navigated with notable resilience throughout her later years, though she experienced no other major publicized health crises. Her ability to rebound from these ordeals underscored her enduring fortitude, allowing her to persist in her personal and professional endeavors despite the profound grief and trauma.[41]Death and legacy
Final years and death
Following her final acting appearance in the television series I Spy in 1968, Merkel retired from the entertainment industry and led a quiet, low-profile life in a Los Angeles apartment.[42][43] She passed away on January 2, 1986, at the age of 82 in Los Angeles from natural causes associated with advanced age.[43][9] Merkel was buried in Highland Cemetery in Fort Mitchell, Kentucky, near her parents, Arno and Bessie Merkel.[44][9] A lifelong practicing Methodist, she maintained ties to her faith during her retirement years.[12]Awards, honors, and influence
Una Merkel received her sole Academy Award nomination for Best Supporting Actress for her portrayal of Mrs. Winemiller in the 1961 film Summer and Smoke.[31] This recognition highlighted her ability to bring depth to maternal roles later in her career, marking the only time she was nominated by the Academy during her extensive film work.[31] On stage, Merkel earned the Tony Award for Best Featured Actress in a Play for her performance as Edna Earle Ponder in the 1956 Broadway production of The Ponder Heart, adapted from Eudora Welty's novella.[45] Her win underscored her versatility in comedic theater, where she excelled in character-driven roles that showcased her sharp wit and Southern charm.[45] Merkel's contributions to cinema were honored with a star on the Hollywood Walk of Fame at 6230 Hollywood Boulevard, dedicated on February 8, 1960.[3] In her hometown of Covington, Kentucky, a historical marker was dedicated in 1991 at Goebel Park, commemorating her birthplace and her lasting impact as a film and theater actress.[46] Throughout the 1930s, Merkel established herself as an archetype for sassy supporting roles in comedies, often portraying wisecracking best friends or quirky confidantes with a distinctive Southern drawl and expressive timing that provided comic relief and emotional balance.[47] Her deft comedic delivery in films like 42nd Street (1933), where she played the lively Lorraine, influenced subsequent character actresses by blending humor with relatable authenticity, inspiring generations in the mold of the quick-witted sidekick.Filmography
Feature films
Una Merkel's feature film career spanned from 1928 to 1966, encompassing over 70 credited and uncredited appearances, often in supporting roles as wisecracking friends or comic relief characters. The following table lists her roles chronologically, including key details where available.[2]| Year | Title | Role | Director | Notable Co-stars | Notes |
|---|---|---|---|---|---|
| 1928 | The Wind | Stand-in for Lillian Gish | Victor Sjöström | Lillian Gish, Lars Hanson | Uncredited stand-in work.[48] |
| 1930 | Abraham Lincoln | Ann Rutledge | D.W. Griffith | Walter Huston, Kay Hammond | Credited debut role. |
| 1930 | The Eyes of the World | Ada (Myra's maid) | Henry King | John Holland, Myrna Loy | Supporting role. |
| 1930 | The Bat Whispers | Dale Van Gorder | Roland West | Chester Morris, Una Merkel | Early mystery film. |
| 1931 | Command Performance | Arlette | Clarence G. Badger | Neil Hamilton, Helen Chandler | Romantic comedy. |
| 1931 | Don't Bet on Women | Joan Converse | William K. Howard | Edmund Lowe, Jeanette MacDonald | Comedy-drama. |
| 1931 | The Secret Witness | Helen | Ralph Ince | William Powell, Natalie Moorhead | Crime drama. |
| 1931 | The Maltese Falcon | Effie Perine | Roy Del Ruth | Ricardo Cortez, Bebe Daniels | Crime drama. |
| 1931 | Wicked | Judith | Allan Dwan | Elissa Landi, Victor McLaglen | Drama. |
| 1932 | The Wet Parade | Maggie | Victor Fleming | Walter Huston, Myrna Loy | Prohibition-era drama. |
| 1932 | They Call It Sin | Dicey | Thornton Freeland | Loretta Young, George Brent | Pre-Code drama. |
| 1932 | So Big! | Purdy | William A. Wellman | Barbara Stanwyck, George Brent | Uncredited. |
| 1932 | The Man from Yesterday | Mrs. Barker | Berthold Viertel | Claudette Colbert, Clive Brook | War drama. |
| 1932 | Day of Reckoning | Dorothy | Charles Brabin | Richard Dix, Fay Wray | Crime film. |
| 1932 | Red-Headed Woman | Sally Montgomery | Jack Conway | Jean Harlow, Clark Gable | Comedy. |
| 1932 | Beauty for Sale | Carol Merrick | Richard Wallace | Madge Evans, Ford Sterling | Romantic comedy. |
| 1932 | The First Year | Hattie | William K. Howard | Janet Gaynor, Charles Farrell | Drama. |
| 1933 | 42nd Street | Lorraine Fleming | Lloyd Bacon | Warner Baxter, Ruby Keeler | Musical breakthrough.[49] |
| 1933 | Clear All Wires | Elizabeth Whyte | George Stevens | Lee Tracy, Benita Hume | Comedy. |
| 1933 | The Secret of Madame Blanche | Ella | Charles Brabin | Irene Dunne, Lionel Atwill | Drama. |
| 1933 | Whistling in the Dark | Toby Van Buren | Elliott Nugent | Ernest Truex, Edward Arnold | Mystery comedy. |
| 1933 | Her First Mate | Hattie | William J. McGann | Dorothy Lee, Charlie Ruggles | Comedy. |
| 1933 | Broadway to Hollywood | Flirt in Audience | Willard Mack | Alice Brady, Frank Morgan | Uncredited. |
| 1934 | The St. Louis Kid | Molly | Ray Enright | James Cagney, Patricia Ellis | Musical comedy. |
| 1934 | Have a Heart | Claire | David Butler | Jean Parker, James Dunn | Comedy. |
| 1934 | Born to Be Bad | Mickey | Lowell Sherman | Loretta Young, Cary Grant | Drama. |
| 1934 | The Merry Widow | Queen Dolores | Ernst Lubitsch | Maurice Chevalier, Jeanette MacDonald | Operetta. |
| 1934 | Murder in the Private Car | Georgia Latham | Harry Beaumont | Russell Hardie, Mary Carlisle | Mystery comedy. |
| 1934 | Many Happy Returns | Gay | Norman Z. McLeod | George Burns, Gracie Allen | Comedy. |
| 1934 | The Cat's-Paw | Myrtle | Sam Taylor | Harold Lloyd, George Barbier | Comedy. |
| 1934 | Paris Interlude | Gladys | Edwin L. Marin | Madge Evans, Otto Kruger | Drama. |
| 1934 | Biography of a Bachelor Girl | Hilda | Edward H. Griffith | Ann Harding, Robert Montgomery | Comedy. |
| 1935 | The Night Is Young | Queen Marie | Dudley Murphy | Ramon Novarro, Evelyn Laye | Romantic drama. |
| 1935 | I Live for Love | Joy Cavanaugh | Busby Berkeley | Dolores del Río, James Melton | Musical. |
| 1935 | Baby Face Harrington | Beulah | Raoul Walsh | Charles Butterworth, Nat Pendleton | Comedy. |
| 1935 | The Girl from 10th Avenue | Jane | Alfred E. Green | Bette Davis, Ian Hunter | Drama. |
| 1935 | Redheads on Parade | Dottie | Raoul Walsh | John Boles, Helen Broderick | Musical. |
| 1935 | One New York Night | Lily | Jack Conway | Franchot Tone, Conrad Nagel | Mystery comedy. |
| 1935 | Broadway Hostess | Monica | Frank McDonald | Joan Blondell, Allen Jenkins | Musical. |
| 1935 | In Old Kentucky | Dolly | George Marshall | Will Rogers, Billie Burke | Comedy. |
| 1935 | Riffraff | Lil | J. Walter Ruben | Jean Harlow, Spencer Tracy | Drama. |
| 1936 | The Murder of Dr. Harrigan | Miss Hollister | Frank McDonald | Kay Linaker, Ricardo Cortez | Mystery. |
| 1936 | Speed | Clara | Edwin L. Marin | James Craig, Frances Drake | Drama. |
| 1936 | We Who Are About to Die | Liz | Christy Cabanne | Preston Foster, Ann Dvorak | Drama. |
| 1936 | The Country Doctor | Nurse | Henry King | Jean Hersholt, the Dionne Quintuplets | Drama. |
| 1936 | Sinner Take All | Pauline | Marion Gering | Bruce Cabot, Margaret Lindsay | Mystery. |
| 1936 | Human Cargo | Bonita Farrow | Phil Rosen | George Brent, Claire Trevor | Drama. |
| 1936 | The Big Show | Carlotta | James P. Hogan | Gene Autry, Smiley Burnette | Western. |
| 1937 | Banjo on My Knee | Pearl | John Cromwell | Barbara Stanwyck, Joel McCrea | Comedy. |
| 1937 | The Dude Ranger | Anne | Edward F. Cline | George O'Brien, Irene Hervey | Western. |
| 1937 | True Confession | Nosy wife | Wesley Ruggles | Carole Lombard, Fred MacMurray | Comedy. |
| 1938 | The Girl of the Golden West | Nina | Michael Curtiz | Nelson Eddy, Jeanette MacDonald | Western musical. |
| 1938 | Sweethearts | Kay Jordan | W.S. Van Dyke | Jeanette MacDonald, Nelson Eddy | Musical. |
| 1939 | Destry Rides Again | Lily Belle | George Marshall | James Stewart, Marlene Dietrich | Western. |
| 1939 | On Borrowed Time | Duchess | Harold S. Bucquet | Lionel Barrymore, Cedric Hardwicke | Fantasy drama. |
| 1940 | It's a Date | Miss Oliver | William A. Seiter | Deanna Durbin, Kay Francis | Comedy. |
| 1940 | The Bank Dick | J. Pinkerton Snafu's wife (uncredited) | Edward F. Cline | W.C. Fields, Franklin Pangborn | Comedy. |
| 1941 | The Wild Man of Borneo | Mable | Robert B. Sinclair | Frank Morgan, Mary Howard | Comedy. |
| 1941 | The Mad Doctor of Market Street | Aunt Agatha | Joseph H. Lewis | Lionel Atwill, Nat Pendleton | Horror comedy. |
| 1942 | Twin Beds | Lydia | Tim Whelan | George Brent, Mischa Auer | Comedy. |
| 1943 | The Great Gilbert and Sullivan | Kate | Sidney Gilliat | Robert Morley, Maurice Evans | Musical biography. |
| 1944 | Sweethearts of the U.S.A. | Dale | Lewis D. Collins | Harry Einstein, Donald Novis | Musical.[50] |
| 1945 | Where Do We Go from Here? | Hope | Gregory Ratoff | Fred MacMurray, Joan Leslie | Fantasy comedy. |
| 1946 | The Walls Came Tumbling Down | Sophie | Lothar Mendes | Lee Bowman, Marguerite Chapman | Mystery. |
| 1947 | The Bride Wore Boots | Mitzi | Irving Pichel | Barbara Stanwyck, Robert Cummings | Comedy. |
| 1948 | The Mating of Millie | Nelly | Henry Levin | Glenn Ford, Evelyn Keyes | Comedy. |
| 1950 | The Yellow Cab Man | Cowering wife in TV commercial (uncredited) | Joseph Newman | Red Skelton, Gloria DeHaven | Comedy. |
| 1951 | Golden Girl | Lotta | Lloyd Bacon | Mitzi Gaynor, Dale Robertson | Western. |
| 1951 | A Millionaire for Christy | Dolores | George Seaton | Eleanor Parker, Fred MacMurray | Comedy. |
| 1952 | The Merry Widow | Kitty Riley | Curtis Bernhardt | Lana Turner, Fernando Lamas | Musical remake. |
| 1954 | The Private War of Major Benson | Helen | Jerry Hopper | Charlton Heston, Julie Adams | Comedy. |
| 1955 | The Kentuckian | Sophie Wakefield | Burt Lancaster | Burt Lancaster, Diana Lynn | Western. |
| 1956 | The Steel Trap | Tire store customer (uncredited) | Andrew L. Stone | Joseph Cotten, Teresa Wright | Thriller. |
| 1958 | The Buccaneer | Hedwig | Anthony Quinn | Yul Brynner, Charlton Heston | Adventure. |
| 1959 | The Mating Game | Ma Larkin | George Marshall | Debbie Reynolds, Tony Randall | Comedy. |
| 1961 | The Parent Trap | Verbena | David Swift | Hayley Mills, Maureen O'Hara | Family comedy. |
| 1961 | Summer and Smoke | Mrs. Winemiller | Peter Glenville | Laurence Harvey, Geraldine Page | Drama.[51] |
| 1963 | Summer Magic | Margaret Carey | James Neilson | Hayley Mills, Burl Ives | Musical. |
| 1966 | Spinout | Lucy Beevers | Norman Taurog | Elvis Presley, Shelley Fabares | Musical comedy. |
Television appearances
Una Merkel made her television debut in the early 1950s, appearing in a variety of anthology series, westerns, and dramas, often portraying maternal or comedic supporting characters in live broadcasts and filmed episodes. Her TV work spanned from 1952 to 1968, encompassing more than 20 credits that highlighted her versatility in the medium's golden age formats.[2] The following table catalogs her key television appearances in chronological order, including episode titles and roles where documented:| Year | Title | Role | Episode/Notes |
|---|---|---|---|
| 1952 | Four Star Playhouse | Rose Barton | "My Wife Geraldine" (Season 1, Episode 1)[52] |
| 1953 | Schlitz Playhouse of Stars | Aunt Min | "Double Bet" (Season 3, Episode 3) |
| 1954 | Lux Video Theatre | Josie | "The House of the Seven Gables" (Season 4, Episode 38) |
| 1955 | The 20th Century-Fox Hour | Mrs. Shellhammer | "Miracle on 34th Street" (Season 1, Episode 2) |
| 1956 | Matinee Theatre | Mrs. Price | "No Hiding Place" (Season 6, Episode 28) |
| 1957 | Playhouse 90 | Rose Barton | "The Greer Case" (Season 1, Episode 30) |
| 1957 | The DuPont Show of the Month | Mrs. Baxter | "The Hostess with the Mostess" (Season 4, Episode 5) |
| 1958 | Pursuit | Sarah | "Calculation" (Season 1, Episode 13) |
| 1958 | Westinghouse Desilu Playhouse | Mrs. Adams | "The Strong Land" (Season 1, Episode 19) |
| 1959 | The DuPont Show with June Allyson | Cora | "The Girl" (Season 4, Episode 16) |
| 1963 | The Virginian | Mrs. Crandall | "Big Day, Great Day" (Season 2, Episode 6) |
| 1964 | The Cara Williams Show | Amelia Hofstetter | "Amelia Gets the Treatment" (Season 1, Episode 26) |
| 1964–1965 | Burke's Law | Verbena | Three episodes: "Who Killed Julia Grewe?" (S1E30), "Who Killed the Swinging Santa?" (S2E12), "Who Killed the Pickwick Papers?" (S2E25) |
| 1966 | The F.B.I. | Grandma | "The Escape of Mr. Nobody" (Season 2, Episode 20) |
| 1968 | I Spy | Aunt Alta | "This Guy Smith" (Season 3, Episode 23) |