Yvonne De Carlo

Birthday: 1 September 1922, Vancouver, British Columbia, Canada

Birth Name: Margaret Yvonne Middleton

Height: 163 cm

Yvonne De Carlo was born Margaret Yvonne Middleton on September 1, 1922 in Vancouver, British Columbia, Canada. She was three when her father abandoned the family. Her mother turned to waitressing in a restaurant to make ends meet--a rough beginning for an actress who would, one day, be one of Hollywood's elite. Yvonne's mother wanted her to be in the entertainment field and enrolled her in a local dance school and also saw that she studied dramatics. Yvonne was not shy in the least. She was somewhat akin to Colleen Moore who, like herself, entertained the neighborhood with impromptu productions. In 1937, when Yvonne was 15, her mother took her to Hollywood to try for fame and fortune, but nothing came of it and they returned to Canada. They came back to Hollywood in 1940, where Yvonne would dance in chorus lines at night while she checked in at the studios by day in search of film work. After appearing in unbilled parts in three short films, she finally got a part in a feature.Although the film Harvard, Here I Come! (1941) was quite lame, Yvonne shone in her brief appearance as a bathing beauty. The rest of 1942 and 1943 saw her in more uncredited roles in films that did not quite set Hollywood on fire. In The Deerslayer (1943), she played Wah-Tah. The role did not amount to much, but it was much better than the ones she had been handed previously. The next year was about the same as the previous two years. She played small parts as either secretaries, someone's girlfriend, native girls or office clerks. Most aspiring young actresses would have given up and gone home in defeat, but not Yvonne. She trudged on. The next year, started out the same, with mostly bit parts, but later that year, she landed the title role in Salome Where She Danced (1945) for Universal Pictures. While critics were less than thrilled with the film, it was at long last her big break, and the film was a success for Universal. Now she was rolling.Her next film was the western comedy Frontier Gal (1945) as Lorena Dumont. After a year off the screen in 1946, she returned in 1947 as Cara de Talavera in Song of Scheherazade (1947), and many agreed that the only thing worth watching in the film was Yvonne. Her next film was the highly regarded Burt Lancaster prison film Brute Force (1947). Time after time, Yvonne continued to pick up leading roles, in such pictures as Slave Girl (1947), Black Bart (1948), Casbah (1948) and River Lady (1948). She had a meaty role in Criss Cross (1949), a gangster movie, as the ex-wife of a hoodlum. At the start of the 1950s, Yvonne enjoyed continued success in lead roles. Her talents were again showcased in movies such as The Desert Hawk (1950), Silver City (1951) and Scarlet Angel (1952). Her last film in 1952 was Hurricane Smith (1952), a picture most fans and critics agree is best forgotten.In 1956, she appeared in the film that would immortalize her best, The Ten Commandments (1956). She played Sephora, the wife of Moses (Charlton Heston). The film was, unquestionably, a super smash, and is still shown on television today. Her performance served as a springboard to another fine role, this time as Amantha Starr in Band of Angels (1957). In the late 1950s and early 1960s, Yvonne appeared on such television series as Bonanza (1959) and The Virginian (1962). However, with film roles drying up, she took what turned out to be the role for which she will be best remembered--that of Lily Munster in the smash series The Munsters (1964). However, she still was not completely through with the big screen. Appearances in such films as McLintock! (1963), The Power (1968), The Seven Minutes (1971) and La casa de las sombras (1976) kept her before the eyes of the moviegoing public. Yvonne De Carlo died at age 84 of natural causes on January 8, 2007 in Woodland Hills, California. Hide

[upon her entrance in Salome Where She Danced (1945), where she danced] I came through these beaded Show more [upon her entrance in Salome Where She Danced (1945), where she danced] I came through these beaded curtains, wearing a Japanese kimono and a Japanese headpiece, and then performed a Siamese dance. Nobody seemed to know quite why. Hide

[who wasn't very fond of Arabian Nights-type of movies, the ones she appeared in] But I was amazed a Show more [who wasn't very fond of Arabian Nights-type of movies, the ones she appeared in] But I was amazed at how much the people over there like those pictures. I talked to many natives, cab drivers, hairdressers, hotel clerks, who said they had seen Song of Scheherazade (1947) four and five times. And they seemed to have liked Casbah (1948), too, although I don't know why. Everytime I play a concert, someone would yell, "Sing something from Casbah." Hide

[on The Munsters (1964)] It meant security. It gave me a new, young audience I wouldn't have had oth Show more [on The Munsters (1964)] It meant security. It gave me a new, young audience I wouldn't have had otherwise. It made me "hot" again, which I wasn't for a while. Hide

[when worried if The Munsters (1964) was ever going to be a success] I had moments of terror and fea Show more [when worried if The Munsters (1964) was ever going to be a success] I had moments of terror and fear that my public would not understand the makeup and all that. I really wondered if it was the right thing to do. Hide

[at the premiere of The Ten Commandments (1956)] Thanks to Mr. DeMille, I can get in some Class A pi Show more [at the premiere of The Ten Commandments (1956)] Thanks to Mr. DeMille, I can get in some Class A pictures. Hide

I'd always wanted to work in a DeMille picture. I set my mind once on getting a part in The Story of Show more I'd always wanted to work in a DeMille picture. I set my mind once on getting a part in The Story of Dr. Wassell (1944), but Carol Thurston beat me out. My heart was broken, but in the light of events, it was just as well. The part didn't do very much for Carol and it probably wouldn't have done any more for me. It also taught me not to try too hard for any definite role! It's better to take things as they come. The role of Sephora fell into my lap. I guess that's the best way for things to happen. Hide

[when asked in 1972 about her affair with Howard Hughes, before he turned into a legendary recluse] Show more [when asked in 1972 about her affair with Howard Hughes, before he turned into a legendary recluse] Howard taught me how to land a plane and how to take off. But he never taught me anything about flying in between. He thought that I had learned the difficult parts, and that was enough. Hide

Perhaps the actor is not the best judge of what he should do. He only knows what he wants to do, or Show more Perhaps the actor is not the best judge of what he should do. He only knows what he wants to do, or likes to do. I feel the role of Sephora will do a lot for me. It is far different from anything I've ever played. It runs all through the picture, and at the end of it I am an old, old woman. Hide

I was named Margaret Yvonne. Margaret because my mother was very fond of one of the derivatives of t Show more I was named Margaret Yvonne. Margaret because my mother was very fond of one of the derivatives of the name. She was fascinated at the time by the movie star Baby Peggy and I suppose she wanted a Baby Peggy of her own. Hide

[in 1965] I guess I lead a double life, and I must admit I'm happy with both. [in 1965] I guess I lead a double life, and I must admit I'm happy with both.

Men, no matter what their promises, rarely leave their spouses... the louses. Men, no matter what their promises, rarely leave their spouses... the louses.

[on how Cecil B. DeMille picked her for the role of Sephora in The Ten Commandments (1956)] I had do Show more [on how Cecil B. DeMille picked her for the role of Sephora in The Ten Commandments (1956)] I had done a picture at Metro titled Sombrero (1953) which wasn't too much of a hit. But I had portrayed a saintly type of woman similar to what DeMille had in mind for Sephora. He saw the picture, was very much impressed, and promptly said: "You're it.". Hide

[when she befell for the character Lily Munster she named because she slept with arms folded coffin- Show more [when she befell for the character Lily Munster she named because she slept with arms folded coffin-style, and a lily on her chest] I had misgivings when I was told about the role. After all, I didn't want to destroy whatever image I had established. So I asked the makeup man what the makeup was supposed to be. Hide

[at the premiere of The Ten Commandments (1956)] There were a lot of old, old opinions against me in Show more [at the premiere of The Ten Commandments (1956)] There were a lot of old, old opinions against me in Hollywood which Mr. DeMille has changed. Hide

[when asked in 1945, "Who else is beautiful, like you, in Hollywood? Really stunning?"] That's a hec Show more [when asked in 1945, "Who else is beautiful, like you, in Hollywood? Really stunning?"] That's a heck of a question to ask a lady! But if you insist - Merle Oberon and Hedy Lamarr. Hide

[on Howard Hughes's romance, after watching Salome Where She Danced (1945)] A man came over... he sa Show more [on Howard Hughes's romance, after watching Salome Where She Danced (1945)] A man came over... he said "Mr. Hughes would like to meet you.". Well, I was not too much aware of Mr. Hughes at the time... who he was or anything. So I said, "Oh, yes, fine!". And so, I looked and thought, "Wow, this would be a terrific boyfriend for my aunt.". Hide

[who said in 1963 about doing guest shots] Everybody has just been marvelous. Particularly because n Show more [who said in 1963 about doing guest shots] Everybody has just been marvelous. Particularly because no one has suggested they were helping, but that I was right for the parts. Hide

Yvonne is my middle name, and De Carlo was my mother's maiden name. I changed it because, well, I ju Show more Yvonne is my middle name, and De Carlo was my mother's maiden name. I changed it because, well, I just wasn't the June Allyson type. It's not Spanish, it's Sicilian, honey. Hide

[on writing her own autobiography] If I could, I'd change a lot of things because I'm not proud of e Show more [on writing her own autobiography] If I could, I'd change a lot of things because I'm not proud of everything I've done in my life. But to those people who helped me, and there were a lot, I say, thank you. They're the reason I wrote this book. Hide

[who told the media in 1971 about her stars, if she was really nervous about residing in New York Ci Show more [who told the media in 1971 about her stars, if she was really nervous about residing in New York City] I'm from Hollywood, I'm too dumb to be nervous about New York. Hide

[when asked in 1949 about Jock Mahoney's fame] What fame is he talking about? The only fame he has h Show more [when asked in 1949 about Jock Mahoney's fame] What fame is he talking about? The only fame he has had is what he got by being seen with me! Hide

[when she was playing several concerts in the United States, including the singing and dancing] It w Show more [when she was playing several concerts in the United States, including the singing and dancing] It would have happened to any film performer playing there. At every performance, there were between 150 and 200 civilian and military policemen to hold back the crowds. The hall would hold 1,500 people, but always the side doors would be pushed open and many more would stand in the aisles. Hide

I wear a tight, fitting gray dress. The kind of thing it would be nice to be buried in. A long train Show more I wear a tight, fitting gray dress. The kind of thing it would be nice to be buried in. A long train and long, bat - like things banging from the sleeves. And low cut. Hide

I was on cloud nine all the time. After I made my hit in Salome Where She Danced (1945), Universal s Show more I was on cloud nine all the time. After I made my hit in Salome Where She Danced (1945), Universal sent me to New York so I could learn to be a proper movie star. Hide

[who said in 1964 about playing the second vampire mother on television] They told me to play her ju Show more [who said in 1964 about playing the second vampire mother on television] They told me to play her just like Donna Reed. That sounded strange to me until I tried it. Now it works. She acts just like any housewife. The difference is in her approach to things, as when she tells her little child to go to bed, "And don't forget to close your lid." The makeup turned out to her satisfaction. She wears floor-length black hair - gray-streaked with a widow's peak, of course. Her complexion is a faint green, but it shows up as dead white on the screen. She was pleased when some young visitors to the set commented how glamorous she looked. Hide

I look terrible as a blonde. I once put on a Brunhilde wig at the studio and not one cameraman gave Show more I look terrible as a blonde. I once put on a Brunhilde wig at the studio and not one cameraman gave me a second look. I was terribly offended. Hide

Yvonne De Carlo's FILMOGRAPHY - Page 4

as Actor (82)

Bonanza - Season 8

The Virginian - Season 1

Bonanza - Season 10

Murder, She Wrote - Season 3

Yvonne De Carlo'S roles

Lily Munster

Sephora