Piper laurie actor biography samples
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Part of what mesmerizes me about the actresses I love is their distinctive voices. Piper Laurie’s indelible talent is, of course, what attracted me to her initially. But part of what grabs me in the gut is her uniquely soft, velveteen whispery voice that seems to come from a deep and delicate place. Such voices are capable of moving mountains. Piper Laurie may have started out as Universal’s young ingénue but what she manifested after breaking her chains from the studio that held her back, is a monumental ability to express herself with a depth of emotion. She is evocative, calm, almost solitary, and always remarkable in each of her performances.
Universal Studios might have locked her into formulaic romantic comedies and hyperbolic adventures, something Piper Laurie herself felt restricted by, but even those films are still delightful viewing and she shines in each role. Unfortunately, the label stuck to her name and made it impossible for the actress to get serious scripts. Universal forced her to turn down potential break-out dramatic roles with their constrictive servitude. It wasn’t until she took to the stage once again — as she has when first starting out in drama class– and acted in 1950s television shows featuring extraordinary wr
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An intimate memoir by three-time Oscar nominee Piper Laurie, one of Hollywood’s most gifted and respected actresses.
Born Rosetta Jacobs in Detroit, Michigan, on January 22, 1932,to immigrant parents of Polish and Russian descent, Piper moved to Los Angeles when she was just 6-years-old. As a 17-year-old, Universal signed young Rosetta as a contract player and changed her screen name to Piper Laurie.
Not yet 18, in the glory days of movie-making, Piper was living every little girl’s dream. Having been selected by Universal Studios to be a contract star, Piper was removed from her acting class and provided with stylists, chaperones, leading roles, and handsome dates, and elevated to the heights of Hollywood. Her beauty was admired by the likes of Ronald Reagan, Howard Hughes, Paul Newman, Tony Curtis, as well as dozens of directors and legions of fans. Her name was emblazoned on marquees across America for hit movies with Reagan (Louisa, 1950), Donald O’Connor (Francis Goes to the Races, 1951), Curtis (Son of Ali Baba, 1952), and Rory Calhoun (Ain’t Misbehavin’, 1955).
But Piper discovered early on that the little girl’s dream was not her own. Mortified by the shallowness of the roles and movies she was given, she lon
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