Lee Grant

Lee Grant (born Lyova Haskell Rosenthal; October 31, during the mid-1920s) is an American actress, documentarian, and director. In a career spanning over seven decades, she won an Academy Award, two Primetime Emmy Awards, and a Directors Guild of America Award, in addition to nominations for five Golden Globe Awards. She is one of the last surviving actors of the Hollywood blacklist era.

Grant began her career on Broadway, making her debut in Detective Story (1949) as the Shoplifter. She reprised the role in the film adaptation (1951), earning an Academy Award nomination for Best Supporting Actress and winning the Cannes Film Festival Award for Best Actress. Her career was interrupted when she was blacklisted for 12 years after refusing to testify before the House Un-American Activities Committee. During this period, she worked as an acting teacher and took minor television and theater roles under pseudonyms.

Grant returned to prominence with her role in the television series Peyton Place (1965–1966), winning the Primetime Emmy Award for Outstanding Performance by an Actress in a Supporting Role in a Drama Series. She appeared in supporting roles in In the Heat of the Night, Valley of the Dolls (both 1967), and The Landlord (1970), receiving Academy Award nominations for the latter, as well as Shampoo (1975) and Voyage of the Damned (1976), winning for Shampoo.

Grant transitioned to directing in the 1980s, focusing on documentaries and television films. She won the Directors Guild of America Award for Nobody’s Child (1986) while her film Down and Out in America (1986) tied for the Academy Award for Best Documentary Feature, making her the only Academy Award-winning actor to direct an Academy Award-winning documentary. She continued directing into the 2000s while occasionally making acting appearances.

Lee Grant was born Lyova Haskell Rosenthal in Manhattan, the only child of Witia (née Haskell), a child care worker, and Abraham W. Rosenthal, a realtor and educator. Her father was born in New York City, to Polish Jewish immigrants, and her mother was a Russian Jewish immigrant who, along with her sister Fremo, left Odessa to escape the pogroms. The family resided at 148th Street and Riverside in the Hamilton Heights neighborhood of Manhattan.

Her birthday is October 31, but the year is disputed, with all years ranging from 1925 to 1931 having been given as her year of birth at some point; however, census data, travel manifests, and testimony suggest that she was born in 1925 or 1926, while Grant's stated ages at the time of her professional debut and Oscar nomination indicate she was born in 1927.

Grant made her stage debut in L'Oracolo at the Metropolitan Opera in 1931 and later joined the American Ballet as an adolescent. She attended Art Students League of New York, Juilliard School of Music, The High School of Music & Art, and George Washington High School, all in New York City. Grant graduated from high school and won a scholarship to the Neighborhood Playhouse School of the Theatre, where she studied under Sanford Meisner. Grant undertook further study with Uta Hagen at the HB Studio. She later enrolled in the Actors Studio in New York.

Grant had her first stage ballet performance in 1933 at the Metropolitan Opera House. In 1938, in her early teens, she was made a member of the American Ballet under George Balanchine. As an actress, Grant had her professional stage debut as understudy in Oklahoma! in 1944. In 1948, she had her Broadway acting debut in Joy to the World. Grant established herself as a dramatic method actress on and off Broadway, earning praise for her first major role as a shoplifter in Detective Story in 1949.

She made her film debut two years later in the 1951 film version (Detective Story), starring Kirk Douglas, receiving her first Academy Award for Best Supporting Actress nomination, and winning the Best Actress Award at the Cannes Film Festival. She said she enjoyed working under director William Wyler, who helped guide her.

In 1951, she gave an impassioned eulogy at the memorial service for actor J. Edward Bromberg, whose early death, she implied, was caused by the stress of being called before the House Un-American Activities Committee (HUAC). Her name soon after appeared in the publication Red Channels, and as a result, for the next twelve years, her "prime years" as she put it, she was blacklisted and her work in television and movies was limited.

Kirk Douglas, who acted with her in Detective Story, recalled that director Edward Dmytryk, a blacklistee, had first named her husband at the HUAC:

Grant appeared in a number of plays, two feature films, and in a few small television roles during her blacklisted years. In 1953, she played Rose Peabody in the soap opera Search for Tomorrow, had featured supporting roles in the film dramas Storm Fear in 1955, and Middle of the Night in 1959. On stage, Grant starred in the Broadway production of Two for the Seesaw. In 1959, she succeeded Anne Bancroft in the lead female role. That same year, she had a supporting role in the romantic drama Middle of the Night.

By the time Grant's name was removed from the blacklist in the mid-1960s, she was the divorced mother of a daughter, Dinah. Grant began re-establishing her television and movie career. In her autobiography, she writes:

Her experience with the blacklist scarred her to such an extent that as late as 2002, she would freeze and go into a "near trance" when anyone asked her about her experiences during the McCarthy period.

Grant's first major achievement, after HUAC officially cleared her, was in the 1960s television series Peyton Place as Stella Chernak, for which she won an Emmy in 1966. In 1963, she won acclaim for her stage performance in the off-Broadway production of Jean Genet's The Maids. In 1967, she played the distraught widow of a murder victim in the Oscar-winning In the Heat of the Night. In 1968, Grant appeared in an episode of Mission Impossible, portraying the wife of a U.S. diplomat who goes undercover to discredit a rogue diplomat. In 1969, she had supporting roles in the crime drama The Big Bounce and science fiction drama Marooned, but they were not successful.

Grant received three Academy Award nominations in the 1970s for The Landlord (1970), Shampoo (1975), and Voyage of the Damned (1976). In Plaza Suite (1971), a successful comedy directed by Arthur Hiller and written by Neil Simon; she played the harried mother of a bride, with Walter Matthau as the father.

In March 1971, Grant played the murderer in the Columbo pilot episode "Ransom for a Dead Man", playing opposite Peter Falk's Lieutenant Columbo. For that role, she was nominated for an Emmy as Outstanding Lead Actress – Miniseries or a Movie. That same year, she also received a second Emmy nomination in the same category of Outstanding Single Performance by an Actress in a Leading Role for her performance in the television film The Neon Ceiling, which she won.

Grant reunited with Peter Falk on Broadway in the original production of The Prisoner of Second Avenue, written by Neil Simon; the playwright said that his "first and only choice" for the part was Grant, who he said was equally at home with dramatists such as Chekhov or Sidney Kingsley, yet could also be "hilariously funny" when the script called for it, for she was able to portray essential honesty in her acting.

Grant won an Oscar for Best Supporting Actress playing Warren Beatty's older lover in Shampoo (1975). The film was Columbia's biggest hit in the studio's 50-year history. Shampoo was the second film in which Grant acted under director Hal Ashby. Critic Pauline Kael, comparing her in both films, noted Grant "is such a cool-style comedienne that she's in danger of having people say that she's good, as usual." During the filming, however, she did have some serious disagreements with Beatty, who was also the producer, and nearly quit. During one scene, she wanted to play it in a way she felt was more realistic from a woman's perspective, but Beatty disagreed. After thinking about the scene for a few days, she told director Ashby that she could not do it Beatty's way and was quitting. As she was walking out, Beatty stopped her, and asked what was wrong. "I sat down and told him," she said. "He threw up his hands and said, 'Play it your way. What do I know? I'm a man.'"

Despite the success of the film and her career, Grant was feeling less secure in Hollywood, as she was then around 50 years old. She writes:

During the 1975-76 television season, she starred in the sitcom Fay, which, to her chagrin, was canceled after eight episodes. In 1977, she starred in the ensemble disaster movie Airport '77 and in 1978, she was the lead actress in the horror film Damien - Omen II, also starring William Holden. Both films drew negative reviews, though they were financially successful. She made a guest appearance in Empty Nest, in which her daughter Dinah Manoff co-starred.

In the late 1970s, Grant was asked by the American Film Institute to participate in the first AFI Directing Workshop for Women. During the workshop, Grant successfully moved into directing when she adapted the play The Stronger in 1976, written by August Strindberg.

In 1980, Grant directed her first feature film, Tell Me a Riddle, a story about an aging Jewish couple. That debut narrative film was followed by a widely distributed documentary film titled The Willmar 8, which profiled eight female employees of a bank in Willmar, Minnesota who went on strike to protest pay inequities between male and female bank tellers. Grant went on to direct many documentaries on a variety of social issues: women in prison with When Women Kill (1983), transgender individuals with What Sex Am I? (1985), women experiencing domestic abuse with Battered (1989), and women trying to keep custody of their children in court in Women on Trial (1992).