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(1902–1986). British actress.
It is not as well known as the story of director James WHALE spotting
Boris KARLOFF in the Universal cafeteria
and recognizing him as an ideal monster, but Whale was equally perceptive
in observing Lanchester's performance with her husband Charles Laughton
in The Private Life of Henry VIII and realizing that she could
serve as an excellent companion for Karloff. From one perspective,
Lanchester invites consideration as an English equivalent to Agnes
MOORHEAD, a talented but not particularly attractive actress prematurely
forced into roles as maids and spinsters; but there was also something
about Lanchester's manner and voice that made her seem ethereal, not
quite part of this world, which could bring an extra dimension to
her performances. Thus, in The Bride of Frankenstein, she was
persuasive in a manner Moorhead could not have mustered in her other
cameo appearance as Mary Shelley, the demure young woman nonetheless
capable of crafting the horrific Frankenstein story, and she was sought
out by producers for roles in mainstream Hollywood's milder counterparts
to horror movies, ghost stories like The Ghost Goes West and
gentle fantasies like The Bishop's Wife and The Secret Garden.
To demonstrate her versatility, in the same year that she projected
maternal warmth as Mother Goose in an episode of Shirley Temple's
Storybook, she sparkled as an eccentric witch in Bell, Book,
and Candle.
Laughton's
death in 1962 didn't slow Lanchester down, and though opportunities for aging
actresses are always limited, she was effective as the frustrated predecessor
to Mary Poppins, as a sinister doctor working for THRUSH in an episode
of The Man from U.N.C.L.E., and as a vengeful ghost in an episode of Night
Gallery. In 1971, the producers of Nanny and the Professor,
undoubtedly recalling how Moorhead had long enlivened another sitcom fantasy, Bewitched,
hired Lanchester to perform similar duties in a recurring role as their
Poppins-clone's Aunt Henrietta, though she was understandable unable to rescue
that program from well-deserved oblivion. Her last memorable performance came
in Willard as the mother of the troubled boy trafficking with homicidal
rats—a former monster's bride now a monster's mother, and in her
characteristic fashion both accessibly genial and a bit strange.
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