by guest critic Michael Clark
Here’s a look back on the life and career of the actress whose comedic and dramatic performances matched her outward beauty.
Teri Garr, the American actress known for her supporting and lead roles in some of the most cherished movies of the 1970s and 1980s, died at her home in Los Angeles on October 29 from complications of Multiple Sclerosis, a disease she battled for over four decades. She was 79 years old.
A native Californian, Garr began her a career when she was a teenager as an extra playing a go-go dancer in A Swingin’ Affair (1963). At about the same time, Garr met David Winters, a prominent choreographer who cast her as a dancer in a dozen movies, six of which starred Elvis Presley.
The Elvis Connection
Garr’s industry profile increased substantially with her appearances in the Presley movies, especially his highest-grossing feature ever (Viva Las Vegas, 1964). This led to non-dancing roles in multiple TV shows including Batman, The Andy Griffith Show, and It Takes a Thief.
Garr’s first speaking role was in the 1968 movie Head starring the Monkees, written and produced by Jack Nicholson, who cast her after they met at an acting class. It was a bit part but was enough to impress Star Trek creator Gene Roddenberry, who cast her in a second season episode of the original series.
In the early 1970s, Garr was hired as a dancer and sketch actress on The Sonny & Cher Comedy Hour where her comedic talent was noticed by millions of viewers.
The Breakthrough
Before the Sonny & Cher variety show had ended, Garr was cast by Francis Ford Coppola in The Conversation (1974), his acclaimed but often overlooked spy thriller movie that came out in-between the first two installments of The Godfather franchise.
While Garr’s role in The Conversation was brief (which should not be interpreted as “small”), Garr displayed significant dramatic acting chops which would lead to a major role in another Coppola movie down the road.
Released the same year as The Conversation, Garr appeared in the Mel Brooks horror comedy Young Frankenstein, as Inga, the role that permanently cemented her reputation as one of the great comedic actresses of her era. On the surface, Garr’s Inga was a stock horror bimbo character, yet it was rooted in the “smart/dumb” prototype pioneered by Lucille Ball. As any actor will attest, pulling off effortless comedy with believability and conviction is a far more monumental challenge than any high drama.
Garr’s next major role was in director Steven Spielberg’s 1977 Close Encounters of the Third Kind as the wife of Richard Dreyfuss' character. While smart on an exposure level, Garr’s choice to take on another dramatic role – even if it was in a blockbuster Spielberg sci-fi movie – temporarily halted her progress as a comedic leading lady.
The Career Pinnacle
In 1982, Garr received her sole Academy Award nomination playing opposite Dustin Hoffman in Sidney Pollack’s Tootsie. Even though Jessica Lange (who eventually won the award) also appeared in the same film, Garr’s reputation as an actress who could balance drama and comedy was further confirmed.
Arriving a year later was Mr. Mom, the smash hit comedy where Garr played the wife of Michael Keaton, a woman who became the major family bread-winner after Keaton’s character lost his high-paying job.
Even though Keaton was the obvious star of the film, it was Garr’s deft supporting performance as the understanding and supportive, yet independent-minded spouse that walked a fine line between the “stand by your man” and “I am woman, hear me roar” archetypes. It was an amazing balancing act.
One From the Heart
From a commercial perspective, Coppola’s 1982 dramatic musical One From the Heart starring Garr was a complete and utter commercial disaster. Taking in only $637,000 at the box office against a budget of $26 million, the movie essentially killed Coppola’s career.
The only movie in Garr’s career where she played the lead, One From the Heart is far better than the critical reviews and box office take would indicate. Garr’s stunning dramatic performance – which also called on her dance origins – was superb.
Full Disclosure
In the interest of full disclosure, I have been enamored with Teri Garr since Young Frankenstein and not only because she was gorgeous. She made me laugh without false effort. It was clear she was aware she was attractive, but never depended on her looks. She relied on her natural timing which can neither be taught nor learned. You either have it or you don’t and she had it in spades.
The fact that Garr went back and forth between drama and comedy – at the clear detriment of her career – is further evidence that she continually wanted to stretch; to be viewed as an actress who could deliver the goods, no matter the requirements of the roles.
Teri Garr won’t be remembered as a supremely gifted performer, but rather as a “smart actress” who recognized both her dramatic and comedic talents and made the most of each discipline.
Garr got her foot in the entertainment door because of her looks and dance moves, but far exceeded all future expectations and ultimately succeeded because she was never satisfied with being labeled or pigeonholed. That in itself is the ultimate compliment to her legacy.
Teri Garr, the American actress known for her supporting and lead roles in some of the most cherished movies of the 1970s and 1980s, died at her home in Los Angeles on October 29 from complications of Multiple Sclerosis, a disease she battled for over four decades. She was 79 years old.
A native Californian, Garr began her a career when she was a teenager as an extra playing a go-go dancer in A Swingin’ Affair (1963). At about the same time, Garr met David Winters, a prominent choreographer who cast her as a dancer in a dozen movies, six of which starred Elvis Presley.
The Elvis Connection
Garr’s industry profile increased substantially with her appearances in the Presley movies, especially his highest-grossing feature ever (Viva Las Vegas, 1964). This led to non-dancing roles in multiple TV shows including Batman, The Andy Griffith Show, and It Takes a Thief.
Garr’s first speaking role was in the 1968 movie Head starring the Monkees, written and produced by Jack Nicholson, who cast her after they met at an acting class. It was a bit part but was enough to impress Star Trek creator Gene Roddenberry, who cast her in a second season episode of the original series.
In the early 1970s, Garr was hired as a dancer and sketch actress on The Sonny & Cher Comedy Hour where her comedic talent was noticed by millions of viewers.
The Breakthrough
Before the Sonny & Cher variety show had ended, Garr was cast by Francis Ford Coppola in The Conversation (1974), his acclaimed but often overlooked spy thriller movie that came out in-between the first two installments of The Godfather franchise.
While Garr’s role in The Conversation was brief (which should not be interpreted as “small”), Garr displayed significant dramatic acting chops which would lead to a major role in another Coppola movie down the road.
Released the same year as The Conversation, Garr appeared in the Mel Brooks horror comedy Young Frankenstein, as Inga, the role that permanently cemented her reputation as one of the great comedic actresses of her era. On the surface, Garr’s Inga was a stock horror bimbo character, yet it was rooted in the “smart/dumb” prototype pioneered by Lucille Ball. As any actor will attest, pulling off effortless comedy with believability and conviction is a far more monumental challenge than any high drama.
Garr’s next major role was in director Steven Spielberg’s 1977 Close Encounters of the Third Kind as the wife of Richard Dreyfuss' character. While smart on an exposure level, Garr’s choice to take on another dramatic role – even if it was in a blockbuster Spielberg sci-fi movie – temporarily halted her progress as a comedic leading lady.
The Career Pinnacle
In 1982, Garr received her sole Academy Award nomination playing opposite Dustin Hoffman in Sidney Pollack’s Tootsie. Even though Jessica Lange (who eventually won the award) also appeared in the same film, Garr’s reputation as an actress who could balance drama and comedy was further confirmed.
Arriving a year later was Mr. Mom, the smash hit comedy where Garr played the wife of Michael Keaton, a woman who became the major family bread-winner after Keaton’s character lost his high-paying job.
Even though Keaton was the obvious star of the film, it was Garr’s deft supporting performance as the understanding and supportive, yet independent-minded spouse that walked a fine line between the “stand by your man” and “I am woman, hear me roar” archetypes. It was an amazing balancing act.
One From the Heart
From a commercial perspective, Coppola’s 1982 dramatic musical One From the Heart starring Garr was a complete and utter commercial disaster. Taking in only $637,000 at the box office against a budget of $26 million, the movie essentially killed Coppola’s career.
The only movie in Garr’s career where she played the lead, One From the Heart is far better than the critical reviews and box office take would indicate. Garr’s stunning dramatic performance – which also called on her dance origins – was superb.
Full Disclosure
In the interest of full disclosure, I have been enamored with Teri Garr since Young Frankenstein and not only because she was gorgeous. She made me laugh without false effort. It was clear she was aware she was attractive, but never depended on her looks. She relied on her natural timing which can neither be taught nor learned. You either have it or you don’t and she had it in spades.
The fact that Garr went back and forth between drama and comedy – at the clear detriment of her career – is further evidence that she continually wanted to stretch; to be viewed as an actress who could deliver the goods, no matter the requirements of the roles.
Teri Garr won’t be remembered as a supremely gifted performer, but rather as a “smart actress” who recognized both her dramatic and comedic talents and made the most of each discipline.
Garr got her foot in the entertainment door because of her looks and dance moves, but far exceeded all future expectations and ultimately succeeded because she was never satisfied with being labeled or pigeonholed. That in itself is the ultimate compliment to her legacy.
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