Jean Simmons

Simmons was born on 31 January 1929, in Islington, London,[4] to Charles Simmons, a bronze medalist in gymnastics at the 1912 Summer Olympics, and his wife, Winifred Ada (née Loveland). Jean was the youngest of four children, with siblings Lorna, Harold, and Edna. She began acting at the age of 14.[5]

During the Second World War, the Simmons family was evacuated to Winscombe, Somerset.[6] Her father, a physical education teacher,[7] taught briefly at Sidcot School, and some time during this period, Simmons followed her eldest sister onto the village stage and sang popular songs such as "Daddy Wouldn't Buy Me a Bow Wow". At this point, her ambition was to be an acrobatic dancer.[8]

On her return to London, Simmons enrolled at the Aida Foster School of Dance. She was spotted by director Val Guest, who cast her in the Margaret Lockwood vehicle Give Us the Moon (1944) in a large role as Lockwood's sister.[9] Small roles in several other films followed, including Mr. Emmanuel (1944), Kiss the Bride Goodbye (1945), Meet Sexton Blake (1945), and the popular The Way to the Stars (1945), as well as the short Sports Day (1945).

Simmons had a small part as a harpist in the high-profile Caesar and Cleopatra (1945), produced by Gabriel Pascal, starring Vivien Leigh, and co-starring Simmons's future husband Stewart Granger. Pascal saw potential in Simmons, and in 1945 he signed her to a seven-year contract to the J. Arthur Rank Organisation.

Simmons became a star in Britain when she was cast as the young Estella in David Lean's version of Great Expectations (1946). The movie was the third-most popular film at the British box office in 1947, and Simmons received excellent reviews.[10]

The experience of working on Great Expectations caused her to pursue an acting career more seriously:

I thought acting was just a lark, meeting all those exciting movie stars, and getting £5 a day which was lovely because we needed the money. But I figured I'd just go off and get married and have children like my mother. It was working with David Lean that convinced me to go on.[11]

Simmons had support roles in Hungry Hill (1947) with Margaret Lockwood and the Powell-Pressburger film Black Narcissus (1947), playing an Indian woman in the latter alongside Sabu.[12][6]

Simmons was top-billed for the first time in the drama Uncle Silas (1947). She followed it with The Woman in the Hall (1947). Neither was particularly successful; but Simmons was then in a huge international hit, playing Ophelia in Laurence Olivier's Hamlet (1948), for which she received her first Oscar nomination. Olivier offered her the chance to work and study at the Old Vic, advising her to play anything they offered her to get experience; but she was under contract to Rank, which vetoed the idea.[13]

Simmons had the lead in Frank Launder's The Blue Lagoon (1949), based on the novel by Henry De Vere Stacpoole and co-produced with Launder's partner Sidney Gilliat, a project originally announced for Lockwood a decade earlier. It was a considerable financial success.[14][15]

Simmons starred with Stewart Granger in the comedy Adam and Evelyne (1949). It was her first adult role, and Granger and she became romantically involved; they soon married.[16]

Simmons made two films that were popular at the local box office: So Long at the Fair (1950) with Dirk Bogarde and Trio (1950), where she was one of several stars. She was then in Cage of Gold (1950) with David Farrar and Ralph Thomas' The Clouded Yellow (1950) with Trevor Howard. In 1950, Simmons was voted the fourth-most popular star in Britain.[17]

Granger became a Hollywood star in King Solomon's Mines (1950) and was signed to a contract by MGM, so Simmons moved to Los Angeles with him. In 1951, Rank sold her contract to Howard Hughes, who then owned RKO Pictures.[18][19]

Hughes was eager to start a sexual relationship with Simmons, but Granger put a stop to his advances by angrily telling Hughes over the phone: "Mr Howard bloody Hughes, you'll be sorry if you don't leave my wife alone."[20] To further punish Simmons and Granger, Hughes refused to lend her to Paramount where director William Wyler wanted to cast her in the female lead for his film Roman Holiday; the role made a star of Audrey Hepburn.

Simmons with Victor Mature in Androcles and the Lion (1952)

Her first Hollywood film was Androcles and the Lion (1952), produced by Pascal and co-starring Victor Mature. It was followed by Angel Face (1953), directed by Otto Preminger with Robert Mitchum. David Thomson wrote "if she had made only one film – Angel Face – she might now be spoken of with the awe given to Louise Brooks."[21] Smarting over his rebuff from Granger, Hughes instructed Preminger to treat Simmons as roughly as possible, leading the director to demand that costar Mitchum repeatedly slap the actress harder and harder, until Mitchum turned and punched Preminger, asking if that was how he wanted it.[22] He also made her appear in She Couldn't Say No (1954), a comedy with Mitchum.

A court case freed Simmons from the contract with Hughes in 1952.[21] They settled out of court; part of the arrangement was that Simmons would do one more film for no additional money.[23] Simmons also agreed to make three more movies under the auspices of RKO, but not actually at that studio—she would be lent out. She would make an additional picture for 20th Century Fox while RKO got the services of Victor Mature for one film.[24]

MGM cast her in the lead of Young Bess (1953) playing a young Queen Elizabeth I with Granger. She went back to RKO to do the extra film under the settlement with Hughes, titled Affair with a Stranger (1953) with Mature; it flopped.

Simmons went over to 20th Century Fox to play the female lead in The Robe (1953), the first CinemaScope movie and an enormous financial success. Less popular was The Actress (1953) at MGM alongside Spencer Tracy, although it was one of her personal favorites.

Fox asked Simmons back for The Egyptian (1954), another epic, but it was not especially popular. She had the lead in Columbia's A Bullet Is Waiting (1954). More widely seen was Désirée (1954), where Simmons played Désirée Clary to Marlon Brando's Napoleon Bonaparte.

Simmons and Granger returned to England to make the thriller Footsteps in the Fog (1955). Then, Joseph Mankiewicz cast her opposite Brando in the screen adaptation of Guys and Dolls (1955), where she did her own singing in a role turned down by Grace Kelly; it was a big hit.

Simmons played the title role in Hilda Crane (1956) at Fox, a box-office disappointment. So, too, were This Could Be the Night (1957) and Until They Sail (1957), both at MGM.

Simmons had a big success, though, in The Big Country (1958), directed by William Wyler. She starred in Home Before Dark (1958) at Warner Bros. and This Earth Is Mine (1959) with Rock Hudson at Universal. In the opinion of film critic Philip French, Home Before Dark was "perhaps her finest performance as a housewife driven into a breakdown in Mervyn LeRoy's psychodrama."[25]

Simmons went into Elmer Gantry (1960), directed by Richard Brooks, who became her second husband. It was successful, as was Spartacus (1960), where she played Kirk Douglas' love interest. Simmons then did The Grass Is Greener (1960) with Mitchum, Cary Grant, and Deborah Kerr.

She took some years off screen, then returned in All the Way Home (1963) with Robert Preston. She did Life at the Top (1965) with Laurence Harvey, Mister Buddwing (1966) with James Garner, Divorce American Style (1967) with Dick Van Dyke, and Rough Night in Jericho (1967) with George Peppard and Dean Martin.

Simmons did Heidi (1968) for TV, then Brooks wrote and directed The Happy Ending (1969) for her, and she received her second Oscar nomination.

By the 1970s, Simmons turned her focus to stage and television acting. She toured the United States in Stephen Sondheim's A Little Night Music, then took the show to London, thus originated the role of Desirée Armfeldt in the West End. Performing in the show for three years, she said she never tired of Sondheim's music; "No matter how tired or 'off' you felt, the music would just pick you up."[26]

She portrayed Fiona "Fee" Cleary, the Cleary family matriarch, in the miniseries The Thorn Birds (1983); she won an Emmy Award for her role. She appeared in North and South (1985–86), again playing the role of the family matriarch as Clarissa Main, and starred in The Dawning (1988) with Anthony Hopkins and Hugh Grant. In 1989, Simmons appeared as murder mystery author Eudora McVeigh Shipton, a self proclaimed rival to Jessica Fletcher, in the two part Murder, She Wrote episode "Mirror, Mirror, On the Wall" with Angela Lansbury.

In 1991, she made a late-career appearance in the Star Trek: The Next Generation episode "The Drumhead" as a retired Starfleet admiral and hardened legal investigator who conducts a witch hunt. That same year she starred in a remake of Great Expectations, this time playing the role of Miss Havisham, Estella's adoptive mother, and as Elizabeth Collins Stoddard/Naomi Collins, in the short-lived revival of the 1960s daytime series Dark Shadows, in roles originally played by Joan Bennett. From 1994 until 1998, Simmons narrated the A&E documentary television series Mysteries of the Bible. In 1995, she appeared in "How to Make an American Quilt" with: Winona Ryder, Maya Angelou, Ellen Burstyn, Anne Bancroft, and Alfre Woodard. In 2004, she voiced the lead role of Sophie in the English dub of Howl's Moving Castle.[12]