Films
Jameson began work in the early 1950s with numerous uncredited roles in films and television. She made her film debut in 1951 playing a chorus girl dancer in the motion picture Show Boat. Her other notable film credits of that early period included Problem Girls (1953), Tip on a Dead Jockey (1957) and The Apartment (1960).
In 1962, she starred alongside Vincent Price and Peter Lorre in the Roger Corman horror film Tales of Terror as Annabel Herringbone. She played Lorre's vulgar, unfaithful wife and during the course of the film she and her paramour (Price) were locked up in Lorre's wine cellar. One year later, she again starred alongside Lorre and Price in the raucous comedy The Comedy of Terrors (released in 1964), where she was more typically cast as she had been in the 1950s. In 1964, she appeared as a hotel hooker in the comedy Good Neighbor Sam, starring Jack Lemmon and Romy Schneider.
For Jameson, 1966 proved to be an important year. She starred as Abigail in the Elvis Presley film Frankie and Johnny and in Boy, Did I Get a Wrong Number! alongside Bob Hope and Elke Sommer. She also appeared in 1968's The Split, a crime film with Jim Brown and Warren Oates, and in an unsold comedy pilot for CBS called The Mouse That Roared but it was never released.
In the 1970s, Jameson had notable roles in films such as Death Race 2000 (1975) playing Grace Pander and she appeared in the 1976 Clint Eastwood western The Outlaw Josey Wales as Rose, further illustrating that her acting spanned a great number of genres. She also appeared in Every Which Way But Loose (1978) and one of her last roles was Hardbodies (1984).
Read more about this topic: Joyce Jameson, Career
Famous quotes containing the word films:
“Science fiction films are not about science. They are about disaster, which is one of the oldest subjects of art.”
—Susan Sontag (b. 1933)
“Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.”
—David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)