Sonja Henie - Biography - Professional and Film Career

Professional and Film Career

After the 1936 World Figure Skating Championships, Henie gave up her amateur status and took up a career as a professional performer in acting and live shows. While still a girl, Henie had decided that she wanted to move to Hollywood and become a movie star when her competitive days were over, without considering that her thick accent might hinder her acting ambitions.

In 1936, following a successful ice show in Los Angeles orchestrated by her father to launch her film career, Hollywood studio chief Darryl Zanuck signed her to a long term contract at Twentieth Century Fox which made her one of the highest-paid actresses of the time. After the success of her first film, One in a Million, Henie's position was assured and she became increasingly demanding in her business dealings with Zanuck. Henie also insisted on having total control of the skating numbers in her films such as Second Fiddle (1939).

In addition to her film career at Fox, Henie formed a business arrangement with Arthur Wirtz, who produced her touring ice shows under the name of "Hollywood Ice Revue". Wirtz also acted as Henie's financial advisor. At the time, figure skating and ice shows were not yet an established form of entertainment in the United States. Henie's popularity as a film actress attracted many new fans and instituted skating shows as a popular new entertainment. Throughout the 1940s, Henie and Wirtz produced lavish musical ice skating extravaganzas at Rockefeller Center's Center Theatre attracting millions of ticket buyers.

At the height of her fame, her shows and touring activities brought Henie as much as $2 million per year. She also had numerous lucrative endorsement contracts, and deals to market skates, clothing, jewelry, dolls, and other merchandise branded with her name. These activities made her one of the wealthiest women in the world in her time.

Henie broke off her arrangement with Wirtz in 1950 and for the next three seasons produced her own tours under the name "Sonja Henie Ice Revue". It was an ill-advised decision to set herself up in competition with Wirtz, whose shows now featured the new Olympic champion Barbara Ann Scott. Since Wirtz controlled the best arenas and dates, Henie was left playing smaller venues and markets already saturated by other touring ice shows such as Ice Capades. The collapse of a section of bleachers during a show in Baltimore, Maryland in 1952 compounded the tour's legal and financial woes.

In 1953 Henie formed a new partnership with Morris Chalfen to appear in his European Holiday On Ice tour. This was a great success. She produced her own show at New York's Roxy Theatre in January 1956. However, a subsequent South American tour in 1956 was a disaster. Henie was drinking heavily at that time and could no longer keep up with the demands of touring, and this marked her retirement from skating.

In 1938, she published her autobiography Mitt livs eventyr which has translated and released as Wings on My Feet in 1940, which was republished in a revised edition in 1954. At the time of her death, Henie was planning a comeback for a television special that would have aired in January 1970.

Read more about this topic:  Sonja Henie, Biography

Famous quotes containing the words professional, film and/or career:

    In European thought in general, as contrasted with American, vigor, life and originality have a kind of easy, professional utterance. American—on the other hand, is expressed in an eager amateurish way. A European gives a sense of scope, of survey, of consideration. An American is strained, sensational. One is artistic gold; the other is bullion.
    Wallace Stevens (1879–1955)

    Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.
    Ingmar Bergman (b. 1918)

    The 19-year-old Diana ... decided to make her career that of wife. Today that can be a very, very iffy line of work.... And what sometimes happens to the women who pursue it is the best argument imaginable for teaching girls that they should always be able to take care of themselves.
    Anna Quindlen (b. 1952)