Television and Film Career
Roberts' acting career began in 1952 with a role on the TV series Studio One. She appeared in episodes of The Naked City (1958–63), Way Out (1961), Ben Casey (1963), and The Defenders (1962–63).
In 1961, she made her film debut in Something Wild. She appeared in such 1960s and 1970s cult films as A Lovely Way to Die, No Way to Treat a Lady, The Honeymoon Killers, Such Good Friends, Little Murders, A New Leaf and The Taking of Pelham One Two Three. In 1978, she appeared in a film about John F. Kennedy's assassination, Ruby and Oswald, in which she played Jack Ruby's sister. She also appeared very briefly in The Rose, as the mother of the title character (played by Bette Midler).
In an interview with the Archive of American Television, Rue McClanahan confirmed that in 1972 she was approached by Norman Lear during the taping of an All In The Family episode to be a late replacement for Roberts, who was originally intended for the role of Vivian in Maude.
She has usually been cast as a mother or mother-in-law on television, i.e. as Theresa Falco on Angie. She later appeared as Mildred Krebs on Remington Steele. After that show ended, she starred in the TV movie remake of If It's Tuesday, It Still Must Be Belgium (1987) and the National Lampoon's Christmas Vacation (1989). She appeared on Alice, playing the mother of the title character (played by her former Broadway co-star Linda Lavin), on Barney Miller as the wife of a man who secretly went to a sex surrogate, and on Full House as Danny Tanner's mother. She played the unhinged "Flo Flotsky" on four episodes of Soap, and played lonely Aunt Edna on Step by Step.
Read more about this topic: Doris Roberts
Famous quotes containing the words television, film and/or career:
“Never before has a generation of parents faced such awesome competition with the mass media for their children’s attention. While parents tout the virtues of premarital virginity, drug-free living, nonviolent resolution of social conflict, or character over physical appearance, their values are daily challenged by television soaps, rock music lyrics, tabloid headlines, and movie scenes extolling the importance of physical appearance and conformity.”
—Marianne E. Neifert (20th century)
“The obvious parallels between Star Wars and The Wizard of Oz have frequently been noted: in both there is the orphan hero who is raised on a farm by an aunt and uncle and yearns to escape to adventure. Obi-wan Kenobi resembles the Wizard; the loyal, plucky little robot R2D2 is Toto; C3PO is the Tin Man; and Chewbacca is the Cowardly Lion. Darth Vader replaces the Wicked Witch: this is a patriarchy rather than a matriarchy.”
—Andrew Gordon, U.S. educator, critic. “The Inescapable Family in American Science Fiction and Fantasy Films,” Journal of Popular Film and Television (Summer 1992)
“I began my editorial career with the presidency of Mr. Adams, and my principal object was to render his administration all the assistance in my power. I flattered myself with the hope of accompanying him through [his] voyage, and of partaking in a trifling degree, of the glory of the enterprise; but he suddenly tacked about, and I could follow him no longer. I therefore waited for the first opportunity to haul down my sails.”
—William Cobbett (1762–1835)