Sharon Tate [1943-1969]Early life and becoming an actress
Sharon Tate was born in Dallas, Texas, the first of three daughters, to Paul Tate, a United States Army officer and his wife, Doris. At six months of age, Sharon Tate won the "Miss Tiny Tot of Dallas Pageant", but the Tates did not hold any showbusiness ambitions for their daughter. Paul Tate's military career progressed, and he was promoted and transferred several times. By the age of 16, Sharon Tate had lived in six different American cities, and because of the frequent moves and unsettled lifestyle, had found it difficult to maintain friendships. Her family described her as shy and lacking in self-confidence as a result, and as an adult Sharon Tate commented that people often misinterpreted her shyness and considered her to be aloof until they came to know her better.
As she matured, people commented on her beauty; she began entering beauty pageants, winning the title of "Miss Richland, Washington" in 1959. She spoke of her ambition to study psychiatry, and also stated her intention to compete in the "Miss Washington" pageant in 1960, but before she could follow either course of action, Paul Tate was transferred to Italy, taking his family with him.
Upon her arrival in Verona, Sharon Tate learned that she had become a local celebrity due to the publication of a photograph of her in a bathing suit, which appeared on the cover of the military newspaper, Stars and Stripes. She discovered a kinship with other students at the American school she attended, recognising that their backgrounds and feelings of separation were similar to her own, and for the first time in her life began to form lasting friendships. Tate and her friends became interested in the filming of Adventures of a Young Man, which was being made nearby with Paul Newman, Susan Strasberg and Richard Beymer, and they obtained parts as film extras. Beymer noticed Tate in the crowd and introduced himself, and the two dated during the production of the film, with Beymer offering Tate encouragement to pursue a film career. In 1961, Tate was employed by the singer Pat Boone, and appeared with him in a television special he made in Venice.
Later in the year, when Barabbas was being filmed near Verona, once again Tate was cast as an extra. The actor Jack Palance was impressed with her appearance and her attitude, although her role was too small to judge whether she had talent. He arranged a screen test for her in Rome, but this did not lead to further work. Tate returned to the United States alone, saying she wanted to further her studies, but tried to find film work. After a few months, Doris Tate, who feared for her daughter's safety, suffered a nervous breakdown and Sharon Tate returned to Italy.
The Tate family returned to the United States in 1962, and Sharon Tate moved to Los Angeles, California, where she contacted Richard Beymer's agent, Harold Gefsky. After their first meeting Gefsky agreed to represent her, and secured work for her in television and magazine advertisements. In 1963 he introduced her to Martin Ransohoff, director of Filmways, Inc., who signed her to a seven year contract. Tate was considered for one of the lead roles in the Petticoat Junction television series, but Ransohoff realized that she lacked the experience to handle an important role. He gave her small parts in Mr. Ed, and The Beverly Hillbillies to allow her to gain experience.
During this time Tate met the French actor Philippe Forquet, and began a relationship with him. They became engaged, but the relationship was volatile and they frequently quarrelled. After a violent confrontation with Forquet, Tate required hospital treatment for her injuries, and subsequently ended the relationship.
Movie career
Tate continued to ask Ransohoff to cast her in a film; by 1965 she had been under contract for two years, and had only some minor television appearances to her credit. After she auditioned unsuccessfully for role of Liesl in the film version of The Sound of Music, Ransohoff allowed her to appear in the film Eye of the Devil (known during production by the title Thirteen) co-starring with David Niven, Deborah Kerr, Donald Pleasence and David Hemmings. Tate and Sebring travelled to London to begin preparation for the filming. As part of Ransohoff's promotion of Tate, he organised for a short documentary to be produced which would be released at the same time as Eye of the Devil. Titled All Eyes on Sharon Tate it included an interview with Eye of the Devil director J. Lee Thompson, who expressed his initial doubts about Tate's potential with the comment "We even agreed that if after the first two weeks Sharon was not quite making it, that we would put her back in cold storage", but added that he soon realized Tate was "tremendously exciting".
She played the part of Odile, a witch who exerts a mysterious power over a landowner, played by Niven, and his wife, Kerr. Although she did not have as many lines as the other actors, Tate's performance was considered crucial to the film, and she was required more than the other cast members, to set an ethereal tone. Niven described her as a "great discovery", and Kerr said that with "a reasonable amount of luck", Tate would be a great success. [1] In interviews, Tate commented on her good fortune in working with such professionals in her first film, and said that she had learned a lot about acting simply by watching Kerr at work. Much of the filming took place in France and Sebring returned to Los Angeles to fulfil his business obligations. After filming completed Tate remained in London where she immersed herself in the fashion world and nightclubs; it was in one of these nightclubs that she met Roman Polanski.
Tate and Polanski later agreed that neither of them had been impressed by the other when they first met. Polanski was planning The Fearless Vampire Killers, which was being co-produced by Ransohoff, and had decided that he wanted the red-headed actress Jill St. John for the female lead. Ransohoff insisted that Polanski cast Tate, and after meeting with her, he agreed that she would be suitable on the condition that she wore a red wig during filming. The company travelled to Italy for filming where Tate's fluent Italian proved useful in communicating with the local crewmembers. A perfectionist, Polanski had little patience with the inexperienced Tate, and said in an interview that one scene had required seventy "takes" before he was satisfied. In addition to directing, Polanski also acted in the film, playing one of the main characters, a guileless young man, who is intrigued by Tate's character and begins a romance with her. As filming progressed, Polanski began to offer encouragement for her performance and her confidence grew. They began a relationship, and Tate moved into Polanski's London apartment after filming completed. Jay Sebring travelled to London where he insisted on meeting Polanski. Although his friends later said he was devastated, he befriended Polanski and remained Tate's closest confidante. Polanski later commented that Sebring was a lonely and isolated person, who viewed Tate and Polanski as his family.
Polanski returned to the United States, and was contracted to direct the film version of Ira Levin's novel Rosemary's Baby. He later admitted that he had wanted Tate for the title role, and had hoped that someone would suggest her, as he felt it inappropriate to make the suggestion himself. The producers did not suggest Tate, and Mia Farrow was cast. Tate provided ideas for some of the key scenes, including the scene in which the protagonist, Rosemary, is impregnated. She also appeared, uncredited, as a guest during a party scene. A frequent visitor to the set, she was photographed there by Esquire magazine and the resulting photographs generated considerable publicity for both Tate and the film.
A March 1967 article about Tate in Playboy Magazine commenced with, "This is the year that Sharon Tate happens..." and in addition to an article about Tate, included six nude and partially nude photographs taken by Roman Polanski during filming of The Fearless Vampire Killers. Tate was optimistic – Eye of the Devil and The Fearless Vampire Killers were each due for release, and she had been signed to play a major role in the film version of Valley of the Dolls. One of the all-time literary bestsellers, the film version was highly publicised and anticipated, and while Tate stated that she could not believe her luck, she confided to Polanski that she did not like either the book or the script.
Patty Duke, Barbara Parkins and Judy Garland were cast in the other major roles. Susan Hayward replaced Garland a few weeks later when Garland was dismissed. The director Mark Robson was highly critical of the three principal actresses but according to Duke, directed most of his criticism at Tate. Duke later said Robson "continually treated [Tate] like an imbecile, which she definitely was not, and she was very attuned and sensitive to this treatment." Polanski later quoted Robson as saying to him "That's a great girl you're living with. Few actresses have her kind of vulnerability. She's got a great future".
In interviews during production, Tate expressed an affinity for her character, Jennifer North, an aspiring actress who was admired only for her body. Some magazines commented that Tate was viewed similarly and Look Magazine published an unfavourable article about the three lead actresses, describing Tate as "a hopelessly stupid and vain starlet". Tate, Duke and Parkins developed a close friendship which continued after the completion of the film, and despite the difficulties she had endured, Tate promoted the film enthusiastically. She frequently commented on her admiration for Lee Grant, with whom she had played several dramatic scenes.
A journalist asked Tate to comment on her nude scene, and she replied, "I have no qualms about it at all. I don't see any difference between being stark naked or fully dressed – if it's part of the job and it's done with meaning and intention. I honestly don't understand the big fuss made over nudity and sex in films. It's silly. On TV, the children can watch people murdering each other, which is a very unnatural thing, but they can't watch two people in the very natural process of making love. Now, really, that doesn't make any sense, does it?"
An edited version of The Fearless Vampire Killers was released, and Polanski expressed disgust at Ransohoff for "butchering" his film. Newsweek called it "a witless travesty", and it was not profitable. Tate's performance was largely ignored in reviews, and when she was mentioned, it was usually in relation to her nude scenes. Eye of the Devil was released shortly after, and Metro-Goldwyn-Mayer attempted to build interest in Tate with its press release describing her as "one of the screen's most exciting new personalities". The film failed to find an audience, and most reviews were indifferent, neither praising nor condemning it. The New York Times wrote that one of the few highlights was Tate's "chillingly beautiful but expressionless performance".
The All Eyes on Sharon Tate documentary was used to publicize the film. Its fourteen minutes consisted of a number of scenes depicting Tate filming Eye of the Devil, dancing in nightclubs and sightseeing around London, and also contained a brief interview with her. Asked about her acting ambitions she replied, "I don't fool myself. I can't see myself doing Shakespeare". She spoke of her hopes of finding a niche in comedy, and in other interviews she expressed her desire to become "a light comedienne in the Carole Lombard style". She discussed the type of contemporary actress she wanted to emulate and explained that there were two in particular that she was influenced by, Faye Dunaway and Catherine Deneuve. Of the latter, she said "I’d like to be an American Catherine Deneuve. She plays beautiful, sensitive, deep parts with a little bit of intelligence behind them."
Later in the year, Valley of the Dolls opened to almost uniformly negative reviews. Bosley Crowther for The New York Times said that "all a fairly respectful admirer of movies can do is laugh at it and turn away". Newsweek wrote that the film "has no more sense of its own ludicrousness than a village idiot stumbling in manure", but in a later article about rising actresses wrote "Astoundingly photogenic, infinitely curvaceous, Sharon Tate is one of the most smashing young things to hit Hollywood in a long time". The three lead actresses were castigated in numerous publications, including The Saturday Review, which wrote, "Ten years ago.. Parkins, Duke and Tate would more likely have been playing the hat check girls than movie-queens; they are totally lacking in style, authority or charm". The Hollywood Reporter provided Tate with some positive comments, and wrote "Sharon Tate emerges as the film's most sympathetic character... William Daniels' photographic caress of her faultless face and enormous absorbent eyes is stunning". Roger Ebert for the Chicago Sun-Times described Tate as "a wonder to behold", but after describing the script of one of her scenes as "the most offensive and appalling vulgarity ever thrown up by any civilization", concluded that as a result, "I will be unable to take her any more seriously as a sex symbol than Raquel Welch".
Marriage to Roman Polanski
In late 1967, Tate and Polanski returned to London, and were frequent subjects of newspaper and magazine articles. Tate was depicted as being untraditional and modern, with her assertion that couples should live together before they marry being quoted. They were married in London on January 20, 1968 with considerable publicity. The photographer Peter Evans later described them as "The imperfect couple. They were the Douglas Fairbanks/Mary Pickford of our time... Cool, nomadic, talented and nicely shocking."
While Tate reportedly wanted a traditional marriage, Polanski remained somewhat promiscuous and described Tate's attitude to his infidelity as "Sharon's big hang-up". He reminded Tate that she had promised that she would not try to change him. Tate accepted Polanski's actions, though confided to friends that she hoped he would change. Peter Evans quoted Tate as saying "We have a good arrangement. Roman lies to me and I pretend to believe him."
Polanski encouraged Tate to end her association with Martin Ransohoff, and Tate began to place less importance on her career, until being told by Polanski that he wanted to be married to "a hippie, not a housewife". The couple returned to Los Angeles, and quickly became part of a social group that included some of the most successful young people in the film industry, including Steve McQueen, Warren Beatty, Mia Farrow, Peter Sellers, Jacqueline Bisset, Leslie Caron, Joan Collins, Joanna Pettet, Peter Fonda and Jane Fonda, older members of the Hollywood community such as Henry Fonda, Kirk Douglas, Yul Brynner and Danny Kaye, musicians such as Jim Morrison and the four members of the Mamas and the Papas, and the record producer Terry Melcher and his girlfriend Candice Bergen. Jay Sebring remained one of Tate's and Polanski's most frequent companions. Polanski's circle of friends included people he had known since his youth in Poland and included Wojciech Frykowski, and his girlfriend, the coffee heiress, Abigail Folger. The Polanski residence was often filled with strangers, and Tate regarded the casual atmosphere as part of the "free spirit" of the times, saying that she didn't mind who came into her home as her motto was "live and let live". Her close friend, Leslie Caron, later commented that the Polanskis were too trusting, "to the point of recklessness" and that she had been alarmed by it.
Tate's next film was The Wrecking Crew (1969), a comedy in which she played Freya Carlson, an accident prone spy, who was also a romantic interest for the star Dean Martin, as Matt Helm. She performed her own stunts and was taught martial arts by Bruce Lee. The film was successful and brought Tate strong reviews, with many reviewers praising her comedic performance. Vincent Canby writing for the New York Times criticised the film but wrote "The only nice thing is Sharon Tate, a tall, really great-looking girl". Martin commented that he intended to make another "Matt Helm" film, and that he wanted Tate to reprise her role.
Around this time Tate began to receive acknowledgement as a promising newcomer. She was nominated for a Golden Globe Award as "New Star of the Year - Actress" for her Valley of the Dolls performance, losing to Katharine Ross for The Graduate. She placed fourth behind Mia Farrow, Judy Geeson and Katharine Houghton for a "Golden Laurel" award as the year's "Most Promising Newcomer" with the results published in the Motion Picture Exhibitor magazine. She was also runner-up to Lynn Redgrave in the Motion Picture Herald's poll for "The Star of Tomorrow", in which box-office drawing power was the main criteria for inclusion on the list. These results indicated that her career was beginning to accelerate and for her next film, Tate negotiated a fee of $150,000.
Tate became pregnant near the end of 1968, and in February 1969 she and Polanski moved to 10050 Cielo Drive in Benedict Canyon. The house had previously been occupied by their friends, Terry Melcher and Candice Bergen. Tate and Polanski had visited it several times, and Tate was thrilled to learn it was available, referring to it as her "love house".
Encouraged by the positive reviews her previous comedic performances had received, Tate deliberately chose another comedy, The Thirteen Chairs, as her next project, but she also explained that her decision was based largely on the fact that she would co-star with Orson Welles. In March, 1969 she travelled to Italy to commence filming, while Polanski travelled to London to begin working on The Day of the Dolphin. Frykowski and Folger moved into the Cielo Drive house.
After completing The Thirteen Chairs, Tate joined Polanski in London. She posed for the photographer Terry O'Neill in their apartment in casual domestic scenes in which she was seen opening baby gifts, and she also completed a series of glamour photographs for the British magazine Queen. Interviewed by a journalist in late July, Tate was asked if she believed in fate, and replied, "Certainly. My whole life has been decided by fate. I think something more powerful than we are decides our fates for us. I know one thing – I've never planned anything that ever happened to me."
She returned from London to Los Angeles, on July 20, 1969, traveling alone on the RMS Queen Elizabeth 2. Polanski was due to return on August 12 in time for the birth, and he asked Frykowski and Folger to stay in the house with Tate until then.
Murder
On August 8, 1969, Tate was two weeks away from giving birth. She entertained two friends for lunch at her home, actress Joanna Pettet and Barbara Lewis, confiding in them her despair at Polanski's delay in returning from London. In the afternoon Polanski phoned her. Her younger sister Debra also called to ask if she and their sister Patti could spend the night with Tate. Tate explained that she was tired and refused. In the evening she went to a restaurant with Sebring, Frykowski and Folger, returning at approximately 10.30 p.m..
During the night they were murdered by members of Charles Manson's "Family" and their bodies discovered the following morning by Tate's housekeeper, Winifred Chapman. Police arrived at the scene to find the body of a young man, later identified as Steven Parent, shot to death in his car, which was in the driveway. Inside the house, the bodies of Tate and Sebring were found in the living room; a long rope tied around each of their necks connected them. On the front lawn lay the bodies of Frykowski and Folger. All of the victims, except Parent, had been stabbed numerous times. The coroner's report for Tate noted that she had been stabbed sixteen times, and that "five of the wounds were in and of themselves fatal".
Polanski had been informed of the murders and returned to Los Angeles, where police, unable to determine a motive, questioned him about his wife and friends. The funerals for each of the five victims were held on Wednesday August 14. Sharon Tate was interred in the Holy Cross Cemetery, Culver City, California, with her son, Paul Richard Polanski, in her arms. The funerals of Tate and Sebring were separated by several hours to allow mourners to attend both.
Life Magazine devoted a lengthy article to the murders and featured photographs of the crime scenes. Polanski was interviewed for the article and allowed himself to be photographed in the living room where Tate and Sebring had died, Tate's dried blood clearly visible on the floor in front of him. Widely criticised for his actions, he argued that he wanted to know who was responsible and was willing to shock the magazine's readers in the hope that someone would come forward with information.
Filmography
(2002) A&E Biography -- Sharon Tate: Murdered Innocence
(2001) AMC Backstory: Valley of the Dolls (TV) (archive footage) .... Herself
(1999) Last Days of Sharon Tate: The E! True Hollywood Story (TV) (archive footage) .... Herself
(1970) Ciao, Federico! .... Herself
(1970) 12 + 1 aka 13 Chairs.... Pat
(1969) Wrecking Crew, The .... Freya Carlson
(1968) Rosemary's Baby (uncredited) .... Girl At The Party
(1967) All Eyes On Sharon Tate .... Herself See it Now!
(1967) Valley of the Dolls .... Jennifer North
(1967) Fearless Vampire Killers, The .... Sarah Shagal
(1967) Don't Make Waves .... Malibu
(1967) Eye of the Devil .... Odile
(1965) Sandpiper, The (uncredited) .... Bit Part
(1964) Americanization of Emily, The (uncredited) .... Bit Part
(1963) Wheeler Dealers, The (uncredited) .... Bit Part
(1962) "Beverly Hillbillies, The" TV Series .... Janet Trego (1963-64)
(1962) Hemingway's Adventures of a Young Man (uncredited) .... Extra Part
(1962) Barabbas - Sharon's first film appearance .... Bit Part
Miscellaneous
(1979) Tess (dedicatee) (as Sharon) -- Roman Polanski Film
Rosemary's Baby, Sharon is seen briefly in the 'making-of' documentary.
Commercials:
Chevrolet
Santa Fe Cigars
1967 - Coppertone Suntan lotion ad that also promoted her movie "Don't Make Waves"
Trivia
Sharon has quite the high school career. During those years, she was a cheerleader, baton twirler, star basketball player, and played Juliet in the school production of "Romeo and Juliet." She was also voted Homecoming Queen and Senior Prom Queen.
Her husband Roman Polanski said that in his eyes, Sharon was "a perfect woman."
Michael Sarne said that Sharon "was a luminous beauty, kind, gentle and a wonderful friend to all who were privileged to know her." He added that she "brought out the best in others and was a human being of extraordinary worth. Her memory is always fresh in my mind."
Sharon drove a 1967 red Ferrari with tags # VMP659.
Malibu Barbie was modeled after her character 'Malibu' in 1967's film "Don't Make Waves."
Her measurements were 36-22-35.
Her favorite make-up for her lips was vaseline, which she kept jars of in her car.
She auditioned for the role of Liesl in "Sound of Music."
She was born at 5:47 pm-CST on a Sunday
Sharon's character 'Freia Carlson' in 1969's "The Wrecking Crew" was the inspiration for 'Felicity Shagwell' in the 1999 hit "Austin Powers: The Spy Who Shagged Me."
Sharon was originally cast as Billie Jo in the TV show "Petticoat Junction," but walked away from it at the advice of her manager.
For her work in "The Wrecking Crew," Sharon's salary was $125,000.
Sharon is buried in Holy Cross Cemetery in Culver City, California.
Sharon's life, along with her tragic murder, was once featured on an episode of E! True Hollywood Story.
Sharon's unborn son, who died when she did, was named Paul for his gravestone.
Sharon once went out on a date with actor Jack Palance when she was still in high school in Italy.
Sharon, wearing a brunette wig, had a recurring role as a secretary on The Beverly Hillbillies.
Sharon had brown eyes.
Won the title of "Miss Richland, Washington" (a beauty contest) when she was sixteen years old.
She was considered one of the most beautiful women in the world during the late sixties.
Her father was a lieutenant colonel in Army Intelligence.
Sharon Tate Quotes
Everything that's realistic has some sort of ugliness in it. Even a flower is ugly when it wilts, a bird when it seeks its prey, the ocean when it becomes violent.
I guess I kind of lived in a fairytale world... looking at everything through rose-colored glasses. I probably always will, to a certain extent.
My whole life has been decided by fate.
Sexiness is all in the eye of the beholder. I think it should be. Absolutely. My sex appeal, whatever it might be, isn't obvious... at least to me.
I honestly don't understand the big fuss made over nudity and sex in films. It's silly. On TV, the children can watch people murdering each other, which is a very unnatural thing, but they can't watch two people in the very natural process of making love. Now, really, that doesn't make any sense, does it?
Life. People. Before, I used to take everything at face value. Because, when I say something, I mean it... so I used to feel that everybody else meant what they said. But of course that wasn't true. And life isn't that sweet and simple.Though we miss the sweetness of her physical presence we realize that her soul is eternal.
