Phyllis Thaxter

Phyllis Thaxter, an actress who epitomized grace and resilience, captured the hearts of audiences through a film and television career that spanned several decades. Born Phyllis St. Felix Thaxter on November 20, 1919, in Portland, Maine, her trajectory in Hollywood mirrored the ebbs and flows of a rapidly evolving entertainment industry. Thaxter's foray into the world of acting seemed predestined. She was born into a family with a strong theatrical lineage; her father, Sidney Thaxter, was a Supreme Court Justice in Maine but also nurtured a passion for theater. Her mother worked in advertising but had once pursued acting, further influencing Thaxter's upbringing in a household where the arts were revered. Her education was rooted in the dramatic traditions, beginning with her studies at the Montreal-based Beaver Country Day School, which enabled a foundation in performance art. Thaxter's initial desire was to pursue a career on the stage, leading her to Broadway, where she built a robust profile in the 1940s. Among her noteworthy theatrical outings was the 1940 production of "Claudia," a play that highlighted her ability to balance vulnerability with earnest charm, attracting the attention of film scouts. Hollywood called soon thereafter, and Thaxter signed with MGM, entering the golden age of cinema during its zenith. Her film debut came in 1944 with "Thirty Seconds Over Tokyo," where her portrayal of Ellen Lawson, the supportive wife of Van Johnson's character, resonated with audiences and critics alike. This performance set the tone for many of her roles in Hollywood; she frequently inhabited the roles of devoted wives, virtuous figures, and even the occasional suffering heroine. Thaxter's career gained momentum with films like "Bewitched" (1945) and "Sheila" (1946), expanding her range as she navigated the subtle complexities demanded by the roles she portrayed. Her heightened emotional intelligence and intuitive approach to her characters led to key performances alongside some of the era's most coveted leading men, including Gregory Peck in "David and Bathsheba" (1951). While Thaxter enjoyed a prominent film career, the caprice of Hollywood's studio system brought challenges. A bout of polio in the early 1950s hampered her physically but did not diminish her resolve or spirit; she persevered and returned to acting despite limitations. The tenacity she demonstrated during this period became emblematic of the fortitude she projected both on and off the silver screen. The transition to television proved to be a pivotal chapter in Thaxter's life. With cinematic roles dwindling, she adeptly embraced television, lending her talents to series such as "The Twilight Zone," "Rawhide," and "The Alfred Hitchcock Hour." Her television work reaffirmed her adeptness at conveying a wide spectrum of emotional experiences and maintaining a sense of authenticity with each portrayal. Television offered Thaxter the chance to engage in more diverse roles, countering the conventional typecasting she often faced in films. Undoubtedly, one of the most memorable roles she inhabited in her later career was that of Martha Kent, adoptive mother of Christopher Reeve's Superman in the 1978 film. This return to the big screen, albeit in a supporting capacity, connected her once again with a wide audience, and showcased her undiminished ability to infuse warmth and empathy into her characters. Through an industrious career, Thaxter maintained a balance between her professional ambitions and familial responsibilities. She married James T. Aubrey Jr., a television executive, in 1944, and together they had two children before their eventual divorce. Her second marriage to Gilbert Lea lasted until his death in 2008, cementing a partnership that spanned half a century. Thaxter's dedication to her family was as pronounced as her commitment to her craft, often citing her personal experiences as sources of inspiration for her roles. Thaxter's longevity in a fickle industry owed much to her adaptability and innate understanding of human nature. She related to her roles with sincerity and approached each character with curiosity and passion, ensuring that every performance was imbued with substance and humanity. Her legacy is preserved in a body of work that not only captures the zeitgeist of mid-20th-century entertainment but also reflects the subtleties and truths of the human experience. Phyllis Thaxter passed away on August 14, 2012, in Longwood, Florida, at the age of 92. Her career, spanning theater, film, and television, speaks to an era of evolving artistry and female representation in media. In her wake, she leaves a legacy characterized by enduring performances and a powerful testament to the complexities of a woman's life behind and in front of the camera.