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Lizabeth Virginia Scott〔Janice H. McElroy (Pennsylvania Division, American Association of University Women, June 1, 1983), ''Our Hidden Heritage: Pennsylvania Women in History'', p. 379〕 (September 29, 1922 – January 31, 2015) was an American film actress, known for her "smoky voice"〔() Anonymous (February 8, 2015; accessed March 24, 2015), "Film noir femme fatale Lizabeth Scott dies at 92," ''Catholic Online'' (Los Angeles, California)〕 and "the most beautiful face of film noir during the 1940s and 1950s."〔() Anonymous (March 16, 2015; accessed March 23, 2015), "Lizabeth Scott, actress—obituary," ''The Telegraph'' (London, England)〕 After understudying the role of Sabina in the original Broadway and Boston stage productions of ''The Skin of Our Teeth'', she emerged internationally in such films as ''The Strange Love of Martha Ivers'' (1946), ''Dead Reckoning'' (1947), ''Desert Fury'' (1947) and ''Too Late for Tears'' (1949). Of her 22 feature films, she was leading lady in all but one. In addition to stage and radio, she appeared on television from the late 1940s to early 1970s. ==Early life== She was born Emma Matzo〔() FamilySearch (accessed May 23, 2014) "Emma Matzo in household of John Matzo, 'United States Census, 1930.'" ''FamilySearch''. Emma Matzo is the name given in the 1930 US Census, April 8, 1930, which lists Emma Matzo, aged 8, daughter of John and Mary Matzo.〕 in Scranton, Pennsylvania,〔Carole Langer (Soapbox & Praeses Productions, 1996; accessed May 23, 2014), ''Lizabeth Scott 1996 Interview Part 1 of 8''〕〔AP (Friday, October 21, 1949), "Star Changes Name," ''The San Bernardino County Sun'' (San Bernardino, California), p. 25. AP article gives Scott's birthplace as Dunmore, Pennsylvania, while Scott gives her birthplace as Scranton in the Langer video interview.〕 oldest of six children born to John Matzo (1895–1968)〔() FamilySearch (accessed May 23, 2014), "John Matzo in household of John Munchak, 'United States Census, 1920'," ''FamilySearch''〕 and Mary Matzo née Pennock〔Janice H. McElroy (Pennsylvania Division, American Association of University Women, June 1, 1983), ''Our Hidden Heritage: Pennsylvania Women in History'', p. 380〕 (1899–1981). Reference works〔Walter Dushnyck, Nicholas L. Chirovsky (Ukrainian Congress Committee of America, November 1, 1991), ''The Ukrainian Heritage in America'', p. 331. Scott is described as Carpatho-Ukrainian.〕〔Andrew Spicer (Scarecrow Press, March 19, 2010), ''Historical Dictionary of Film Noir,'' p. 273. Spicer says "Born Emma Matzo to Slovakian parents ..."〕〔Paul R. Magocsi (The Multicultural Society of Ontario, 1984), ''Our people: Carpatho-Rusyns and their descendants in North America'', p. 71. "Among other performers to achieve national success are two actresses from Hollywood. Lizabeth Scott (born Emma Matzo), the daughter of Carpatho-Rusyn immigrants from Subcarpathian Rus', played the role of a sultry leading lady in several films during the late 1940s and early 1950s."〕 and biographies〔James Robert Parish (Arlington House, 1972), ''The Paramount Pretties'', p. 519. The father is described as English-born and the mother as Russian.〕〔Bernard F. Dick (The University Press of Kentucky, May 21, 2004), ''Hal Wallis: Producer to the Stars'', p. 96. John Matzo is described as Italian and Mary Matzo as Slovakian.〕〔() Robert D. McFadden (February 6, 2015; accessed February 7, 2015), "Lizabeth Scott, Film Noir Siren, Dies at 92," ''New York Times'' (New York City, New York). Obituary describes her as "one of six children of Ukrainian immigrants").〕 have given conflicting accounts of the ethnic origins of her parents.〔Carole Langer (Soapbox & Praeses Productions, 1996; accessed May 23, 2014), ''Lizabeth Scott 1996 Interview Part 5 of 8''. Scott described herself in the interview as having "Russian blood."〕〔J. D. Spiro (September 11, 1949), "Lizabeth Is So Different," ''The Milwaukee Journal'' (Milwaukee, Wisconsin), p. 3. Interview repeats Paramount publicity about Scott's alleged "English father" and "White Russian" mother."〕〔() AP (February 7, 2015; accessed February 8, 2015), "Lizabeth Scot, Sultry '40s, '50s Film Noir Star, Dies at 92," ''New York Times'' (New York City, New York). Obituary repeats 1940s Paramount publicity: "She was born ... to English–Russian parents."〕〔() Anonymous (March 16, 2015; accessed March 23, 2015), "Lizabeth Scott, actress—obituary," ''The Telegraph'' (London, England). "Her father’s family originated from Sussex (county, England)..."〕 On John Matzo's WWI registration card, he reports that he was born in Czechoslovakia. Her family lived in the Pine Brook section of Scranton, where John Matzo owned Matzo Market.〔Alfred N. Hare (Thursday, June 28, 1934), "Mercantile Appraisement," ''The Scranton Republican'' (Scranton, Pennsylvania), p. 18. Store address is 1001 Capouse (Avenue). The grocery store was on the ground floor of the Matzos' two-story house.〕 Scott characterized her father as a "lifelong Republican," which influenced her own capitalistic views. The family was immersed in all things cultural, especially music. This love of music influenced Scott's voice.〔Burt Prelutsky (CreateSpace Independent Publishing Platform, November 3, 2012), ''Sixty Seven Conservatives You Should Meet Before You Die'', p. 470〕 Scott's accent, timbre and tempo were molded beginning in first grade. Her parents sent her to weekly lessons at a local elocution school.〔Bernard F. Dick (The University Press of Kentucky, May 21, 2004), ''Hal Wallis: Producer to the Stars'', p. 96〕 As a result, she lost the Northeast Pennsylvania English spoken in the Scranton area. Her trademark broad A〔Gene Hansaker (Tuesday, February 26, 1946), ''In Hollywood'', ''Ironwood Daily Globe'' (Ironwood, Michigan), p. 7〕 is characteristic of Mid-Atlantic English.〔Barbara Acker (Applause Books, February 1, 2000), ''The Vocal Vision: Views on Voice'', pp. 161–162. Mid-Atlantic is referred as "World English" using a broad A as opposed to the US flat A.〕〔Sandra Rennie (Mineco Designs, 1998), "Editor's Letter," ''Plays and Players Applause'', Issue 521, p. 16. The mid-Atlantic accent is described as evoking old Hollywood black-and-white films and actresses like Lizabeth Scott.〕〔() David Patrick Columbia (February 10. 2015; accessed February 11, 2015), "Remembering Lizabeth," ''New York Social Diary''. Columbia notes Scott's "extreme mid-Atlantic accent that movie stars in her youth were schooled in."〕 Scott herself attributed the tone of her voice to heredity, as a younger sister had a similarly deep voice.〔Howard C. Heyn (Sunday, November 28, 1948), "Lush, Sultry and Single," "The Salt Lake Tribune" (Salt Lake City, Utah), p. 75〕 In addition, she received six years of piano lessons and two of voice.〔James Robert Parish (Arlington House, 1972), ''The Paramount Pretties'', p. 519〕 As a young girl, working in her father's store, she dreamed of being a journalist, then an opera singer and finally an actress.〔Karen Burroughs Hannsberry (McFarland & Company, 1998), ''Femme Noir: Bad Girls of Film'', p. 445〕 At the age of 11, she was the Fairy Godmother in a pantomime play, ''Cinderella'', at summer camp.〔Anonymous (Tuesday, July 31, 1934), "Little Flower Notes," ''The Scranton Republican'' (Scranton, Pennsylvania), p. 8〕 During Christmas season, she took part in pageants at the local Catholic church her family attended. When asked what was the best advice she was given, Scott replied, "I don't know, but I sure didn't take it." Her mother told her to subdue her emotions and "be a lady," but despite a strict Catholic upbringing, Scott described herself as having been "rebellious and outspoken" as a young girl.〔 Scott attended Marywood Seminary, a local Catholic girls' school.〔Anonymous (Saturday, June 3, 1933), "Marywood Seminary Pupils Give Recital," ''The Scranton Republican'' (Scranton, Pennsylvania), p. 6〕 She transferred to Scranton's Central High School, where she performed in several plays.〔 After graduating, she spent the summer working with the Mae Desmond Players〔() Joseph Myers (January 26, 2012; accessed May 23, 2014), ''University of the Arts lauds Mae Desmond: A new musical will address the life of a Queen Village theatrical legend''〕 at a stock theater in the nearby community of Newfoundland.〔Anonymous (Thursday, May 18, 1939), "News and Comment Of Stage and Screen," ''Fitchburg Sentinel'' (Fitchburg, Massachusetts), p. 11〕 She then worked at the Barter Theatre in Abingdon, Virginia.〔David Ragan (Prentice Hall, July 1, 1985), ''Movie Stars of the '40s'', p. 191"〕 That autumn, she attended Marywood College, but quit after six months.〔 Mary Matzo wanted her daughter to become a journalist, but when Scott said she would become either a stage actress or a nun, her mother relented. In 1939, with her father's help, the 17-year-old Scott moved to New York City, where she stayed at the Ferguson Residence for Women.〔 Scott attended the Alvienne School of the Theatre.〔Carole Langer (Soapbox & Praeses Productions, 1996; accessed May 23, 2014), ''Lizabeth Scott 1996 Interview Part 2 of 8''〕〔Bernard F. Dick (The University Press of Kentucky, May 21, 2004), ''Hal Wallis: Producer to the Stars'', pp. 96–97. This school was housed in the Grand Opera House on 8th Avenue and 23rd Street, New York City.〕 There she studied for 18 months,〔 resisting attempts by teachers to pitch her voice higher.〔David Ragan (Prentice Hall, July 1, 1985), "Lizabeth Scott," ''Movie Stars of the 40s'', p. 192〕 During this time, Scott read Maxwell Anderson's ''Mary of Scotland'', a play about Mary, Queen of Scots and Elizabeth I, from which she derived the stage name "Elizabeth Scott." She later dropped the "E".〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Lizabeth Scott」の詳細全文を読む スポンサード リンク
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