Mara Corday (born Marilyn Joan Watts on January 3, 1930) is a showgirl, model, actress, Playboy Playmate and a 1950s cult figure.Corday was born in Santa Monica, California. Wanting a career in films, she came to Hollywood while still in her teens and found work as a showgirl at the Earl Carroll Theatre on Sunset Boulevard. Her physical beauty brought jobs as a photographer's model that led to a bit part as a showgirl in the 1951 film Two Tickets to Broadway. She signed on as a Universal International Pictures (UI) contract player where she met actor Clint Eastwood with whom she would remain lifelong friends. With UI, Corday was given small roles in various B-movies and television series. In 1954 on the set of Playgirl she met actor Richard Long. Following the death of Long's wife, the two began dating and married in 1957.Her roles were small until 1955 when she was cast opposite John Agar in Tarantula, a Sci-Fi B-movie that proved a modest success (with Eastwood in an un-credited role). She had another successful co-starring role in that genre (The Black Scorpion) as well as in a number of Western films. Respected film critic Leonard Maltin said that Mara Corday had "more acting ability than she was permitted to exhibit."Mara Corday appeared as a pinup girl in numerous men's magazines during the 1950s and was the Playmate of the October 1958 issue of Playboy, together with famous model and showgirl Pat Sheehan. In 1956, she had a recurring role in the ABC television series Combat Sergeant. From 1959 to early 1961, Corday worked exclusively doing guest spots on various television series. She then gave up her career to devote her time to raising a family. During her seventeen-year marriage to Richard Long she had three children (Valerie, Carey and Gregory).A few years after her husband's death in 1974, Corday's friend Clint Eastwood offered her a chance to return to filmmaking with a role in his 1977 film The Gauntlet. She had a brief-but-significant role in Sudden Impact (1983), where she played the waitress dumping sugar into Harry Callahan's coffee in that movie's iconic "Go ahead, make my day" sequence. And she acted with Eastwood again in Pink Cadillac (1989) as well as in her last film, 1990's The Rookie.
[on Kirk Douglas, with whom she worked in Man Without a Star (1955)] My option had just been picked up. Kirk Douglas has mellowed extremely since then. Early on in the film I played a whore--there were two scenes at a dance hall. All the guys were leaning on the bar. All of us girls took a poll as to which butt was best. We picked Richard Boone's. We told him, "We pick you" and Kirk heard. It made him so angry at me! Publicity wanted a photo of Kirk grabbing me by the necklace--he grabbed it and almost choked me! When I said something he stated, "I'm not acting! You should take this business more seriously. I don't like your attitude and your kidding around". I said, "Go screw yourself, I just got renewed!" How dare he tell me I can't kid around! Kirk also treated little King Vidor, the director, badly. Whatever King said, he had to defer to Kirk. In the '70s--13 or 14 years later--I met Kirk and now he's the sweetest man in the world!
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[on Audie Murphy, with whom she worked on Drums Across the River (1954)] We were shooting on the back lot--it got to be supper time and Audie asked me out for a little dinner. We got in his car, anxious to get that prime rib! It was turning dark and we were at a stoplight. There were kids in back of us and when the light changed, they honked because Audie didn't start right away. The teenagers gave him the finger--and took off up the street. And right behind were Audie and me. He reached in his glove compartment--while rolling down his window. He got a gun and said, "I'm gonna get them!" We followed along Ventura Boulevard--I said, "My God, I just signed a contract. I can't die now!" Audie said to me, "Oh, I scared you, didn't I?" I told Tony Curtis, "I'm terrified of him". Tony told me a story about Audie shooting up one of his sets one day! Audie was very quiet, soft-spoken and boyish--yet a flirt with the girls. But he had a short fuse, so you walked around on eggs whenever he was near.
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Once I got married, I just sort of put blinders on and concentrated on my children; that was the most important thing in my life, my family.
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I do not believe in frontal nudity, that's just the way I am. If you show that, what's left, what do you do for an encore?
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Fact
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Former showgirl at the Earl Carroll Theater in Hollywood.
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1955 Deb Star.
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Interviewed in "It Came from Horrorwood: Interviews with Moviemakers in the SF and Horror Tradition" by Tom Weaver (McFarland, 1996).
$10 Million
