Anthony Perkins (1983)

Anthony Perkins (April 4, 1932 – September 12, 1992) was an American actor, director, and singer. Perkins is known for his role as Norman Bates in Alfred Hitchcock's suspense thriller '' Psycho'', which made him an influential figure in pop culture and in horror films. He often played distinctive villainous roles in film, but he was most renowned for his romantic leads. He distinguished himself by playing sensitive young men.

Born in New York City, Perkins got his start as an adolescent in summer stock programs, although he acted in films before he set foot on a Broadway stage. His first film, ''The Actress'', costarring Spencer Tracy and Jean Simmons and directed by George Cukor, was a disappointment save for an Oscar nod for its costumes, and Perkins returned to the boards instead. He made his Broadway debut in the Elia Kazan-directed '' Tea and Sympathy'' where he played Tom Lee, a "sissy" cured by the right woman. He was praised for the role, and after it closed, he turned to Hollywood once more, starring in '' Friendly Persuasion'' (1956) with Gary Cooper and Dorothy McGuire, which earned him the Golden Globe Award for Best New Actor of the Year and a nomination for the Academy Award for Best Supporting Actor. Rushes of the film led to Perkins landing a seven-year, semi-exclusive contract with Paramount Pictures. He was their last matinee idol.

Although ''Friendly Persuasion'' earned him much praise, Perkins solidified himself as a powerful actor in ''Fear Strikes Out'' the following year, which caused many to name him "the next James Dean" and "the greatest American actor under thirty." However, Paramount was more concerned with heterosexualizing Perkins's image, which led to a string of romantic roles alongside Audrey Hepburn, Sophia Loren, and Shirley MacLaine. He was able to score the occasional serious role in the Broadway play ''Look Homeward, Angel'' (for which he was nominated for a Tony Award) and the 1959 film '' On the Beach'' with Gregory Peck, Fred Astaire, and Ava Gardner. Although he was once again cast as a romantic lead in Jane Fonda's film debut, ''Tall Story'', he was shortly thereafter cast as Norman Bates in Alfred Hitchcock's '' Psycho'' (1960), which established him as a horror icon and garnered him a Bambi Award nomination for Best Actor, as well as both a Best Actor nomination and a win from the International Board of Motion Picture Reviewers. His acclaimed work in the 1960 horror-thriller also led to his being typecast, and in order to escape the same villainous roles, as well as the homophobia he was being subjected to, Perkins bought himself out of his Paramount contract and fled to France, where he debuted in European film with ''Goodbye Again'' (1961). Even when paired with Oscar-winning actress Ingrid Bergman, he still distinguished himself as a talented performer, and the film earned him a Best Actor Bravo Otto nomination, a second career Bambi nomination, as well as his winning the Cannes Film Festival Award for Best Actor and a Best Actor David di Donatello award.

After a string of European films featuring the likes of Sophia Loren, Orson Welles, Melina Mercouri, and Brigitte Bardot, Perkins returned to America in 1968 with his first American film after an eight-year hiatus, '' Pretty Poison''. He costarred with Tuesday Weld, and the film became a cult classic. In the film's wake, he starred in numerous commercially and critically successful films, such as ''Catch-22'' (1970), ''Play It as It Lays'' (1972), ''Murder on the Orient Express'' (1974), and ''Mahogany'' (1975), the latter of which broke box-office attendance records. During this time, Perkins went through conversion therapy and married Berry Berenson in 1973. He also conceded to typecasting, starring in '' Psycho II'' (1983), ''Psycho III'' (1986) and '' Psycho IV: The Beginning'' (1990). His turn in the 1986 entry of the anthology earned Perkins a Saturn Award nomination for Best Actor. Additionally, he was involved in numerous television excursions. His last film, '' In the Deep Woods'', was a television film broadcast a month after his death in September 1992 from AIDS-related causes.

Early life

Before his father's death, 1932–1937

Perkins was born April 4, 1932 in Manhattan, the son of stage and film actor Osgood Perkins (1892–1937) and his wife, Janet Esselstyn (née Rane; 1894–1979). His paternal great-grandfather was wood engraver Andrew Varick Stout Anthony. Perkins was also a descendant of ''Mayflower'' passengers John Howland, Myles Standish and William Brewster as well as Roger Conant. Through an entirely paternal line he was descended from John Perkins, who arrived in Boston from England in 1630 as part of the Puritan migration to New England.

Throughout his early years, Perkins did not see much of his father, who was busy in a variety of film and stage roles. The most prominent of these was his supporting role in the original motion picture adaptation of '' Scarface'', which was released the year Perkins was born. Perkins's only fond memories of his father came from a 1937 vacation to Fire Island, but they did little together on the trip. During this time, the Perkinses hired a French nanny, Jeanne, to look after their son. This led to Perkins becoming fluent in French, which was useful years later when he moved to France.

Between his father's absences, Perkins was surrounded by a feminine presence, the most insistent of which was his mother. "I became abnormally close to my mother," Perkins recalled to ''People'' in 1983, "and whenever my father came home I was jealous. It was the Oedipal thing in a pronounced form, I loved him but I also wanted him to be dead so I could have her all to myself." On September 21, 1937, Osgood Perkins died of a heart attack just after a successful opening night of his newest play, ''Susan and God''. His death caused Perkins to feel intensely guilty. "I was horrified," he said years later. "I assumed that my wanting him to be dead had actually killed him. I prayed and prayed for my father to come back. I remember long nights of crying in bed. For years I nursed the hope that he wasn't really dead. Because I'd see him on film, it was as if he were still alive. He became a mythic being to me, to be dreaded and appeased."

After his father's death, 1937–1947

After his father's death, Perkins was surrounded entirely by women once again. Besides his mother, a consistent female companion in Perkins's life was burgeoning playwright Michaela O'Harra, whom his mother had taken a liking to. Perkins's childhood friend, John Kerr, recalled about the relationship between O'Harra and Perkins's mother: "My mother said–I don't know if she used the word lesbian... but that was just hat it felt liketo me: 'Oh, they're having a lesbian relationship.' You know, something like that." Although her sexuality has been disputed, it is widely agreed that Perkins's mother was not heterosexual. It was also during this time that Perkins's mother began to sexually abuse him. "She was constantly touching me and caressing me. Not realizing what effect she was having, she would touch me all over, even stroking the inside of my thighs right up to my crotch." This behavior continued on into his adulthood.

In 1942, when Perkins was ten, the family uprooted and moved to Boston. Due to her connections in the theatre industry, Janet was able to gain a position at the nearby American Theatre Wing's Boston Stage Door Canteen. Janet managed much of the canteen's activities, and the job gave them money to live off of. On days when she was busy, Perkins was sent to stay with his grandmother. Under his mother's neglect, Perkins began to rebel at the overcrowded public school he was attending, and he was soon labelled a "gifted drifter." To quell his rebellious habits, Janet shipped him to Brooks School, forty minutes outside of Boston. The placement was disastrous: Perkins's childhood habit of stuttering returned again and he shied away from all athletics. Janet, however, forced him into baseball. It was the first time in his life that Perkins was overwhelmingly singled out for being "different." The pressure bore down on him, leading him to leave school in long absences during his second year after he came down with back-to-back cases of scarlet fever. Subsequently, Perkins sunk to the bottom of his class in grades. Perkins soon made a deal with his mother that if he got good grades, she would allow him to return to Boston the next year for schooling. That year, Perkins ranked in the top third of his class and inspired his headmaster to comment, "Tony Perkins is considerably more mature than the rest of his contemporaries, and is impatient with many of their schoolboy interests," and he was allowed to transfer.

Summer stock, 1947–1950

It was during this time that Perkins's absence of a father began to bear down on him again. "As Tony grew older and saw other boys with their fathers," Janet remembered, "he badly missed his own father. And the only identification he could have with his father was through theater... I began to realize that he was acquiring an unusual interest in erforming.. A friend was running a summer stock company, and I approached him to ask whether Tony might play some small parts." This launched Perkins's adolescent summer stock career. The first summer stock company Perkins played for was at the Brattleboro Summer Theater in Vermont, where he portrayed some minor parts in the plays ''Junior Miss'', ''Kiss and Tell'', and ''George Washington Slept Here'', and manned the box office. This earned him both twenty-five dollars a week and an Equity card.

Keeping her word, Janet sent Perkins to another school the following year named Browne & Nichols School. At the time, it was an all-boys school located in Cambridge, with a high percentage of football players and overly-masculine types. With smaller classes, Perkins stood out more, leading him to earn a reputation as the class magician and piano player. He was also renowned for his lisping Roddy McDowall impression, which he often performed in the halls between classes.

In summer 1948, Perkins again returned to summer stock, this time under a different company. Janet had found a job as a manager for the Robin Hood Theatre in Arden, Delaware, where Perkins once again manned the box office and earned stage experience. His most memorable performance was in ''Sarah Simple'' where he played a near-sighted twin. It was at the Robin Hood Theatre that Perkins met Charles Williamson, the first boy he ever developed a crush on. The following school year, Perkins dove into academic activities. He joined the varsity tennis team and the glee club, and was made co-literary editor of the school paper, ''The Spectator''. Occasionally, he contributed articles. It was around this time that Perkins began to question his sexuality. Once again, Perkins felt singled out as the "other."

College, 1950–1953

Around the time Perkins's sexuality began to burgeon, many of his fellow students were thinking about college. Many Browne & Nicholas alums were looking forward to a future at Harvard University, and Perkins, whose grades were too low to qualify, was the only student persuaded to attend Rollins College when a representative toured the school. However, this did not keep him from returning to Delaware that summer, where he once again worked at the Robin Hood, which was now one of the most prosperous and important summer stock programs in the country. It was there that he grew reacquainted with old friend Charles Williamson, going out to lunch and swimming with him during breaks. It was at this time that Perkins developed a crush on Williamson, who recalled "He never expressed his homosexuality during the summer of 1950. He did not act on it at all. At the time, I was very much in the closet and repressed. We both shared that." It was also around this time that Perkins played Fred Whitmarsh in the play ''Years Ago'', a role that he'd perform again just a few years later in the screen adaptation.

Perkins did not experience a similar camaraderie at Rollins College that fall. Known as a Christian all-American school, Rollins College was nestled in the heart of Florida, and Perkins had arrived just after Congress had named homosexuals and Communists enemies of equal danger. There were a few exceptions: Fred Rogers, who graduated the college the following year, let Perkins use his piano, something Perkins greatly appreciated. Perkins appeared in numerous stage productions at the school and moved around fraternities constantly, something that got on the nerves of Janet. It was at Rollins that Perkins reportedly first started experimenting with his sexuality with other men.

Shortly after Perkins's arrival, a large group of homosexual students, many of whom were Perkins's friends, were expelled from Rollins and even arrested after a fellow student beat one of them. However, due to Perkins's connections with the theater professor, he was spared. This only led to high levels of tension between him and the rest of the students, who now knew of Perkins's sexuality. This led Perkins to transfer to the elite Columbia University.

Career

1950s

Film and Broadway debut

While still attending Rollins College, Perkins went out to California over summer vacation, hoping to make it into the movies. Having heard that MGM was making a screen adaptation of ''Years Ago'', he lingered on the lot, hoping a casting director would spot and test him. As Perkins later recalled:

It was later that summer that Perkins learned he had been cast as Fred Whitmarsh in the film, now renamed ''The Actress'' (1953), alongside Jean Simmons and Spencer Tracy. He was also directed by George Cukor, who was a friend and collaborator of his late father. In the film, he played a fumbling Harvard student who chases the interest of Ruth Gordon Jones (Simmons), who wants to perform onstage despite her family's disapproval. The film was a commercial disappointment, although it scored an Academy Award nomination for Best Costume Design.

Perkins was first noticed when he replaced John Kerr on Broadway in the lead of '' Tea and Sympathy'' in 1954, where he was directed by the legendary Elia Kazan, who had been a friend of his father's. In the play, he took on the role of Tom Lee, a college student who is labelled as a "sissy" and fixed with the love of the right woman, in an almost autobiographical role. Perkins said years later, "It was the best part ever written for a young guy. I felt so involved with that particular play. In many ways, I ''was'' Tom Lee." Although homophobically written and resolved, the play was the only explicit work to hit Broadway depicting homosexuality and garnered a large gay following, therefore establishing Perkins in the gay-dominated theater world. It was through this audience that the production became a success, and many people thought Perkins was substantially better than his predecessor, John Kerr, who went on to play the role in the film adaptation. Joan Fickett, who played Perkins's love interest in the play, commented, "He was that boy. I'd seen John Kerr do it before, but Tony had a quality that was fantastic for the part–all the rawness and the hurt and the confusion, he just had. I found his performance tremendously poignant." The play's success and Perkins's astounding performance renewed Hollywood's interest in him.

According to posthumous biographer Charles Winecoff, it was during the production of ''Tea and Sympathy'' that Perkins was drafted, despite (or perhaps because of) the recent end of the Korean War. Without consulting anybody, he decided to tell the Selective Service he was a "practicing homosexual," which was an eligible way to be deemed unfit for service, rather than enter the military. Reportedly, this had disastrous results, leaving Perkins traumatized.

Serious roles

Just as his run in ''Tea and Sympathy'' was coming to an end, director William Wyler sent out his assistant, Stuart Millar, to search out talent on Broadway for his upcoming film '' Friendly Persuasion''. It centered around a family of Quakers during the American Civil War, and he was scouting an actor to play the oldest of the Birdwell children, Josh. When Millar saw Perkins in ''Sympathy'', he gave him a page of script and let him to an audition. As Millar recalled: "About half a hour later, erkinshad the part. illiam Wylerwas thrilled with the reading, he saw everything instantly. It was really one of the best, if not ''the'' best, readings I've ever seen."

Perkins was soon after shipped out to Hollywood, where he began shooting alongside Dorothy McGuire and Gary Cooper, his screen mother and father. Perkins, a native New Yorker, did not know how to drive yet and regularly hitchhiked out from his hotel room at the Chateau Marmont to the set each day, something that became infamous and was often talked about in fan magazines. His boyfriend, Tab Hunter, later taught him how to drive. Perkins's inexperience radiated almost childish naïveté, something that endeared him to Gary Cooper. "Coop was warm and gracious and kindly," Peter Mark Richman, who worked on the film, said. "He liked erkins and mea lot, and Tony loved to hear him talk." The feeling was mutual between Perkins, Cooper, and even the director. Perkins was regularly praised by Wyler for his performance and Cooper began publicly endorsing Perkins's abilities. This led to Perkins and Cooper sharing the cover of the July 1956 issue of ''Life''. In the issue, Cooper spoke about Perkins in a fatherly manner: "I think he'd do well to spend a summer on a ranch," he commented about his younger costar. "It would toughen him up and he'd learn a lot from another kind of people." Cooper's daughter, Maria Cooper Janis, asserted that, although her father certainly admired Perkins, it could have also been for other reasons: "He had friends in Hollywood, in the acting community, who were gay, and they couldn't come out. He saw what an emotional toll it took on them. I know my father adored Tony Perkins. My father felt he was a hell of an actor."

Whatever the reason, this did not alter Perkins's performance. After rushes of the film were shared, the advance praise of his performance became so strong that Paramount Pictures took an interest in him. They soon signed him under a seven-year semi-exclusive contract, which gave him room to return to Broadway whenever he wanted. He was their last matinee idol and was called the "fifteen million dollar gamble."

Perkins's first film for the studio was a 1957 biopic about Boston Red Sox baseball player Jimmy Piersall titled ''Fear Strikes Out''. It followed his father's pressure to become a legendary baseball player and how it led to his highly publicized mental breakdown, as well as detailing his efforts to get better in a mental institution. The set of the film was hostile and riddled with homophobia, something that put Perkins on edge so much that the cast and crew feared he was actually having a mental breakdown while filming the scene. Although he wasn't nominated for any Oscars, his performance was widely praised by critics. ''The Hollywood Reporter'' proclaimed of the film: "Every recent young star has been compared to James Dean. From now on the standard is Tony Perkins."

After this critical success, Perkins starred in the first of two Westerns, ''The Lonely Man'' (1957), with Jack Palance. Perkins played Riley Wade, whose father, Jacob (Palance), abruptly returns to his life after having abandoned his mother years before. Jacob battles Riley's hatred for him throughout the film, desperate to reconnect with his estranged son after years of separation. Kim Stanley, a previous costar of Perkins's, was cast as his love interest but was replaced last-minute by Elaine Aiken in her film debut. Reportedly, the film set was riddled with tensions, most of which arose from Palance's ultra-masculinity and Perkins's lack thereof. This was only heightened when filming was put behind schedule by an abrupt weather crisis that prevented outdoor production for a number of days. Still, a feeling of vitality remained. "We all thought this was an important picture we were making."

Perkins's next film was also a Western, this time named ''The Tin Star'' (1957) with Henry Fonda. Originally, despite his burgeoning popularity, Perkins was not wanted for the project: "The producers, Bill Perlberg and George Seaton, told someone who told someone who told someone who told me that they wouldn't have me in their picture for a million dollars," Perkins admitted during filming. However, he auditioned for them as soon as he heard the news. In the film, Perkins played yet another pacifist, this time a sheriff named Ben Owens. After encountering an experienced bounty hunter, Morgan Hickman (Fonda), Ben has to prove himself worthy of his title in an ironic reflection of Perkins's troubles with Paramount. Perkins and Fonda took the hours-long drive out to set together in the same car, during which they became closely acquainted and shared stories of their private lives. Some cast members speculate that Perkins confided in Fonda about his sexuality during these drives. The film grossed over $1 million in the box office and was one of the biggest films of 1957. It is now considered a classic of the Western genre.

At this time, ''Friendly Persuasion'' opened globally to huge critical and commercial success. The film was largely praised by critics, who took a liking to Perkins. The film earned him the Golden Globe Award for Best New Actor of the Year and a nomination for the Academy Award for Best Supporting Actor. In a cover story in 1958, ''Newsweek'' hailed Perkins as "possibly the most gifted dramatic actor in this country under 30."

Teen idol status

Perkins released three pop music albums and several singles in 1957 and 1958 on Epic and RCA Victor under the name Tony Perkins. His single "Moon-Light Swim" was a moderate hit in the United States, peaking at number 24 on the ''Billboard'' Hot 100 in 1957. 1958's "The Prettiest Girl in School," but a flop in the United States, was also popular in Australia. Many people believed he was inspired to pursue musical endeavors after the abrupt success of then-partner Tab Hunter, who had scored a number one hit on his debut record, "Young Love." To Hunter, Perkins was often heard joking "that his tremulous voice could make any happy love song sound sad." However, Perkins was not very committed to the music career, although he steadily produced full-length albums and a few EP's until as late as the mid-1960s.

Despite being a life member of the Actors Studio and therefore open to many different acting business ventures, Perkins did not choose to act in a musical when he exerted the freedom of his studio contract in 1957, and returned to Broadway in ''Look Homeward, Angel''. The play was an autobiographical, coming-of-age story about its writer, Thomas Wolfe, and he took on the role of Eugene Gant, with his mother being played by Jo Van Fleet. The play enjoyed a successful run, and in 1958, he was nominated for a Tony Award for Best Actor in a Play, although the rehearsals were tumultuous. Van Fleet developed a reputation for her standoffish behavior and temper tantrums, leading to contention on the set. This was not made better by the fact that Tab Hunter, among others, came to see the show during tryouts. This manifested in a restrained performance from Perkins, something Hunter picked up on:

Backstage, Tony asked what I thought of his performance, and I told him straight: "You're afraid to give vent to what you're truly feeling," I said. "You're only showing the side of yourself you want other people to see."... When I saw ''Look Homeward, Angel'' the second time, in late January, Tony had stripped away all preconceived ideas and was mesmerizing.

file:Jo Van Fleet Anthony Perkins Look Homeward Angel 1958.jpg, Perkins with Jo Van Fleet in ''Look Homeward, Angel'', 1957
Not all was bad on set, though. Perkins, who had a dressing room far from the stage, often had to race between scenes in order to retrieve something so as not to miss his cue, something his costars utilized in practical jokes. Many times, they turned the backstage area into an obstacle course, seeing if Perkins could get back to the curtain in time. Reportedly, he never missed his entrances. On the day of his final performance, they went through with the prank as planned, watching Perkins leap over objects and dodge barriers. Once he made it through, he was greeted with a sign that said "We love you, Tony!"

Perkins was teamed up again with Van Fleet in ''This Angry Age'' (1958), also known as ''The Sea Wall'', for Columbia, replacing James Dean (Van Fleet had played Dean's mother in '' East of Eden'', something many people believed influenced casting). The story followed a mother who, unlike her restless children, attempts to cling to her dissipating rice farm in southeast Asia. He also starred ''Desire Under the Elms'' (1958) for Paramount with Sophia Loren and was her first American screen kiss. As Loren remembered in her 2014 memoir, "Perkins asas neurotic and handsome as we all remember him in later film''Psycho''. A gentle, polite, somewhat sullen young man, he didn't know how to hide his restlessness. Between us there was a certain complicity. He helped me with my English, and I tried to make him laugh." Although Loren was proud to have scored the role, the unanimous decision upon its release was that Perkins' performance was not strong.

Between the filming of ''Desire'' and his next movie, Perkins received an offer to appear in what became the 1959 comedy '' Some Like It Hot'' with Marilyn Monroe. He was given the role of Shell Oil Junior and Frank Sinatra was considered for the role of his companion who both dress up in drag in order to board an all-women train car. Paramount, despite the appeal of a big star like Monroe, balked at the idea of having their already sexually-ambiguous heartthrob wear drag for an entire film and forbade Perkins from accepting the role. It ultimately went to Tony Curtis instead. However, studio executives begged Perkins to return from Broadway to star in ''The Matchmaker'' (1958) alongside Shirley MacLaine and Shirley Booth, during which he and a male companion dress up in women's clothing in order to escape a restaurant undetected. As if to ensure he would not turn the project down, Perkins was given a salary of $75,000 for 10 weeks' work while MacLaine only got $25,000 for the same number of days. Although Perkins protested MacLaine's smaller salary, no changes were made in her payment.

''The Matchmaker'' was a non-musical film adaptation (later turned into the hit Broadway musical ''Hello, Dolly!'') of Thornton Wilder's stage play, where Dolly Gallagher Levi (Booth) attempts to set up rich businessman Horace Vandergelder (Paul Ford) with a younger woman, Irene Malloy (MacLaine). Vandergelder's employees, Cornelius Hackl (Perkins) and Barnaby Tucker (Robert Morse), tired of their poor wages and constant work, escape to New York City and meet Irene, who's led to believe Cornelius is rich. Cornelius slowly falls in love with Irene while deceiving her. Morse had been a part of the original Broadway cast of the show, and he bonded with Perkins over the shared background. (Perkins later disclosed that Morse was bisexual, implying that they became confidants of sorts.) Perkins, however, disliked MacLaine intensely despite defending her from studio bosses, and was put on edge by her intense drive and numerous pranks. "I've never been allowed that precious moment of seeing what Tony Perkins really is," MacLaine later reported. "I don't know what's an act and what isn't an act."

Paramount decided to take Perkins's status as a teen idol one step further and cast him as Audrey Hepburn's love interest in ''Green Mansions'' (1959), one of Hepburn's few flops. It was based on an explorer who stumbles upon both a girl who lives in the woods and the Native Americans nearby who want to kill her. The film was originally intended to be a vehicle for Elizabeth Taylor when the project was initially announced in 1953, but these plans were soon abandoned. In 1958, Mel Ferrer picked the film up for MGM, and Hepburn (his wife) was cast as the mystical Rima to secure funding. Perkins, who was still stinging after losing the role in ''Some Like It Hot'', was cast soon after. It was the only film in which Ferrer directed his wife.

Perhaps still remembering the ''Some Like It Hot'' incident, Paramount used the film to promote Perkins's dwindling masculinity, showing him shirtless and exerting his ability to kill men visually stronger than he. He did receive a reprieve to sing "Green Mansions," the title song of the film, which briefly entered the charts before almost immediately falling off. Speaking about the movie later in life, Perkins said, " epburnwas wonderful to work with, like a real person, almost a sister... he filmwas good but unusual."

Perkins's next film, '' On the Beach'' (1959), however, did little to promote his teen idol status, and was his last serious film before his legendary ''Psycho'' performance later that year. He played a doomed father living in Australia after a nuclear war wipes humanity off all other continents. He supported legendary actors such as Gregory Peck, Ava Gardner, and Fred Astaire in his first dramatic role. All filming took place on location in Melbourne over the course of three months, and a soundstage was made out of a warehouse for the crew's use. Unlike other films, Perkins got on well with his fellow cast members and even helped Astaire prepare for his serious scenes. Years later, in an infamous interview with ''People'', Perkins listed Gardner as the first of many female stars who tried to put the make on him, but due to his sexuality, he very cautiously declined.

Perkins's next several roles were less serious. His next film, ''Tall Story'' (1960), was best remembered for being Jane Fonda's film debut, and he had to play a college basketball champion. As a man who had never been talented in sports, he had to be trained to play basketball for his performance, but, unlike his teachings on the set of ''Fear Strikes Out'', the lessons stuck. Perkins recounted to reporters, "I've been working out at the Warner Brothers gym, discovering what basketball is all about. I spend about an hour and a half a day dribbling, passing, shooting baskets, and going after rebounds... It's a good game. Like chess in a way." Also unlike ''Fear Strikes Out'', the set of ''Tall Story'' was hospitable to him from what he could see. Because Perkins had worked with her father, he and Fonda had a connection, but not many could foresee the chemistry they would have both on- and off-screen. As Fonda later recounted to Patricia Bosworth, "Tony erkinstold me 'Forget about the lights, just forget about the lights.' And I did. And he taught me fascinating things, like the audience's eyes always move to the right side of the screen so you should always try to get on the right side of the set." Fonda also solely credits Perkins for helping her learn how to play before the camera when acting.

In a repeat of ''On the Beach'', Fonda also developed a crush on Perkins. Perkins later recalled a moment when she sat in his dressing room, completely naked, powdering her body. Fonda, unlike others, was actually understanding of his homosexuality and became good friends with whoever he was seeing at the time. Behind the scenes, however, there was more turmoil: Fonda recalled "Both Joshua Logan he film's directorand I were in love with Tony Perkins, and so that caused a problem."

1960s

Troubles with Paramount

After being signed in 1955, Perkins became Paramount's last matinee idol, and he was promoted relentlessly as that image through a string of leading roles on screen. Once he had finished three films for the studio, they had already invested $15 million in him before any of the motion pictures were even released. This began the infamous tension between Perkins and Paramount.

Another reason for tension came from Perkins's side; he believed Paramount was ruining his career. Although he was given the option to do Broadway performances, his fame primarily stemmed from his performances on-screen, where Paramount was pushing him into leading-man roles. Perkins, however, wanted only to be a serious actor, not a teen idol. Their preoccupation with keeping Perkins's masculinity intact also led to his losing quite a few coveted roles, such as Shell Oil Junior in ''Some Like it Hot'' and Tony in ''West Side Story''.

Paramount president Barney Balaban strongly disliked Perkins due to his homosexuality. They constantly had arguments, mostly revolving around his sexuality and his ongoing relationship with fellow actor Tab Hunter, which Balaban believed Perkins flaunted too much. He constantly pressured Perkins into breaking up with Hunter and going into conversion therapy for the five years that Perkins was under contract with the studio. A later collaborator of Perkins's remembered to Charles Winecoff in 1996, "Tony said one thing that always endeared him to me... that when he was a rising young star at Paramount, he was seeing a great deal of ab Hunter they went around town together, and finally the big studio head called him in and said, 'You cannot do this anymore. We're going to make you a star, and you can't be seen around town with this guy. You've got to get a girl, you've got to stop seeing him.' Tony replied, 'But I love him!"—which left the studio head speechless—and walked out". Hunter remembered a similar scenario: "Warner Brothers never said a word about my sexuality, and that's just the way I wanted it. However, Paramount did have something to say about my relationship with Tony, and they told him they didn't want him to see me anymore... Despite the opposition we did continue seeing each other."

According to all accounts, Perkins, until 1959, withstood Balaban's threats of expulsion and even protected his homosexuality from his studio boss. It was not until between filming ''Tall Story'' and ''Psycho'' that the studio executives succeeded in separating Perkins and Hunter, which many believe was a major factor in Perkins buying himself out of his Paramount contract early, just as Hunter had done at Warner Brothers.

''Psycho'' and ''Greenwillow''

Perkins in youth had a boyish, earnest quality, reminiscent of the young James Stewart, which Alfred Hitchcock exploited and subverted when the actor starred as Norman Bates in the film '' Psycho'' (1960). Hitchcock later said that he'd had Perkins cast since seeing him in ''Friendly Persuasion''. The motion picture was about Marion Crane (Janet Leigh), a young woman who steals $40,000 from her work and flees to the Bates Motel, run by Norman Bates (Perkins), where she is murdered in her room's shower. The film culminates with the revelation that Bates's mother has been dead for ten years and that Bates has been dressing up and even assuming her personality. This leads him to murder all young girls he's attracted to, including Marion, under the "Mother" personality.

During filming, Perkins was involved in the 1960 Broadway musical ''Greenwillow'', written by Frank Loesser. The plot followed the magical town of Greenwillow, where the men are meant to wander and women (if they can keep their husbands) are supposed to settle down and have children. Despite his call to isolation, Gideon Briggs (Perkins) wants to marry his sweetheart, Dorie (Ellen McCown). Loesser caught onto Perkins' homosexuality fast and, disliking him for it, decided to upstage him, writing his main solo, "Never Will I Marry", as something reminiscent of an opera ballad.Winecoff 1996, pg. 204 However, close friend Stephen Sondheim praised his performance of "Never Will I Marry": " erkins waswonderful. One of the things that makes 'Never Will I Marry' so brilliant n the recordingis the crack of his voice when he reaches the tenth." The show's director, George Roy Hill, also called Perkins "remarkably good. It didn't have the timbre of a real Broadway voice, but it didn't have the hard edge. 'Never Will I Marry' was a wonderful example of that." Additionally, the song was popularized due to its renditions by Judy Garland, Barbra Streisand, and Linda Ronstadt. Perkins was also nominated for another Tony Award for Best Actor in a Musical.

''Psycho'' was made on a slim budget, with Perkins and Leigh accepting low salaries for their roles and the crew being reused from ''Alfred Hitchcock Presents''. The film was nonetheless a critical and commercial success, and gained Perkins international fame as he won the Best Actor Award from the International Board of Motion Picture Reviewers. The role and its multiple sequels affected the remainder of his career.

European films

After buying himself out of his Paramount contract, Perkins moved to France and began making European films, the first of which was '' Goodbye Again'' (1961) with Ingrid Bergman, shot in Paris. Paula Tessier (Bergman) tries to resist the charms of Philip Van der Besh (Perkins), who is the son of one of her clients, while stuck in an unfulfilling affair with a cheating businessman (Yves Montand). It was originally entitled ''Time on Her Hands'', although Perkins suggested the English title ''Goodbye Again'' after one of his father's plays. Again, Perkins found himself subjected to the romantic attention of his female costar, although he customarily declined. Despite any off-screen tension this might have caused, Perkins's role in the film was greatly praised and earned him the Cannes Film Festival Award for Best Actor.

Perkins returned briefly to America to appear in a short-lived Broadway play, ''Harold'' (1962), but he returned to Europe shortly thereafter. He was then cast in ''Phaedra'' (1962), shot in Greece with Melina Mercouri and directed by Jules Dassin, undoubtedly inspired by Mercouri's recent success in ''Never on Sunday''. It was a modern retelling of a Greek tragedy where Alexis (Perkins) falls in love with Phaedra (Mercouri), who is also his stepmother. When asked about Perkins, Mercouri fondly said, "Ah, Tony. He is attractive to women. He is dangerous to women. When you touch him, he goes away a little. He is an el Raf Vallone ho played Perkins' father and Mercouri's husband in the filmis a good-looking man, but Perkins... Ah, I'd pick Perkins any time." Perkins' role in the film was also met with praise.

His next film was ''Five Miles to Midnight'' (1962), which was his second motion picture with Sophia Loren. It follows Lisa (Loren), who believes her husband Robert (Perkins) died in a plane crash. When he reveals he is still alive, he urges her to collect the life-insurance money from his death. The film was a major shift away from the romantic leads he'd played in ''Goodbye Again'' and ''Phaedra'' and leant more toward his ''Psycho'' persona. Filming began under the title ''All the Gold in the World'', and Perkins reportedly only signed onto the picture after hearing Loren had replaced the previously cast Jeanne Moreau as his coerced wife. The production process was captured on video for the documentary ''The World of Sophia Loren'', where she and Perkins can be seen laughing between takes, practicing scenes, solving puzzles, and singing the popular "After I'm Gone" (ironically, Tab Hunter had covered the song in 1958). The film was a moderate success.

Perkins continued with his mentally disturbed performances in Orson Welles' version of ''The Trial'' (1962), based on the Kafka novel about Joseph K, a man who's arrested and attempts to figure out what his crime is and how to defend himself. Perkins did not mind the typecasting as long as he was able to work with Welles, who personally wanted him to play the lead. To discuss the possibility of Perkins taking on the role, the two met on the stairs of Welles's hotel. Perkins said "ellespaid me the great compliment of saying he would like to know whether I would make the picture because if I wasn't going to make it, he wasn't going to make it either." It is likely Welles was trying to make his runaway hit like ''Psycho'', but even if that was the purpose, Perkins did not seem to mind. "He's the best there is," Perkins said of Welles. "He's wonderfully sure of himself and his ability without being dictatorial and autocratic about it... isn't inflexible." The film quickly went over-budget, although this did little to alter Perkins's vision of his director. In fact, during the process of filming, his admiration for Welles only seemed to increase. During filming, he considered writing a book about Welles and his career, even going as far as to carry a tape recorder in his coat pocket for weeks, but he abandoned it in fear of offending his boss. Welles later said to Perkins, "Oh, why didn't you o it Why didn't you? I would have loved it!"

Besides Perkins' abandoned plan to write a book about Welles, there was genuine affection between the two. Later in life, Welles remembered Perkins fondly: "A strange thing happened with 'The Trial'' it got wonderful press, all over the world, even in America. Even in ''Time'' and ''Newsweek'' and everything, wonderful press. And Perkins got very bad press, all over the world, and the entire blame for that is mine, because he is a superlative actor and he played the character that I saw as K, and paid the price because nobody else sees it my way... I recognize that I did Tony–who is one of the best actors we have–a great disservice, because he deserved to have made a tremendous success and if he didn't with the critics the blame is one hundred percent with me." Despite any regrets Welles might have had with his portrayal of Perkins and his character, the film was a massive success and later became a cult classic. Welles stated immediately after completing the film: "''The Trial'' is the best film I have ever made". It was the first of four collaborations between Perkins and Welles.

His final disturbed role in another romantic motion picture was in ''Le glaive et la balance'' (1964) with Brigitte Bardot, which was a comedy. It followed a Russian spy (Perkins) who employs a gorgeous but dim-witted woman (Bardot) as his accomplice in procuring secret documents. Perkins made history as the first American actor to play B.B.'s love interest, although Perkins later openly admitted Bardot was his least favorite costar, calling her "Bardot-do-do." Bardot was another woman on Perkins's roster of suitors, but Perkins always denied Bardot's invitations to her penthouse. Perkins was incredibly uncomfortable around Bardot, which was drastically different from his behavior around his previous (older) costars.

After ''Une ravissante idiote'' , Perkins shot ''The Fool Killer'' (1965) in Mexico. An art film, the movie followed a 12-year-old boy (Edward Albert) who wanders the Civil War-ravaged South with a philosophical axe murderer (Perkins), and was Perkins's second film about the American Civil War. The film was well received but not overly popular at the box office, and Perkins returned to France for a cameo in '' Is Paris Burning?'' (1966), a war film about the liberation of Paris in 1944 at the hands of the French Resistance. This was his second Welles collaboration and reunited him with director René Clément, who had had the same occupation over Perkins in 1957's ''This Angry Age''. In addition, Perkins' friend, Gore Vidal, wrote the script.

Return to the United States

Although he was still living in France at the time, in 1966, Sondheim began writing a horror musical ''Evening Primrose'', which was set to be aired on ''ABC Stage 67'', for Perkins. Perkins returned to America to star in the musical alongside Charmian Carr, who was fresh off her success in ''The Sound of Music''. The plot followed Charles Snell, a struggling poet who decides to live in a department store by night and pretend to be a mannequin by day. He encounters a secret society, the Dark Men, that already had the idea, and falls in love with Ella Hawkins (Carr), who is the maid of the society's leader and is forbidden from speaking to Snell. If they attempt to leave the department store, the Dark Men will kill them and turn them into mannequins. Sondheim referred to it as one of his favorite musicals he ever wrote, and announced Perkins as the lead of ''Company '' shortly thereafter. Perkins, however, withdrew from the role, but he remained something like a muse for Sondheim for quite a few years.

After his return to American television, Perkins appeared on Broadway in the Neil Simon play ''The Star-Spangled Girl'' (1966–67). For a brief moment, he was able to once again shed his typecast role as a mentally disturbed man, instead playing a radical roommate vying for the attention of a young woman. Among his costars was Connie Stevens, and although they were both offered compliments for the performances they salvaged from the source material, the play was not on the whole well received. Neil Simon later commented that ''The Star-Spangled Girl'' "was written 'from an emotional identity rather than personal identity... I knew this one didn't have the body of the others. I knew it never had a chance to be a powerful comedy... I didn't make it'". Shortly thereafter, Perkins returned to his beloved Europe and he starred in another French film, ''The Champagne Murders'' (1967), for Claude Chabrol. The film was well-received, with the ''New York Times'' writing "Mr. Chabrol... has made a film that has the shape and structure of a murder mystery, but which is, essentially, a funny, sardonic social drama." Despite this, it was insignificant at the box office.

Perkins made his first Hollywood movie since ''Psycho'', '' Pretty Poison'' (1968) with Tuesday Weld, where he was typecast in the role of a psychotic young man for a fifth time. The plot revolved around Dennis Pitt (Perkins), a man who is on parole from a psychiatric hospital, who meets Sue Ann Stepenek (Weld). He tells her he is a secret agent and they go on "missions" together, culminating in their attack on a factory. This was the first of two films with Weld, whom he had dated in the early 60s, and they were reportedly chilly but respectable to each other on set. It wasn't a box office success and Weld labeled it as her worst film, but it has become a notable cult favorite.

1970s

Shift to supporting roles

In the 1970s, Perkins moved into supporting roles in Hollywood-feature films. The first of such motion pictures was 1970's ''Catch-22'', playing Chaplain Tappman. This was followed by a brief appearance in '' WUSA'' (1970), starring Paul Newman and Joanne Woodward. Off-Broadway, he appeared in and directed ''Steambath'' (1970).

After that, Perkins shifted his focus away from movies briefly to star on the made-for-television film ''How Awful About Allan'' (1970), where he once again played a psychotic character, this time opposite the gifted and acclaimed leading ladies Julie Harris and Joan Hackett. Although the film was hardly a significant work at the time of its release, it eventually gained a minor cult following over the years, thanks in large part to its ubiquity as a result of its entering into the public domain, making it more and more available and accessible for future audiences. He returned to motion pictures soon after, assisting Charles Bronson in the French crime drama '' Someone Behind the Door'' (1971), playing yet another mentally disturbed man. This was also an insignificant endeavor.

It seemed that Perkins could not escape his murderous image on screen, especially after he starred in Chabrol's murder mystery '' Ten Days' Wonder'' (1971), his third film with Orson Welles. It was also the third film where he fell in love with his step-mother (after 1958's ''Desire Under the Elms'' and 1962's ''Phaedra''). Perkins was reunited with another one of his older costars when he supported Tuesday Weld in ''Play It as It Lays'' (1972), based on the Joan Didion novel. It follows Maria (Weld), a washed-up model who pursues a meaning in life beyond her dull marriage. She is friends with B.Z. (Perkins), a closeted producer who is being paid by his mother to also remain in a loveless marriage. For both stars, their roles were almost autobiographical, resulting in stunning performances. The ''Chicago-Sun Times'' praised, "What makes the movie work so well on this difficult ground is, happily, easy to say: It has been well-written and directed, and Tuesday Weld and Anthony Perkins are perfectly cast as Maria and her friend B.Z. The material is so thin (and has to be) that the actors have to bring the human texture along with them. They do, and they make us care about characters who have given up caring for themselves." Weld received a Golden Globe for her role, and both actors were expected to be nominated for Academy Awards. Neither were. However, Perkins publicly labelled the film as being his best performance.

Perkins changed genres for his next film, ''The Life and Times of Judge Roy Bean'' (1972). He played a wandering minister who assists the title character (Paul Newman), following him as he causes mayhem in the town. This was his second film with Newman and his only film with ex-partner Tab Hunter, whom Hunter later recalled he bumped into at the Tucson location:

"We hadn't seen each other in nearly ten years... What I didn't know at the time of our brief union was that Tony's long-running battle with his personal demons had reached a breaking point. He was ending a long relationship with dancer Grover Dale and had started therapy with Mildred Newman... Newman convinced Tony that his personal problems stemmed in large measure from him being gay, and she prescribed a course of action–including electroshock therapy–to turn him straight."

According to Perkins, he had his first heterosexual experience on the set of the film with costar Victoria Principal