Marsha Hunt phone Number, Fanmail Address, Autograph Request and Contact Details

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If you want to know about the real  Marsha Hunt phone number and also look for Marsha Hunt’s email and fanmail address then, you are at the correct place! We are going to give you the contact information of Marsha Hunt like her phone number, email address, and Fanmail address details.

Marsha Hunt  Contact Details:

REAL NAME: Marsha Hunt
NICKNAME: Marsha Hunt
DOB: 17 October 1917
FATHER: Not Known
MOTHER: Not Known
SPOUSE /WIFE: Robert Presnell Jr.


Marsha Hunt  Bio

Stardom eluded this incredibly talented actress. There is no telling what higher tier Marsha Hunt might have attained if it hadn’t been for her low-level profile, which was exacerbated by her McCarthy-era blacklisting in the early 1950s.

Perhaps her work was not flashy enough or was too subdued, or perhaps her intelligence disguised a genuine sex appeal too often for her to stand out among the other beauties. Her star was not completed by two studios, Paramount in the late 1930s and MGM in the early 1940s. Nonetheless, her talent and versatility are undeniable. During the 1930s and 1940s, this glamorous, slimly handsome leading lady offered herself to over 50 films.

Christened Marcia Virginia Hunt was born in Chicago, the younger of two daughters to an attorney and a voice teachera ccompanist. Her family moved to New York when she was very young, and she attended PS and Horace Mann School for Girls.

She developed an interest in acting at a young age performing in school plays and church functions. Following her high school graduation, the young beauty worked as a John Powers model and as a radio singer, a talent she clearly inherited from her mother.

Marcia, who later changed her first name to Marsha attended the Theodora Irvine Drama School (one of her fellow students was Cornel Wilde). Encouraged by various business people in New York, the young photogenic hopeful relocated to Hollywood in 1934. She was only 17 years old, but she was accompanied by her older sister. It didn’t take long for the studios to take notice of her, and she was quickly signed by Paramount.

Marsha’s first film role was in the classic The Virginia Judge, opposite Robert Cummings and Johnny Downs (1935). She moved directly into her second film, Gentle Julia (1936), playing the title role with Tom Brown as her romantic interest, displaying an innate, fresh-faced sensitivity. Marsha continued to show promise, but her well-acted roles were frequently overlooked in “B”-level fare.

She co-starred in everything from westerns (Desert Gold (1936) and Thunder Trail (1937)) to folksy or flyweight comedies (Easy to Take (1936) and Murder Goes to College (1937)) because Paramount couldn’t find good enough scripts.

Though she was once considered one of the studio’s promising starlets, one of her final films was another prairie flower role, Born to the West (1937), with cowboys John Wayne and Johnny Mack Brown competing for her attention. She married Jerry Hopper, a Paramount film editor who became a director in the 1950s, around this time (1938). This marriage only lasted a few years.

Marsha worked as a freelancer for many studios for a time, but her more notable war-era work in sentimental comedy and staunch war dramas came from MGM, and she finally signed with the studio in 1939. T

he roles offered, which included a featured role as one of the sisters in Greer Garson’s Pride and Prejudice (1940), and again as a sister to Garson in Blossoms in the Dust (1941), showed much more promise. Cheers for Miss Bishop (1941), Kid Glove Killer (1942), and The Affairs of Martha Stewart (1943) were among her more memorable wartime roles (1942). During this time, she also sang on long-term USO tours and remained active on the radio.

Her most well-known film is arguably The Human Comedy (1943), but she was not the main character. Other film roles saw her supporting others, including Margaret Sullavan in Cry ‘Havoc’ (1943), little Margaret O’Brien in Lost Angel (1943), and Garson again in The Valley of Decision (1944). (1945).

Leading roles were scarce in “A” films. Her MGM contract was allowed to lapse in 1945, and the second marriage to screenwriter Robert Presnell Jr. in 1946 took precedence.

The marriage was long and happy (exactly 40 years), lasting until his death in June 1986. Her few films were, once again, uneventful or in support of the star, though she did have a catchy, unsympathetic role as a scheming secretary in Susan Hayward’s smash-up smash-up smash-up smash-up smash-up smash-up smash-up smash-up smash-up smash-up smash-up smash-up smash-up smash-up smash-up smash-up smash-up smash-up smash-up smash-up smash-up

Her smash-up smashes In Raw Deal (1948), starring Dennis O’Keefe, she got the “raw deal” of being overshadowed as a “good girl” by Claire Trevor’s “bad girl” posturings. At this point in her career, she decided to try her hand at the stage, making her Broadway debut in “Joy to the World” (1948). Other plans in the works include “The Devil’s Disciple,” starring Maurice Evans, “The Lady’s Not for Burning,” starring Vincent Price.

“The Little Hut,” starring Leon Ames. She even got to return to her beloved singing as Anna in a production of “The King and I,” as well as (much later) in productions of “State Fair” and “Meet Me in St. Louis.” TV also provided her with new opportunities, including a performance of “Twelfth Night” in which she played Viola. Her film career began to unravel in the early 1950s.

She signed a number of petitions promoting liberal ideals and was a member of the Committee for the First Amendment in the late 1930s and early 1940s. As a staunch supporter of free speech, her name appeared in the McCarthy-era publication “Red Channels,” which “exposed” alleged Communists and “subversives.”

Despite the fact that she and her husband were never called before the House Un-American Activities Committee, their names were smeared all over Hollywood as “Reds.” While she did occasionally find film work, it was rare. She worked steadily from 1935 to 1949, appearing in over 50 films, but she only made three films in the next eight years. Her husband, a screenwriter, would be credited for on

In the early 1950s, the seams of her film career began to fray. She signed a number of petitions promoting liberal ideals and was a member of the Committee for the First Amendment in the late 1930s and early 1940s. As a strong supporter of free speech, her name appeared in the McCarthy-era pamphlet “Red Channels,” which “exposed” alleged Communists and “subverted” the Honorary Mayor of Sherman Oaks, California, in 1983, and published a fashion book titled “The Way We Wore” in 1993. (his death) widowed.

Despite the fact that she was never called before the House Un-American Activities Committee, her name appeared in the red-baiting pamphlet Red Channels as a result of her membership in the Committee for the First Amendment and on liberal petitions she signed. Because of the blacklist, she and her husband, writer Robert Presnell Jr., found it increasingly difficult to find work. Allan Hunt, Allan’s nephew, is a director.

She was a talented singer who appeared in a few of her films. She attended the acting school at Paramount Pictures as an ingénue, alongside classmates Frances Farmer, Olympe Braden, Robert Cummings, Eleanor Whitney, and Rosalind Keit Her original Paramount contract gave her two unusual benefits.

She could do her own make-up and she was not required to appear in the usual publicity photos that other stars did. She signed a contract with Metro-Goldwyn-Mayer in 1941. For her many selfless efforts, she received the Eleanor Roosevelt Humanitarian Award in 1998. She co-starred in a Broadway stage production of “Tunnel of Love” with Johnny Carson (1958)

. She was cast as James Dean’s overwrought mother in Rebel Without a Cause (1955) but had to drop out just before rehearsals began due to an earlier stage commitment. Ann Doran took over the position. On July 1, 1947, her only child, a daughter, was born prematurely and died a day later. Her second husband and she later became foster parents. Her first husband, editor-turned-director Jerry Hopper, was Glenda Farrell’s cousin. Prior to her career, she taught Sunday School at St. Paul’s Methodist Church in New York.

By the time she entered the film industry, she had changed the spelling of her first name to “Marsha.” Marsha was a strong contender for the role of Melanie Hamilton in Gone with the Wind (1939), because the studio’s first choice, Olivia de Havilland, was having trouble getting a loan from Warner Bros. In fact, David O. Selznick initially cast Marsha in the role, but the loan out fell through the next day, and Olivia was given the part.

In Tom Weaver’s book “A Sci-Fi Swarm and Horror Horde” (McFarland, 2010), she discusses her blacklisting and the horror film Back from the Dead (1957). She is a strong advocate for UNICEF, the March of Dimes, and the American Red Cross. She was an active member of both the Hollywood Democratic Committee and the Hollywood Anti-Nazi League, and she contributed both time and money to many liberal causes (such as the establishment of the United Nations and the Civil Rights Movement) and political candidates (including Franklin D.

Roosevelt, Henry Wallace, Adlai Stevenson, John F. Kennedy, Robert Hunt’s classmates at the Paramount Actors Training School included Frances Farmer, Olympe Braden, Robert Cummings, Eleanor Whitney, and Rosalind Keith. On February 8, 1960, she was honored with a star on the Hollywood Walk of Fame at 6658 Hollywood Boulevard in Hollywood, California.

Julie Adams and Piper Laurie are lifelong friends. Marsha’s original Paramount contract granted her two unusual concessions: she could do her own make-up and she was not required to appear in the standard publicity photos that other stars did. In New York City, she attended and graduated from Horace Mann High School for Girls (1934).

Hunt and her family moved to New York City, New York, when she was three years old, in 1921. She appeared with John Rubinstein on The Young Lawyers (1969) and Harry O (1973) when his career was just getting started. HUAC summoned dozens of Hollywood actors, directors, and screenwriters to testify about “Communist influences” in the film industry nine days after her 30th birthday.

She, Dalton Trumbo, and 17 other people refused to take part. She was blacklisted at the age of 32 and struggled to find work after that. In 1949, she met Julie Adams, Piper Laurie, and Tony Curtis while they (but not Hunt) were on contract at Universal Studios. On her 90th birthday, Hunt was named an Ambassador for Peace in recognition of her decades of activism on behalf of the United Nations and other organizations.

Hunt moved to Hollywood, California, in 1935 to pursue a career as an actress. Hunt is the younger sister of two. Marjorie, her older sister, and a teacher died in 2002. Hunt’s parents wanted her to go to college after high school, but she couldn’t find “a single college or university in the land where you could major in drama before your third year,”

So she worked as a model for the John Powers Agency and began taking acting classes at the Theodora Irvine Studio for the Theatre in New York City, New York. In 2013, she released a video for “Here’s to All Who Love,” a song she wrote 40 years ago about love and same-sex marriage. The clip, which was performed by Glee (2009) star Bill A. Jones, quickly went viral.

Marsha Hunt contact Address, Phone Number, Ema ID, Website
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House address (residence address)Chicago, Illinois, United States
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Marsha Hun’s fanmail address


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