Anthony Perkins (April 4, 1932 – September 12, 1992) was an American actor. Born inManhattan, he began his acting career as a teenager insummer stock theatre, and appeared in films prior to hisBroadway debut. His first film role was inThe Actress (1953). That same year, he debuted on Broadway inTea and Sympathy, a performance for which he received critical acclaim.
During this period, Paramount promoted Perkins in romantic roles, pairing him on screen with actresses includingAudrey Hepburn,Sophia Loren, andShirley MacLaine. He also took on more dramatic roles, including the Broadway production ofLook Homeward, Angel, for which he was nominated for aTony Award, and the filmOn the Beach (1959). He was cast as a romantic lead oppositeJane Fonda in her film debut,Tall Story (1960).
Perkins's portrayal ofNorman Bates inPsycho (1960) became his most recognizable role. For this performance, he received aBambi Award nomination for Best Actor and won the International Board of Motion Picture Reviewers Award for Best Actor. The success ofPsycho led totypecasting, prompting Perkins to buy out his Paramount contract and move to France, where he made his European film debut inGoodbye Again (1961). For this role, he received aBravo Otto nomination for Best Actor, a second Bambi Award nomination, theCannes Film Festival Award for Best Actor, and aDavid di Donatello Award for Best Actor.
His final acting role was in theNBC television filmIn the Deep Woods, which aired a month after his death on September 12, 1992, from AIDS-related causes.
Perkins with his mother Janet at the beach,c. 1933
Anthony Perkins was born on April 4, 1932, inManhattan, New York City, the son of actorOsgood Perkins (1892–1937) and Janet Esselstyn (née Rane; 1894–1979).[2] His paternal great-grandfather was thewood engraverAndrew Varick Stout Anthony.[3] Throughout his early years, Perkins had limited contact with his father, who was occupied with acting roles.[4]
The family employed a Frenchnanny named Jeanne, which led to Perkins' fluency in French.[5] In a 1983 interview withPeople magazine, he recalled, "I became abnormally close to my mother; whenever my father came home I was jealous. It was theOedipal thing in a pronounced form, I loved him but I also wanted him to be dead so I could have her all to myself."[6]
Osgood Perkins died of a heart attack on September 21, 1937.[7] Following his father's death, Perkins experienced intense feelings ofguilt. He later stated, "I was horrified. 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."[6]
A consistent female companion in Perkins' life was aspiring playwright Michaela O'Harra, who developed a close relationship with his mother. According to accounts from those who knew the family, including childhood friendJohn Kerr, the bond between O'Harra and Perkins' mother was notably intimate. While the exact nature of their relationship has been subject to interpretation, it has been widely suggested that Perkins' mother was not heterosexual.[8][9] It was also during that time that Perkins' mother began tosexually abuse him. "She was constantly touching me and caressing me. Not realising what effect she was having, she would touch me all over, even stroking the inside of my thighs right up to my crotch." The behavior continued into his adulthood.[6]
In 1942, when Perkins was ten years old, his family moved toBoston. Through her connections in the theatre industry, his mother secured a position at theAmerican Theatre Wing's Boston Stage Door Canteen, where she managed many of the canteen's operations. The job provided financial support for the two of them.[10] When she was occupied with work, Perkins was often sent to stay with his grandmother.[11]
During this period, Perkins began to struggle at thepublic school he attended. He was described as a "gifted drifter" and began exhibiting rebellious behaviour, which was attributed to his mother's neglect. In response, she enrolled him atBrooks School inNorth Andover, Massachusetts.[12] The experience proved difficult: his childhoodstutter reemerged, he avoided athletic activities, and his mother insisted he participate in baseball.[13] The pressure of the new environment led to extended school absences during his second year due to consecutive bouts ofscarlet fever, and his academic performance declined.[14]
Perkins eventually negotiated with his mother that if he improved his grades, he would be permitted to return to Boston for school the following year. He subsequently ranked in the top third of his class. His headmaster noted that Perkins was significantly more mature than his peers and lacked interest in many of their typical activities. Following this improvement, he was allowed to transfer back to Boston.[14]
As Perkins matured, the absence of his father became increasingly significant to him. According to his mother, as he observed other boys with their fathers, he began to feel the loss of his own more acutely. His connection to his late father developed through an interest in theatre. To support this interest, a family friend who operated a summer stock company agreed to allow Perkins to participate in minor roles, initiating his early involvement insummer stock theater.[15]
Perkins' first experience was with the Brattleboro Summer Theater inVermont, where he performed small parts inJunior Miss,Kiss and Tell, andGeorge Washington Slept Here. In addition to acting, he worked in the box office, earning $25 per week and obtaining hisEquity card.[16] The following year, in keeping with an earlier promise, his mother enrolled him at Buckingham Browne & Nichols School, an all-boys school inCambridge, Massachusetts.[17] There, he distinguished himself and gained a reputation as the classmagician and pianist.[18] He was known for hisimpersonations, including a popular imitation of actorRoddy McDowall, which he frequently performed between classes.[19]
In 1948, Perkins returned to summer stock theatre, this time at the Robin Hood Theatre inArden, Delaware, where his mother had secured a position as a manager. He again ran the box office and took on stage roles.[20] His most notable performance that summer was inSarah Simple. During this time he met Charles Williamson, the first boy to whom he was attracted romantically.[21]
The following academic year, Perkins joined thevarsity tennis team and theglee club at school. He also became co-literary editor of theschool newspaper,The Spectator, to which he occasionally contributed articles.[22] Around this period, Perkins began toquestion his sexuality.[23]
Perkins (top row, center) in a summer stock company, c. 1950
After Perkins graduated from high school in 1950, he enrolled atRollins College inWinter Park, Florida, having been persuaded to attend after a college representative visited his school.[23]
That summer, Perkins returned to the Robin Hood Theatre in Delaware, which had by then become a prominent summer stock venue. While working there, he reconnected with Charles Williamson.[24] They spent time together during breaks, including having lunch and swimming. Perkins developed a romantic attraction to Williamson during this time, though the feelings were not expressed or acted upon. Both were navigating their sexuality privately and did not discuss it openly.[25]
During that summer, Perkins also played the role of Fred Whitmarsh inYears Ago, a part he would later reprise in its film adaptation.[26]
At Rollins College that fall, Perkins struggled to find the same sense of community he had previously experienced. His arrival coincided with theLavender Scare, a period marked by heightened scrutiny and discrimination against gay individuals.[27] There were a few supportive peers, includingFred Rogers, who would later become known as a children's television host; Rogers allowed Perkins to use his piano, which he appreciated.[28]
Perkins participated in several stage productions and frequently changed fraternities, a pattern that frustrated his mother. During his time at Rollins, he reportedly began to explore his sexuality more openly.[29] Not long after his arrival, a number of homosexual students—many of whom were his acquaintances—were expelled and arrested after a fellow student had beaten one of them.[30] Perkins was not among those disciplined, likely due to his relationship with a theater professor.
Despite avoiding expulsion, his association with those involved led to growing tension between him and other students, who knew of Perkins' sexuality.[31] As a result of the increasingly hostile environment, Perkins transferred toColumbia University in New York City.[32]
While still a student at Rollins College, Perkins traveled to California during summer vacation in hopes of beginning a film career. Aware thatMetro-Goldwyn-Mayer was producing a screen adaptation ofYears Ago, he spent time around the studio lot, hoping to be noticed by a casting director and offered a screen test.[33]
Perkins later recounted that he spent the summer running errands and delivering food for the studio guards. During a screen test forMargaret O'Brien, a director needed someone to appear in the background, and a studio worker suggested using Perkins. He was called in to stand in front of the camera, and when the director asked him to move, he responded, drawing attention to himself. This unplanned appearance led to his involvement in thescreen test.[34]
Later that summer, Perkins was cast in the role of Fred Whitmarsh in the film adaptation, retitledThe Actress (1953), alongsideJean Simmons andSpencer Tracy.[35] The film was directed byGeorge Cukor, a former collaborator and friend of Perkins's late father.
Perkins gained wider recognition in 1954 when he replacedJohn Kerr in the lead role ofTea and Sympathy on Broadway, directed byElia Kazan, another friend of his father. In the play, he portrayed Tom Lee, a college student perceived aseffeminate, who is "fixed" through a romantic encounter with a woman.[36] The role bore autobiographical parallels for Perkins, and he later described it as one of the most meaningful performances of his career. Despite the play'shomophobic themes and resolution, it was one of the first major Broadway productions to depict homosexuality explicitly, and it attracted a significant gay audience.[37] Perkins's performance was well received and considered by many to surpass that of his predecessor.
Joan Fickett, who played opposite Perkins in the play, commented on his suitability for the role, noting the authenticity and emotional depth he brought to the character.[38] The play's success and Perkins's performance drew renewed interest from Hollywood.[39]
According to biographer Charles Winecoff, Perkins wasdrafted during the run ofTea and Sympathy, despite theKorean War having recently ended. He reportedly informed theSelective Service that he was a "practicing homosexual" to be deemed unfit for military service. This decision reportedly had significant psychological consequences for Perkins and left him deeply affected.[40]
Perkins (left) and Gary Cooper (right) filmingFriendly Persuasion (1956)
As his run inTea and Sympathy concluded, directorWilliam Wyler dispatched his assistant, Stuart Millar, to scout talent on Broadway for the upcoming filmFriendly Persuasion, which focused on a Quaker family during the American Civil War. Millar attended a performance ofTea and Sympathy and invited Perkins to audition for the role of Josh Birdwell, the family's eldest son. According to Millar, Perkins was cast shortly after his audition.[41] He then traveled to Hollywood to begin filming alongsideDorothy McGuire andGary Cooper, who played his on-screen parents.
At the time, Perkins did not know how todrive andhitchhiked from his hotel, theChateau Marmont, to the film set, a fact that was widely noted infan magazines.[42] His partner,Tab Hunter, later taught him how to drive.[43] Perkins's lack of experience was noted by those on set, including actorPeter Mark Richman, who stated that Gary Cooper was supportive of both himself and Perkins. Wyler reportedly praised Perkins's performance, and Cooper began to publicly support Perkins's acting career.[44] The two appeared together on the July 1956 cover ofLife magazine,[45] in which Cooper spoke favorably of Perkins.[44] Cooper's daughter, Maria Cooper Janis, later suggested that her father's support may have stemmed from both admiration for Perkins's talent and empathy for the challenges faced bycloseted gay actors in Hollywood.[46]
Following positive feedback from early film footage,Paramount Pictures signed Perkins to a seven-year semi-exclusive contract, allowing him flexibility to continue stage work. He was their last matinee idol and was called the "fifteen million dollar gamble."[48] His first film under the contract was the 1957 biographical dramaFear Strikes Out, about baseball playerJimmy Piersall. The set was hostile and riddled with homophobia, which negatively affected Perkins during production.[49] Nonetheless, his performance received critical acclaim, withThe Hollywood Reporter noting: "Every recent young star has been compared toJames Dean. From now on the standard is Tony Perkins."[50]
Perkins subsequently appeared in the 1957 WesternThe Lonely Man, co-starringJack Palance.[51][52] Reportedly, the film set was riddled with tensions, particularly between Palance and Perkins, which was exacerbated by delays due to weather.[53] Perkins's next Western wasThe Tin Star (1957), in which he starred alongsideHenry Fonda. Though producers Bill Perlberg andGeorge Seaton reportedly expressed reluctance to cast him,[54] Perkins auditioned and was selected. During production, Perkins and Fonda took the hours-long drive out to the set together in the same car, during which they became closely acquainted.[55]The Tin Star grossed over $1 million and is now regarded as a classic of the genre.[56]
In 1958,Newsweek described Perkins as "possibly the most gifted dramatic actor in this country under 30".[57]
Perkins in a 1957 publicity still forModern Screen
In 1957 and 1958, Perkins released three pop music albums and several singles under the name Tony Perkins throughEpic andRCA Victor.[58] His 1957 single "Moon-Light Swim" reached number 24 on theBillboard Hot 100. In 1958, "The Prettiest Girl in School" gained popularity in Australia but did not chart successfully in the United States.[58] Perkins's musical pursuits were contemporaneous with the success of his then-partnerTab Hunter's debut single "Young Love", which topped the charts, leading some to speculate that Hunter's success influenced Perkins's interest in music. Despite this, Perkins reportedly made light of his own vocal style,[59] and there is speculation that he did not have long-term commitment to a music career. He continued to record albums and EPs intermittently into the mid-1960s.
Although he was a life member of theActors Studio,[60] Perkins did not pursue roles in musical theatre. Instead, in 1957, he used the flexibility of his studio contract to return toBroadway inLook Homeward, Angel. Perkins played Eugene Gant, withJo Van Fleet portraying his mother. The production ran successfully, and in 1958 Perkins was nominated for theTony Award for Best Actor in a Play.[61] Reports from the production indicated tensions during rehearsals, particularly involving Van Fleet, whose behavior was described by some contemporaries as difficult.[62] Among the audience during tryouts was Tab Hunter, who later recalled that Perkins initially gave a restrained performance, but showed significant growth later in the run.[63][64][65]
Despite reported tensions during rehearsals forLook Homeward, Angel, the set was not without levity. Perkins's dressing room was located far from the stage, requiring him to move quickly between scenes to avoid missing cues. Cast members occasionally set up obstacles backstage as a practical joke to see if he could return in time. According to accounts, Perkins consistently made his entrances.[66] On the day of his final performance, the cast repeated the prank, and upon successfully navigating the obstacles, he was met with a sign reading "We love you, Tony!"[67]
In 1958, Perkins appeared opposite Jo Van Fleet once again inThis Angry Age. That same year, he starred inDesire Under the Elms, alongsideSophia Loren in her first American screen kiss. In her 2014 memoir, Loren described Perkins as polite and gentle, yet visibly restless. She recalled their on-set dynamic positively, noting mutual support during filming.[68] However, critical reception of Perkins's performance was largely negative upon the film's release.[69]
During this period, Perkins was offered a role in the 1959 filmSome Like It Hot, which would later starMarilyn Monroe,Tony Curtis, andJack Lemmon. Perkins was considered for the role of Shell Oil Junior. The film involved the lead characters disguising themselves in women's clothing. Paramount executives reportedly declined to allow Perkins to take the role, concerned about the implications of casting a queer actor indrag for an entire film. The role ultimately went to Curtis.[70]
Instead, Paramount offered Perkins the lead inThe Matchmaker (1958) oppositeShirley Booth,Shirley MacLaine,Paul Ford, andRobert Morse.[71] The film included a scene in which Perkins and another male character disguise themselves as women to evade detection. To secure his participation, the studio offered Perkins a salary of $75,000 for ten weeks of work, significantly more than MacLaine's reported $25,000 for the same duration. Perkins raised concerns about the pay disparity, but no changes were made to MacLaine's compensation.[72]
Though he defended MacLaine to studio executives, Perkins reportedly had a strained working relationship with her. MacLaine later reflected on the experience, commenting on his guarded demeanor and the difficulty in distinguishing between his public persona and authentic self.[73]
Perkins and Audrey Hepburn in a publicity still forGreen Mansions (1959)
Following the loss of the role inSome Like It Hot, Paramount cast Perkins oppositeAudrey Hepburn inGreen Mansions (1959),[74] positioning the film as a means to promote his leading-man image. The studio emphasized his physicality, featuring scenes in which he appeared shirtless and engaged in physical combat. Perkins also performed the film's title song, "Green Mansions," which briefly charted.[75] Reflecting on the production later in life, Perkins described Hepburn as "wonderful to work with, like a real person, almost a sister".[71]
Perkins next appeared inOn the Beach (1959), which was filmed on location inMelbourne over a three-month period.[76] This production was noted for its collaborative environment. Perkins reportedly maintained a positive working relationship with the cast, including assistingFred Astaire, who was making his dramatic film debut.[77] In a 1983 interview withPeople, Perkins named his co-starAva Gardner as the first of several actresses who attempted to pursue a romantic relationship with him.[6]
InTall Story (1960), Perkins played a college basketball player oppositeJane Fonda in her screen debut. To prepare for the role, he underwent basketball training.[78] Unlike his experience filmingFear Strikes Out, he found the atmosphere onTall Story more welcoming.
Perkins and Fonda shared a professional rapport, aided in part by Perkins's previous work with her father, actor Henry Fonda. According to Fonda, Perkins offered her advice on camera performance techniques, including how to position herself effectively within the frame. She credited him with helping her understand how to act for the screen.[79] Fonda also developed a personal affection for Perkins during filming.[6] In later reflections, she acknowledged both she and directorJoshua Logan had developed feelings for him, which led to complications during the production.[80] Fonda, however, expressed an awareness of Perkins's sexuality and indicated that this did not diminish her admiration or affection for him.
After signing with Paramount Pictures in 1955, Perkins was promoted by the studio as its final matinee idol. He was cast in a succession of leading roles intended to solidify his image as a romantic and masculine screen presence. By the time he had completed three films for the studio, Paramount had reportedly invested approximately $15 million in his career, prior to the release of any of the films. This significant investment contributed to growing tensions between Perkins and the studio.[81]
Perkins, for his part, expressed dissatisfaction with the direction of his film career. While his contract allowed him to return to the Broadway stage, the majority of his fame stemmed from his film work, where Paramount consistently placed him in conventional leading-man roles. Perkins reportedly sought to be recognized as a serious character actor rather than a teen idol. His resistance to being typecast, particularly in roles that emphasized traditional masculinity, resulted in the loss of certain opportunities, including the roles of Shell Oil Junior inSome Like It Hot[70] and Tony inWest Side Story.[82]
Additional tension reportedly arose between Perkins and Paramount presidentBarney Balaban. According to multiple accounts, Balaban objected to Perkins's homosexuality and his relationship with actorTab Hunter. Perkins was allegedly pressured by the studio to end the relationship and was urged to undergoconversion therapy during his contract period. One associate of Perkins recalled a conversation in which Perkins responded to the studio's demands by affirming his relationship with Hunter.[83] Hunter himself later stated that, unlike his experience at Warner Bros., Paramount intervened in his relationship with Perkins and requested that the two cease seeing each other. Despite this, the relationship continued for a time.[84]
Sources suggest that Perkins resisted studio pressure until approximately 1959, during the period between filmingTall Story andPsycho.[83] Around this time, efforts by studio executives to distance him from Hunter were reportedly successful. This separation is often cited as a contributing factor in Perkins's decision to buy out the remainder of his contract with Paramount, following a similar move previously made by Hunter at Warner Bros.[85]
Perkins starred asNorman Bates in Alfred Hitchcock'sPsycho (1960). According to Hitchcock, he had considered Perkins for the role since seeing his performance inFriendly Persuasion.[86]
While filmingPsycho, Perkins was also performing in the Broadway musicalGreenwillow, composed byFrank Loesser, who reportedly disliked Perkins for being queer.[87] Despite this, Perkins received critical praise for his performance in the show. DirectorGeorge Roy Hill commented on Perkins's performance, stating that while his voice did not possess the typical qualities of a Broadway vocalist, it was free of the harsher tones often associated with musical theatre, and that his main solo, "Never Will I Marry", showcased his strengths.[88] For his work inGreenwillow, Perkins was nominated for anotherTony Award for Best Actor in a Musical.
Psycho was produced on a limited budget, with both Perkins and co-starJanet Leigh accepting reduced salaries. Much of the crew was borrowed from Hitchcock's television seriesAlfred Hitchcock Presents.[89] Despite the modest production resources, the film achieved substantial critical and commercial success. Perkins's performance earned him the Best Actor Award from the International Board of Motion Picture Reviewers and brought him international recognition. The character of Norman Bates became closely associated with Perkins and remained a defining role throughout his career; he appeared in multiple sequels over the ensuing decades.[90]
Perkins and Ingrid Bergman in an advertisement forGoodbye Again (1961)
After buying out his contract with Paramount, Perkins relocated to France and began working in European cinema. His first film in this period wasGoodbye Again (1961), co-starringIngrid Bergman and filmed in Paris. The film was originally titledTime on Her Hands, but the English-language titleGoodbye Again was suggested by Perkins, referencing one of his father's plays.[91] During production, Bergman reportedly expressed romantic interest in Perkins, which he declined.[6] Perkins's performance in the film received critical acclaim and earned him theCannes Film Festival Award for Best Actor.[91]
Perkins briefly returned to the United States in 1962 to appear in the Broadway playHarold, although the production had a short run. He soon returned to Europe, where he was cast inPhaedra (1962), co-starringMelina Mercouri. The role received favorable reviews. Mercouri later commented on Perkins's enigmatic screen presence, describing him as both attractive and elusive.[92]
FollowingPhaedra, Perkins starred inFive Miles to Midnight (1962), marking his second collaboration withSophia Loren. Perkins reportedly agreed to join the project only after Loren was cast in place ofJeanne Moreau.[93] Behind-the-scenes footage from the production was featured in the documentaryThe World of Sophia Loren, which captured moments of camaraderie between Perkins and Loren, including rehearsals and off-camera interactions.[94][95] The film achieved moderate commercial success.
Perkins (right) with Orson Welles on the set ofThe Trial (1962)
Perkins continued his work in psychologically complex roles with his performance in Orson Welles's adaptation ofThe Trial (1962). Welles personally selected Perkins for the lead role and expressed interest in only proceeding with the film if Perkins agreed to participate. According to Perkins, Welles told him, "if I wasn't going to make it, he wasn't going to make it either".[96]
AlthoughThe Trial has often been compared toPsycho, Perkins did not express concern about potential typecasting, particularly given the opportunity to work with Welles. He described Welles as confident in his abilities but not authoritarian, saying, "He's wonderfully sure of himself and his ability without being dictatorial and autocratic about it ... [H]e isn't inflexible".[96] During production, which exceeded its budget, Perkins maintained a high regard for Welles and even considered writing a book about the director. He carried a tape recorder in his coat for weeks but ultimately abandoned the project out of concern that it might offend Welles. Welles later expressed disappointment that Perkins did not follow through, stating, "Oh, why didn't you [do it]? Why didn't you? I would have loved it!"[97]
Welles later spoke positively of Perkins, acknowledging the critical reception of the actor's performance and taking responsibility for it. He remarked, "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... I recognize that I did Tony—who is one of the best actors we have—a great disservice".[98] Despite the mixed reception of Perkins's performance,The Trial received favorable reviews internationally and developed acult following. Welles himself stated shortly after its release, "The Trial is the best film I have ever made".[99] It marked the beginning of four collaborations between Welles and Perkins.[100]
Perkins embracing Brigitte Bardot in a publicity still forUne ravissante idiote
Perkins's final role portraying a psychologically disturbed character in a romantic film was inLe glaive et la balance (1963), filmed in France. The film had limited impact upon release.[101] His subsequent project wasUne ravissante idiote (1964), co-starringBrigitte Bardot. Perkins became the first American actor to portray a romantic partner opposite Bardot.[102] In later interviews, he expressed discomfort during the production and stated that Bardot had been his least favorite co-star.[71][103]
FollowingUne ravissante idiote, Perkins filmedThe Fool Killer (1965) in Mexico.[104] While the film received some critical recognition, it was not a major box office success.[105] He then returned to France to make a cameo appearance inIs Paris Burning? (1966). This marked his second collaboration with Orson Welles and also reunited him with directorRené Clément, who had directed Perkins inThis Angry Age (1957). The screenplay forIs Paris Burning? was written by Perkins's friend,Gore Vidal.[106]
While still living in France in 1966, Stephen Sondheim composed the musicalEvening Primrose for the television seriesABC Stage 67, Perkins playing the lead role.[107][non-primary source needed][108] Around the same time, he announced Perkins as the original lead forCompany, though Perkins ultimately withdrew from that project. Nevertheless, Perkins continued to serve as an artistic inspiration for Sondheim for several years.[107][109]
Perkins returned to the Broadway stage inThe Star-Spangled Girl (1966–67). He played a politically radical roommate competing for the affection of a young woman, a departure from his earlier portrayals of psychologically disturbed characters. His co-stars includedConnie Stevens. While the actors were recognized for their performances, the play received mixed reviews overall.[110] Simon later reflected on the work, noting that it lacked the strength of his other comedies and stating, "I knew it never had a chance to be a powerful comedy".[111]
Shortly afterward, Perkins returned to France and starred inThe Champagne Murders (1967).[112] Although the film received some critical acclaim, including a favorable review fromThe New York Times, it did not perform notably at the box office.[113][114]
In 1968, Perkins made his first Hollywood film sincePsycho, starring inPretty Poison alongsideTuesday Weld. In the film, he played Dennis Pitt, a man on parole from a psychiatric institution. Perkins and Weld had previously dated in the early 1960s, and though their on-set interactions were reportedly cool, they remained professional.[115] WhilePretty Poison was not commercially successful at the time of release—Weld later referred to it as her least favorite film—[116]it later developed a cult following.[117]
In the early 1970s, Perkins transitioned into supporting roles in major Hollywood productions. He appeared inCatch-22 (1970) and had a minor part inWUSA (1970). That same year, he directed and acted in the Off-Broadway productionSteambath.[118]
Perkins also starred in the made-for-television thrillerHow Awful About Allan (1970), again portraying a psychologically unstable character. Though it received little attention upon release, the film later gained a small cult audience after entering thepublic domain, which increased its accessibility.[119] He next appeared in the French crime dramaSomeone Behind the Door (1971). Perkins once more played a mentally unstable character, and the film had limited impact.[120]
Perkins (left) with Paul Newman (right) inThe Life and Times of Judge Roy Bean (1972)
In 1971, Perkins starred inTen Days' Wonder, a murder mystery directed byClaude Chabrol, marking his third collaboration with Orson Welles. The film featured a recurring narrative motif in Perkins's career: his character becomes romantically involved with a stepmother, as inDesire Under the Elms (1958) andPhaedra (1962).
Perkins reunited with Tuesday Weld inPlay It as It Lays (1972). TheChicago Sun-Times praised the film for its writing, direction, and casting, noting that Weld and Perkins brought emotional depth to their characters.[121] Weld won aGolden Globe for her performance, and both she and Perkins were considered potential contenders for Academy Award nominations, though neither received one. Perkins later referred to his performance in the film as his best.[122]
Later in 1972, Perkins appeared inThe Life and Times of Judge Roy Bean, a Western starringPaul Newman. Perkins played a traveling minister who aligns himself with Newman's character. The film marked his second appearance with Newman and his only on-screen collaboration with actor Tab Hunter. According to Hunter, the two had a brief reunion during filming in Tucson not having seen each other for nearly a decade. Hunter reported that Perkins was ending a long relationship with dancerGrover Dale and had begunconversion therapy with psychologistMildred Newman in an attempt to become heterosexual.[123] He later stated that during the filming, he had his first heterosexual experience with co-starVictoria Principal.[6]
Sondheim-Perkins collaborations and unconventional roles
Perkins (left) withPat Ast (center),Marisa Berenson (right) and Stephen Sondheim (seated), 1973
In 1973, Perkins reunited with Stephen Sondheim to co-writeThe Last of Sheila, a mystery film directed byHerbert Ross. The story was inspired by games that Perkins and Sondheim had invented and follows a movie producer who invites a group of wealthy acquaintances on a yacht in an attempt to uncover which of them is responsible for his wife's death. Each guest is assigned a secret based on real-life gossip, forming the basis of a mystery narrative. Some of the characters were modeled after individuals known to Perkins and Sondheim.[124] The film was a commercial success and earned them theEdgar Allan Poe Award for Best Motion Picture Screenplay.
A further project wasThe Chorus Girl Murder Case, announced in 1975. Perkins described it as a mixture ofBob Hope wartime comedies,Lady of Burlesque, and elements from Orson Welles's magic shows, structured around a mystery plot similar toThe Last of Sheila. Other influences includedThey Got Me Covered,The Ipcress File, andCloak and Dagger.[125][126] The project had initially sold in October 1974,[127] withMichael Bennett at one point attached to direct andTommy Tune considered for the lead.[128] Although the script was reportedly completed by November 1979, the film was never produced.[129][128]
In the 1980s, Perkins and Sondheim began a new project titledCrime and Variations, a seven-part television series developed forMotown Productions. A 75-page treatment was submitted in October 1984.[130] The story was set in New York's socialite world and involved a crime-based puzzle. A separate writer was expected to develop the screenplay. This project also remained unproduced.[131]
In 1974, Perkins appeared inMurder on the Orient Express. The film reunited him with former co-stars Ingrid Bergman (Goodbye Again, 1961) and Martin Balsam (Psycho, 1960). It was both a critical and commercial success.[132] That same year, Perkins co-starred withBeau Bridges andBlythe Danner inLovin' Molly. The film was relatively well received.[133]
Also that year, Perkins assumed the lead role in the Broadway production ofEquus, replacingAnthony Hopkins. In this role, he portrayed a psychiatrist, diverging from his previous portrayals of mentally unstable characters. The performance was met with strong critical acclaim.[134] Also in 1974, he directed the Off-Broadway playThe Wager, though it had minimal impact.[135]
In 1975, Perkins appeared inMahogany alongsideDiana Ross. The two developed a close friendship during filming, which reportedly did not interfere with production. Perkins played a fashion photographer, a role that was rewritten shortly before filming to reflect aspects of hisPsycho persona. The character, originally written as explicitly gay, was revised and portrayed with ambiguous,queer-coded traits.[clarification needed][136] Perkins later expressed dissatisfaction with the film, butMahogany performed well commercially.[137]
Perkins posing for the intro of hisSaturday Night Live episode, 1976
In 1976, Perkins hosted an episode ofNBC's Saturday Night. During the episode, he parodied his serious public persona, including a comedic sketch titled "Norman Bates's School for Motel Management," in which he reprised his role fromPsycho. In his opening monologue, he thanked the audience for seeing "the real Tony Perkins" and later performed in sketches that included roles such as a singing psychiatrist and characters in various horror-themed segments. He also appeared alongsideThe Muppets in a segment near the end of the program.[138]
In 1978, Perkins starred inRemember My Name alongsideGeraldine Chaplin. The film was written and directed byAlan Rudolph and featured Perkins playing the husband of a character portrayed by his real-life wife, Berry Berenson.[139] The film was described by Rudolph as an updated version of classic melodramas from the mid-20th century.[140] It was well received by critics, with theSan Francisco Chronicle awarding it four out of five stars and praising the performances of both leads.[141]
That same year, Perkins portrayed the husband ofMary Tyler Moore's character inFirst, You Cry, a made-for-television drama based on journalistBetty Rollin's autobiography about her experience with breast cancer.[142][143] The film received multiple award nominations, including aGolden Globe and severalPrimetime Emmy nominations.[144] In 1979, the film was parodied onSaturday Night Live in a sketch titled "First He Cries," which was poorly received, generating over 200 phone calls and 300 letters of complaint.[145]
Also in 1978, Perkins playedJavert in atelevision adaptation ofLes Misérables.[146] In 1979, he appeared in the science fiction filmThe Black Hole.[147] During production, Perkins reunited with crew members fromFear Strikes Out, which had been released more than two decades earlier. Later that year, he returned to the stage with a lead role inRomantic Comedy, a Broadway play that ran for 396 performances and received favorable reviews.[148]
Also in 1979, Perkins appeared in the dark comedyWinter Kills. Although it was a box office failure, it later gained a cult following.[149]
In 1980, Perkins appeared in the action filmNorth Sea Hijack. He then co-starred in the Canadian thrillerDeadly Companion. The film received limited attention, though Perkins's performance was noted positively in a few reviews.[150][151][152]
Perkins in 1983
Perkins reprised his role as Norman Bates inPsycho II (1983), which was a commercial success. That same year, he was approached by former partner Tab Hunter to appear inLust in the Dust, a Western comedy. Perkins declined the role, and it was the last time the two saw each other.[153] Shortly thereafter, Perkins traveled to Australia to star in the mini-seriesFor the Term of his Natural Life (1983), which received strong viewership ratings.[154]
In 1984, Perkins appeared inThe Glory Boys, a British television thriller mini-series co-starringRod Steiger. According to reports, tensions arose on set between the two actors.[155] Perkins followed this with a lead role inKen Russell'sCrimes of Passion (1984),[156] a film he felt was compromised in the editing process but that later developed a cult following.[157] He then starred in and directedPsycho III (1986), earning aSaturn Award nomination for Best Actor. Despite the recognition, the film was less successful than its predecessors, which led to bouts of diminished self-confidence for Perkins.[158]
FollowingPsycho III, Perkins returned to television with a role inNapoleon and Josephine: A Love Story (1987), a mini-series that received two Emmy nominations despite a mixed critical response.[159][160][161] In 1988, Perkins received praise for his role in the horror filmDestroyer, which was otherwise deemed a disappointment.[162][163] That same year, Perkins directed the comedyLucky Stiff, though he did not appear in it. While not commercially successful, the film gained a cult following.[164]
Perkins continued to work in the horror genre with appearances inEdge of Sanity (1989),Daughter of Darkness (1990), andI'm Dangerous Tonight (1990). He filmed a pilot for a television series titledThe Ghost Writer, in which he played a horror novelist haunted by the ghost of his deceased wife. The pilot was not picked up for series development.[165]
He returned once more to the role of Norman Bates inPsycho IV: The Beginning (1990), a made-for-cable film. During its production, Perkins learned he was HIV-positive.[166] Between 1990 and 1992, he appeared in six television productions, includingDaughter of Darkness and the horror anthology seriesChillers (1990), which he hosted. His final performance was inIn the Deep Woods (1992), released after his death. These late-career roles continued to reflect his association with the horror genre.[167]
Perkins was offered the lead role inDancing in the Checkered Shade, a play byJohn Van Druten. In a 1956 interview, Perkins stated, "I had little money and was practically set forDancing in the Checkered Shade. My agents were split in their decisions. New York said I should stay and do the play. Hollywood said I should come out and do [Friendly Persuasion]. It was like flipping a coin. So I took the picture."Dancing in the Checkered Shade did not make it to Broadway, whileFriendly Persuasion earned Perkins an Academy Award nomination and brought him increased recognition in Hollywood.[41]
Perkins auditioned for the lead roles inEast of Eden andRebel Without a Cause, both of which were awarded toJames Dean. Rumors suggested that Perkins's loss of theEast of Eden role led directorElia Kazan to cast him as Tom Lee in the Broadway production ofTea and Sympathy, but Kazan publicly denied this.[168] Perkins was later cast inFriendly Persuasion over Dean and replaced Dean posthumously inThis Angry Age.
Perkins (wearing veil) in drag forThe Matchmaker (1958), despite the fact that Paramount had just forbidden him from doingSome Like It Hot for its flamboyancy
Perkins was offered the lead in the film adaptation ofHarold Robbins'sA Stone for Danny Fisher, but declined the part. The project was ultimately reworked intoKing Creole, a musical starringElvis Presley, with whom Perkins was occasionally compared.[169] He was also offered the role of Shell Oil Jr. in the 1959 filmSome Like It Hot. Perkins declined the role under pressure from Paramount executives, who reportedly objected to him appearing in drag.[70]
Around the time he signed on toPsycho, Perkins was considered for the lead inDooley, a biographical film written byRobert Anderson. DirectorsGeorge Roy Hill andJoshua Logan were interested in the project, but Paramount did not approve the production costs, and Perkins was not permitted to audition.[170]
Perkins was seriously considered for the role of Tony in the 1961 film adaptation ofWest Side Story, but was again prevented from auditioning by Paramount. Despite not participating in the project, this led to his friendship with lyricistStephen Sondheim.[82]
He was also cast as Robert, the lead role in Stephen Sondheim's musicalCompany, but declined the part, citing scheduling conflicts and later attributing his decision to anxiety over the long performance commitment. Some commentators also speculated that his decision was influenced by perceptions of the character's queer-coded traits.[109]
In 1973, after co-writing the screenplay forThe Last of Sheila with Sondheim, Perkins was encouraged to play the antagonist, Clinton. Sondheim supported this casting, but Perkins declined, believing the role was too similar to previous parts he had played. The role went toJames Coburn.[172]
Perkins later played a horror writer, Anthony Strack, in the television pilotThe Ghost Writer, a project he viewed as a potential transition into more comedic roles. However, the pilot was not picked up.[165]
In the early 1990s, Perkins agreed to voice the character of Dr. Wolfe, a dentist, inThe Simpsons episode "Last Exit to Springfield." He died before the role could be recorded, and the part was ultimately voiced bySimpsons regularHank Azaria.[173]
Perkins, having grown up in New York as the son of a theater performer, was heavily influenced by stage actors in the early years of his interest in acting. Slowly, however, his influences shifted, especially with the new wave of Method actors on thebig screen. In 1958, Perkins admitted toHoliday magazine that the single performance that he believed had impacted his acting the most wasn't off the boards: "The single performance which influenced my own acting the most was [Marlon] Brando's inOn the Waterfront... That's the direction I want to go as an actor. To convey the maximum with the simplest, barest means."[174] He also mentioned James Dean later on: "Well, I was certainly impressed with the originality of [Dean's] talent. Of course, it was popular at the time of his emergence."[175]
Perkins was a lifelong member of the Actors Studio, an institution both Brando and Dean attended as well, which could have contributed to his interest in the Method. Perkins's posthumous biographer, Charles Winecoff, though, dismisses any ideas that Perkins was a Method actor: "Young Perkins fell somewhere in between the mannered style of his father's era and the new, seemingly organic style exemplified by Brando and Dean."[174]
Especially in his early years, Perkins took advice from a host of his costars, a majority of whom were experienced and revered actors in their own right. The most influential of his fellow stars wereGary Cooper andHenry Fonda.
Despite his many celebrated performances, Perkins never discussed the method with which he acted. Many said he was somewhere between his father's style of acting (building a character from the outside in) and the Method technique (building a character from the inside out).[174] Recalling how he prepared for his mental breakdown scene inFear Strikes Out, Norma Moore said he was especially "serious, very intent, very nervous before shooting... pacing, not talking to anybody, shaking his hands." The film's director, Robert Mulligan, said that Perkins was "riding on instinct, very giving and very trusting and very brave."[49] A year later, when Perkins played Eugene Gant for Broadway inLook Homeward, Angel, not much had changed. "His approach was a purely pragmatic one," friend George Roy Hill remembered, "he had no theories to get in his way."[174]
There is evidence to suggest that Perkins used previous (sometimes traumatic) experiences to drive his performance. During his debut run on Broadway inTea and Sympathy, Perkins was allegedly drafted into the army, which he dodged by admitting he was a homosexual. This backfired, leading to harsh mistreatment at the hands of the Selective Service that reportedly scarred him so much he wouldn't speak about it. His boyfriend was there when he returned home, listening to him crying and whimpering. He later said that Perkins incorporated the same whimpering into his performance as Tom Lee inSympathy.[176] Perkins, though, never hinted at this in a rare mention of his technique when speaking about the scene inFriendly Persuasion when Josh Birdwell decides to enlist:
"That scene started [filming at] about 9:30 in the morning and by 1 o'clock the unions at that time declared that we had to go to lunch, right in the middle of the scene—just before my close-up. And [William Wyler, the director] came to me and said, 'I'm really sorry about this. You're doing a fabulous job and I want you to hold onto this if you possibly can. Why don't you go back to your room and sort of concentrate and reread the script? I'm very very sorry; we'll start again in an hour.' Well, I went to the commissary and had two cheeseburgers and a malted and came back and sat down and started over again. I didn't have the self-consciousness as an actor to find that that would be a difficult thing to do, so since I didn't think it was gonna be difficult, it wasn't... Well, youth can do anything."[177]
Either way, it worked. Many of Perkins's films distinguished him as a powerful actor of the day, garnering numerous awards and nominations. AsTurner Classic Movies summarized: "A masterful character actor, Perkins' ability to convey mental instability in a fashion that was simultaneously disturbing, affecting, and darkly humorous made him a unique and valuable talent."[167]
Perkins displaying his trademark body language in a 1957 episode ofPerson to Person
Throughout his career, Perkins often played shy, sensitive young men. "He was supposed to be gawky, you know," costarJean Simmons recalled, "with the sleeves too short and all that stuff."[178] Former partnerTab Hunter spoke similarly about Perkins: "Beneath the boyishness, however, there was a lot of tension—not news to anyone who's seen Tony on-screen. The familiar body language wasn't an act. He slouched around with his hands shoved deep in his pockets, and he jiggled his foot unconsciously—a nervous twitch."[179]
Despite his well-documented habits, the authenticity of them has been challenged by some of Perkins's friends and colleagues.Alan Sues, who worked with Perkins onTea and Sympathy, noted, "You know, if you play that kind of sensitive, I-don't-know-if-I-can-get-through-this sort of thing, people come to you. His approach was that he was suffering, that stuff was going on inside of him, and I don't think it was. His strong suit was knowing how to project an image."[180] Although Hunter expressed similar doubts ("I began to wonder how much of his sheepish appeal was genuine," he wrote in 2005, "and how much was manufactured, used to mask very calculated, methodical intentions"[181]), he did believe overall that Perkins was dealing with a lot of backlash from Paramount over his sexuality, which therefore led him to become as brooding as he was.[182]
However real or fake the mannerisms were, they caught on in the press, which had a field day when Perkins, who didn't know how to drive, was photographed hitchhiking to the set ofFriendly Persuasion.[42] He was often described as "boyish" by fan magazines,[183] and his odd habits, from the way he dressed[184] to the meals he ate,[185] were written about in detail.Photoplay called Perkins a "barefoot boy with cheek" in a 1957 issue,[186] while later portraying him as an embarrassed singer when they photographed him during recording sessions.[187] Perkins seemingly played into this quirky yet insecure persona, venting toMcCall's:
"I'm not really suited to be a movie star. I have no confidence in myself. I'm not interested in money. I'm not good-looking. I have a hunch in my spine. I can't see worth a damn. I have a very small head. I haven't many opinions. I dislike nightclubs—the kind of things that give you easy publicity. I have no string of French girls. I'm not tough. I can't put on a show in public. I'm much too sensitive for Hollywood. I'm an easy target."[59][188]
He also did so on game shows. As a mystery guest on the popular television programWhat's My Line?, in the Australian accent he had used during his most recent film,On the Beach, Perkins responded to a question asking if he was a movie star by saying "The term movie star implies a certain glamor which I believe I lack."[189][190]
Even if some people found Perkins's constant complaining about his self-esteem to be annoying, it did earn him fans in the more prominent gossip columnists. BothLouella Parsons andHedda Hopper were fans of him, feeling an almost maternal instinct for him. "[Hopper] was the biggest Tony Perkins fan in town," Tab Hunter recalled. "She practically declared him her adopted son in print and was eager to publish anything that would bury those rumors about Tony's 'secret friend' [a euphemism for Hunter and their secret relationship often employed by the press]."[191] This also endeared him to Academy Award-winning costume designer Dorothy Jeakins, with whom he worked onFriendly Persuasion andGreen Mansions. "He had a gift for inciting maternal instinct, particularly in mature women."[43]
Perkins was relentlessly promoted by Paramount Pictures as a sex symbol and teen idol throughout his career, something Perkins saw as a sacrifice to his serious acting prospects. They forced him through a succession of romantic lead roles, whether they were beside relative unknowns such as Norma Moore and Elaine Aiken or powerhouses such as Sophia Loren and Audrey Hepburn. Although he was briefly depicted in drag inThe Matchmaker with Shirley MacLaine, Perkins's image in these films was largely heterosexualized. Despite his 140-pound stature, Perkins delivered a shirtless performance in bothDesire Under the Elms andGreen Mansions. This compulsive and brash heterosexualization ended up being detrimental to Perkins's career, costing him the leads in both the 1959 filmSome Like It Hot[70] and the 1961 filmWest Side Story.[82]
Even if the masculinity of Perkins's image was forced, his beauty was not. As friend Gwen Davis remembered, "He was intellectually dazzling, physically beautiful. At twenty-four, he was already Dorian Gray."[192] Costar Joan Fickett spoke similarly of Perkins: "Tony had a quality that was fantastic... He was also a beautiful-looking young man."[193] Even his post-Hollywood friends such as Melina Mercouri agreed: "He was the most intelligent and the most beautiful actor that I played with. He was extremely generous [and gorgeous], a gentleman."[194]
Perkins's popularity as a teen idol was increased by the plentiful stories circulating about his active dating life. Although they ultimately ended up stumped as to how an attractive star such as Perkins could remain a bachelor, Perkins was constantly "losing his heart" to somebody, whether it was Natascia Mangano[195] or Elaine Aiken.[196] Perkins was often claimed to be "infatuated" with many of his leading women, whether they were married or not. Soon, Perkins's dating life became as prominent as his career, something that deeply irritated and annoyed Perkins.
Another source of teenage frenzy around the young actor was his singing career. Although his highest-ranked single in the United States, "Moonlight Swim," peaked in the 20s on theBillboard charts, his albums were still popular with teenage fans. Many of his songs centered around forbidden romances, something an adoring fan could relate to since they might have seen a potential romance with Perkins, a "movie star," as forbidden. Many of the songs often described the love interest as young, with two ("The Prettiest Girl in School" and "When School Starts Again Next Year") explicitly stating that his "girlfriend" was young enough to still be in school. These singles came out shortly before the release of 1960'sTall Story, where Perkins played a college student, amplifying the teenage frenzy tenfold.[197]
There are varying accounts regarding how Perkins met his future wife, photographerBerinthia "Berry" Berenson, in 1972. Some sources state that they were introduced at a party in Manhattan,[6] while others claim their first meeting occurred on the set of the filmPlay It as It Lays.[198][199]
Perkins andBerry Berenson on the January 1974 cover of Andy Warhol'sInterview magazine
Although not initially romantically involved, Perkins and Berenson spent considerable time together during the early 1970s, despite Berenson being engaged to artistRichard Bernstein at the time.[200] Over time, their relationship developed into a romantic and sexual partnership. According to some accounts, when Berenson informed Bernstein of the change in her feelings, he responded by asserting that Perkins was gay and did not share her romantic interest. Berenson reportedly replied that Perkins was seeing therapistMildred Newman and expressed a desire to live as a heterosexual. She ended her engagement to Bernstein that same day.[200]
Perkins and Berenson married on August 9, 1973. At the time, Perkins was 41 years old and Berenson was 25 and three months pregnant. Their first son, actor and directorOz Perkins, was born in 1974, followed by their second son, musicianElvis Perkins, in 1976.[201]
The marriage came as a surprise to many in Perkins's social and professional circles. Actress Venetia Stevenson later commented that she was shocked by the news, recalling that Perkins had been widely perceived as gay.[53] Berenson herself acknowledged that others were skeptical about the union, stating that she was unaware of the implications at the time, despite Perkins having informed her of his sexuality.[202] Nevertheless, the couple remained married until Perkins's death in 1992. Berenson died during the 2001September 11 attacks whenAmerican Airlines Flight 11, on which she was a passenger, was hijacked and crashed into the North Tower of theWorld Trade Center. All individuals on board were killed.[201]
Speculation about Perkins's sexuality began early in his career, particularly after his Broadway debut inTea and Sympathy, in which he portrayed a gay character.[203][204] According to biographer Charles Winecoff, Perkins was connected to a mass expulsion of gay students at Rollins College, where he had been an undergraduate. Winecoff claimed that several of Perkins's friends were arrested on charges related to homosexuality but that Perkins avoided disciplinary action due to his association with a theater professor.[30] However, this account is based solely on interviews Winecoff conducted with alumni, and no corroborating evidence has been found.
Perkins reportedly had his first heterosexual experience at the age of 39 with actressVictoria Principal while filmingThe Life and Times of Judge Roy Bean in 1971.[6][205][206] At the time, he was undergoing conversion therapy with psychologistMildred Newman. In his 2021 biography of directorMike Nichols, Mark Harris wrote that both Perkins and his longtime partnerGrover Dale pursued conversion therapy with the belief that their homosexuality was an obstacle to personal happiness. Harris also noted that Newman and her partner Bernard Berkowitz promoted the view that homosexuality was a form ofarrested development.[207]
In a 1999 documentary on Perkins, directorSidney Lumet recounted a conversation in which Perkins openly identified as homosexual and that Perkins told him he had moved past that phase of his life.[8] Accounts from friends, colleagues, and partners have generally characterized Perkins as homosexual rather than bisexual, citing his history of same-sex relationships and limited romantic involvement with women.[8][208][209][53][67][210][211][212] Perkins himself suggested in a 1983 interview that his mother sexually abusing him may have influenced his perceptions of women: "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.[6]
Some contemporaries, including actor Tab Hunter, suggested that Perkins maintained a carefully constructed public persona. Hunter remarked that Perkins often presented himself in a particular way and that this self-presentation may have diverged from his private identity, adding: "I don’t know for sure what [Perkins] was really like."[213]
In a 2024 interview withPeople magazine, Perkins's son Oz Perkins described growing up with the awareness that his father was a closeted "gay or bisexual man", reflecting on how a lifestyle and identity "different from the mainstream" might have led to Anthony Perkins' need to lead a double life. He stated that their mother, Berry Berenson, shielded him and his brother from this aspect of their father's identity, considering it unsuitable for children. Oz Perkins indicated that while the topic was treated as off-limits during their upbringing, he does not resent his mother's approach. He also said that this family dynamic helped inspire his filmLonglegs.[214]
In 1971, Perkins ended a seven-year relationship with dancerGrover Dale. Following the breakup, he sought support from friendsPaula Prentiss andRichard Benjamin, who recommended that he consult psychologistMildred Newman. At the time, Newman had gained public attention with her self-help bookHow to Be Your Own Best Friend, which was becoming a bestseller.[215] Perkins began meeting with Newman up to three times a week and occasionally participated in group sessions. He later became one of her most prominent celebrity advocates.
According to biographer Charles Winecoff, Newman's therapeutic approach, centered on the idea of self-acceptance and pursuing personal happiness and success, had a noticeable impact on Perkins.[109] InHow to Be Your Own Best Friend, Newman had written that while analysts previously believed changing homosexual orientation was unlikely, some had persisted and found that individuals who truly wanted to change had "a very good chance" of doing so.[216]
Perkins later described Newman as a peaceful person and "a crusader for a wider road, for choice and limitlessness".[217] However, accounts of their sessions suggest a more complex dynamic. Perkins described emotional reactions during therapy, including crying during exercises in which Newman asked him to imagine heterosexual encounters.[6] He also recalled disagreements over her focus on his relationships with women, stating, "She was constantly provoking me about women... We had heated disagreements, knockdown arguments".[218]
Following Perkins's death, composer and friend Stephen Sondheim publicly criticized Newman's therapeutic methods, describing them as "completely unethical and a danger to humanity."[207]
According to the posthumous biographySplit Image by Charles Winecoff, Perkins had exclusively same-sex relationships until his late 30s. These included relationships withTab Hunter,[219]Christopher Makos,[211]Grover Dale,[220] and French songwriter Patrick Loiseau.[221]
Tab Hunter publicly acknowledged his relationship with Perkins in his 2005 autobiographyTab Hunter Confidential: The Making of a Movie Star. According to Hunter, the two met at theChateau Marmont in 1956 during the filming ofFriendly Persuasion.[222] Their relationship lasted four years[223] and included a number of shared experiences, such as a stay in a private villa in Rome in March 1957[224] and a joint appearance onJukebox Jury that May.[204]
Perkins (far left) withTab Hunter (far right), with whom he had a relationship
Early in their relationship, Perkins informed Hunter that he had been cast by Paramount Pictures inFear Strikes Out, a role Hunter had previously portrayed on television and had hoped to reprise in a film adaptation.[181] Despite the professional disappointment, Hunter stated that their relationship continued privately as their schedules allowed.[225]
According to Hunter, Paramount Pictures expressed concern over their relationship and its potential impact on Perkins's public image, reportedly leading to tension between Perkins and studio executives.[further explanation needed] Hunter recalled that these pressures did not immediately affect their personal relationship, which he later described as "a wonderful time in my life".[213] However, the relationship ended in 1959, shortly before the production ofPsycho, and the two had limited contact afterward.
Hunter and Perkins saw each other only twice after their separation: once in 1971 on the set ofThe Life and Times of Judge Roy Bean, the only film in which they both appeared, and again in 1982, when Hunter visited Perkins to discuss a potential role inLust in the Dust. Hunter later recalled that he had intended to contact Perkins shortly before his death in 1992 but learned of his passing as he reached for the phone. In later interviews, including forThe Advocate and the 2015 documentaryTab Hunter Confidential, Hunter reflected on the significance of their relationship, describing Perkins as "a special part of my journey" and noting the contrast in their personalities and ambitions.[222][226]
Perkins (center) with lover Grover Dale clinging to his arm inGreenwillow (1960)
Perkins and Grover Dale met during rehearsals for the Frank Loesser musicalGreenwillow, in which Perkins played the lead role and Dale served as an ensemble member, dancer, and Perkins's understudy.[210] Their relationship began during the production.[227] Stanley Simmons, who worked on costumes for the show and lived next door to Perkins in New York, later stated that while Perkins did not openly discuss the relationship, he was involved with Dale. Actor Tony Walton, who also appeared in the production, noted that the relationship was discreet but generally known among colleagues. Reports suggest that rumors of the relationship circulated backstage.[228]
According to biographer Charles Winecoff, the two did not live together initially, though Dale has said he moved into Perkins's apartment a few months after their relationship began.[227][228] At the time, this apartment was Perkins's only U.S. residence.[229]
By the late 1960s, Winecoff described Dale as Perkins's primary partner and noted that the two were frequently seen together in New York City.[230] Dale confirmed that they were still in a relationship in 1966.[231][108] They were a socially active couple, hosting gatherings attended by figures such asJerome Robbins andElaine Stritch. Biographical accounts, including Winecoff's, at times characterized their relationship in marital terms.[232] Music producerBen Bagley recalled Perkins performing a song in a manner that he interpreted as directed toward Dale.[120] PhotographerChristopher Makos, a former lover of Perkins,[233] described the relationship as a close bond between "two adult men who probably loved each other very much".[211]
By 1969, at the onset of the modernLGBTQ movement in the United States, Perkins and Dale were regarded by some as role models among gay professionals seeking more open relationships. Dale is often cited as one of the significant relationships in Perkins's life.[234]
Perkins with Sophia Loren on the set ofFive Miles to Midnight, 1961
Throughout his career in Hollywood, Perkins worked with numerous well-known figures, many of whom later spoke positively about him. His relationships with co-stars were often marked by mutual respect and fondness.Sophia Loren, who worked with Perkins onDesire Under the Elms (1958), was frequently photographed smiling with him during a later reunion in Europe.[68]
Actress Elaine Aiken later recalled social outings with Perkins during the filming ofThe Lonely Man.[53]
Venetia Stevenson described a close friendship with Perkins, saying he often confided in her and stayed over at her home, which was located near the residences of both Perkins and Tab Hunter.[235] Stevenson emphasized the platonic nature of their relationship, attributing their bond to the kind of closeness that can exist between a woman and a gay man.[236]
Perkins also maintained strong friendships with male colleagues. On the set ofPsycho, he developed a collaborative relationship with directorAlfred Hitchcock, who accepted many of Perkins's creative suggestions for the character of Norman Bates. Even after Perkins relocated to France, he remained a regular guest at Hitchcock's dinners.[237] He was also a frequent collaborator ofOrson Welles, appearing in four of his projects.[238]
Among his most well-known friendships was that withStephen Sondheim. Perkins and Sondheim briefly lived together and collaborated professionally, most notably on the 1973 filmThe Last of Sheila, which they co-wrote. Sondheim later recalled that Perkins shared his sensibilities and that working together on the screenplay was particularly enjoyable.[124] Although Perkins was reportedly offered leading roles in several of Sondheim's musicals, he declined due to scheduling conflicts.[109] Sondheim went on to become the godfather to both of Perkins's children and was present at his final birthday celebration.[239][240]
Perkins was often remembered by colleagues and acquaintances as a shy and introspective individual with a charismatic presence. Writer Bruce Jay Friedman, who later worked with Perkins on the productionSteambath, described him as "enormously charming" and "very controlled," noting that Perkins often appeared to be processing multiple thoughts simultaneously.[241]Mary Tyler Moore, who co-starred with him in the television movieFirst, You Cry, similarly described him as charming and dedicated to his craft, contrasting her expectation of a sophisticated persona with the more grounded individual she encountered.[242]
Former partner Tab Hunter echoed these sentiments, while also acknowledging Perkins's complexity. He characterized Perkins as somewhat guarded and elusive, suggesting that Perkins selectively revealed aspects of himself to others. Despite this, Hunter described Perkins as humorous, intelligent, and deeply private, noting that he had few close confidants and maintained an enigmatic presence even among friends.[208][213]
Perkins's reserved nature was evident in his preference for solitary pursuits. From an early age, he was an avid reader with a particular interest in science fiction.[243] This interest in reading paralleled a lifelong engagement with writing. While attending the Browne & Nichols School, he served as co-literary editor of the student newspaperThe Spectator.[22] His interest in writing culminated in the co-authorship of the screenplay forThe Last of Sheila with Stephen Sondheim, his only screenwriting credit. Reflecting on the experience, Perkins once remarked that acting came naturally to him, while writing was more challenging and required sustained effort.[24]
Despite his introversion, Perkins enjoyed social and recreational activities. He was an avid Scrabble player and frequently played the game with friends, including early romantic partners. He was also a fan ofThe Ed Sullivan Show, on which he eventually appeared.[244] Perkins's enthusiasm for games extended to appearances on television game shows such asWhat's My Line? andPassword.
Tab Hunter recalled various leisure activities the two shared, including receiving a deluxe ping-pong table from Perkins as a Christmas gift and playing matches together.[245] While Perkins did not have a strong interest in athletics, he occasionally joined Hunter at horse shows or on trips toLake Arrowhead, preferring activities that highlighted his intellectual and comedic sensibilities.[179]
Perkins was a supporter of theDemocratic Party and aligned himself with various progressive causes, including civil rights andfeminism.[71] In 1965, he participated in theSelma to Montgomery marches advocating for African American voting rights. He performed at the "Stars for Freedom" rally, where he entertained marchers by singing folk songs and delivering short remarks.[246][247][248][249]
He was also an advocate for gender equality and expressed support for feminist ideals. In 1983, Perkins stated, "Women's liberation has liberated me too".[6][250] He spoke in favor of shared parental responsibilities, asserting that men should be involved in nurturing roles such as feeding and changing diapers, without seeking special recognition for doing so.[6]
Though he remained largely private about his own sexuality during his lifetime, Perkins occasionally voiced support for gay rights. In an interview with authorBoze Hadleigh, he described the notion that marriage should be exclusively between a man and a woman as "archaic," and noted that the ability to raise children was not limited to heterosexual couples.[71]
In addition to his advocacy, Perkins supported causes related to HIV/AIDS. Before his own diagnosis, he volunteered withProject Angel Food, a nonprofit organization that delivers meals to individuals affected by HIV and AIDS.[251] In September 1986, he also appeared in a public service announcement encouraging the public to "fight AIDS with the facts".[252]
Perkins identified as anatheist throughout his life, though he celebrated holidays such as Christmas in a secular, non-religious context.[253]
Perkins rarely spoke publicly about religion. When he did express personal views, they often related to the intersection of religion and social issues. In the interview with Boze Hadleigh, Perkins criticized the use of religion to oppose same-sex marriage, remarking, "Common sense isn't really that common, particularly when religion enters the picture".[71]
During the filming ofPsycho IV: The Beginning, Perkins was undergoing treatment forfacial palsy. He was tested for HIV after an article in theNational Enquirer, a tabloid newspaper, said he wasHIV-positive. Berenson said Perkins had not been tested for HIV but had been given a series of blood tests in Los Angeles for the palsy on the side of his face. Berenson said she assumed that someone had tested his blood for the virus and leaked the results to the tabloid.[254]
Perkins hid his AIDS diagnosis from the public for two years, going in and out of hospitals under assumed names. During this time, his wife and children were regularly tested. It was not until a few weeks before his death that he went public with his condition, although he had been working on films during his illness. He died at his Los Angeles home on September 12, 1992, from AIDS-related[255][166][256] pneumonia, at age 60.[257] In a statement prepared before his death, Perkins said, "I chose not to go public about [having AIDS] because, to misquoteCasablanca, 'I'm not much good at being noble,' but it doesn't take much to see that the problems of one old actor don't amount to a hill of beans in this crazy world. I have learned more about love, selflessness and human understanding from the people I have met in this great adventure in the world of AIDS than I ever did in the cutthroat, competitive world in which I spent my life."[256]
His urn, inscribed "Don't Fence Me In", is in an altar on the terrace of his former home in the Hollywood Hills.[258]
Perkins's star on the Walk of Fame for Motion Pictures, located at 6821 Hollywood Blvd.
Perkins is considered a cultural icon and an influential figure in film because of his long career, most notably his defining role asNorman Bates inPsycho. Countless references, spoofs, and documentaries have been made about the thriller and his homicidal character, and it has led many to pronounce the motion picture as the greatest horror film of all time.[259][260][261] AFI named Norman Bates the second greatest villain of all time, beaten only byHannibal Lecter fromThe Silence of the Lambs.[262]
The character of Norman Bates has been referenced numerous times in both music and film. As early as 1964, just four years after the release ofPsycho,Bob Dylan referenced the film extensively on his track "Motorpsycho Nightmare," a humorous tale about a traveling salesman. Perkins is even mentioned by name:
There stood Rita Lookin' just like Tony Perkins She said "Would you like to take a shower? I'll show you up to the door" I said, "Oh, no! no! I've been through this movie before"[263]
Even after the immediate release ofPsycho, its influence remained prominent. In 1977,Blondie referenced Norman Bates on their track "Kidnapper": "Hey, you've got an unnerving face/And twitchin' eyes like Norman Bates."[264] In 1981, English bandLandscape released the song "Norman Bates" with the chorus "My name is Norman Bates; I'm just a normal guy." In 1999,Eminem referenced Bates on "Role Model": "I'm 'bout as normal as Norman Bates with deformative traits/...Mother, are you there? I love you/I never meant to hit you over the head with that shovel (That shovel)."[265] Five years later,Kanye West paid homage to Perkins's homicidal character on "Gossip Files": "Uh, they are the dream (Killer Norman Bates)."[266] Even fifty-five years after the film's release,Lil Wayne mentioned the iconic character on "Amazing Amy": "I'm Norman Bates and this bitch ain't normal, our kids gon' be nuts (Not the babies!)."[267] Perkins was mentioned by name in the iconic 1996 filmScream, where Billy Loomis, about to kill Sidney Prescott, says, "'We all go a little mad sometimes'–Anthony Perkins,Psycho."[268] This seemed to only solidify Perkins's icon status in the horror genre.
It was not justPsycho that was admired. Perkins's first major motion picture,Friendly Persuasion, received an abrupt resurgence in interest after PresidentRonald Reagan labeled the film as his favorite. It also served diplomatic purposes: during one of their fivesummit meetings, Reagan gifted the film to Soviet General SecretaryMikhail Gorbachev because he viewed the film as symbolic of the need to find an alternative to war as a means of resolving differences between peoples. One Quaker commentator stated: "Friendly Persuasion seems to me to come about as close to truth and fairness as I expect to see Hollywood get in a treatment of Quakerism; I recommend it to every Quaker parent, as projecting images their children ought to see and imitate... I believe (critics have) woefully misjudged the film, on several counts: its place in American cinema, the characters and their roles, its historicity, and, not least, its value as an expression of the Peace Testimony. Here, for perhaps the only time, I think Ronald Reagan was closer to the truth when he commended the film to Gorbachev because it 'shows not the tragedy of war, but the problems of pacifism, the nobility of patriotism as well as the love of peace.'"[269]Fear Strikes Out also was subjected to similar treatment after it was nominated for theAmerican Film Institute's 2008 list in the sports film category.[270] Even his European films were praised: eight years after Perkins's death, renowned and respected film critic Roger Ebert calledThe Trial a masterpiece.[271]
Even if they were not distinguished by an award, many of Perkins's films earned cult followings throughout the years.The Trial was one of them,[271] with some people considering the film even better thanCitizen Kane.Pretty Poison was another instance, and perhaps the most famous.[117] Television appearances such asEvening Primrose andRemember My Name also received this treatment, withPrimrose finding a big fan in famous singerMichael Jackson.[107] The same occurred withThe Black Hole[147] andCrimes of Passion.[157]
Perkins has also been considered an icon of the New York actors ofHollywood's Golden Age, often being compared to legendary performersMarlon Brando,Montgomery Clift, and evenJames Dean, whom he was once set to replace. He became a poster child for neurotic and shy men, many of whom felt outcast in average American society. Other times, he was the model for odd boys with murderous tendencies. Either way, Perkins was always praised for his heartfelt and dedicated performances, as Brando, Clift, and Dean had been.[256] Generations of actors were inspired by him, asSebastian Stan put: "I have a bit of an obsession with the 1950s and all those actors from Montgomery Clift to James Dean and Anthony Perkins. Just that whole era ofTennessee Williams toElia Kazan. The whole idea of New York and the whole thing becomes kind of romantic in your head."[272]Jane Fonda credited Perkins alone with making her comfortable in front of the camera,[79] and Michael Simkims, who worked with Perkins just months before his death onA Demon in My View, remembered Perkins well for his professionalism and willingness to help anyone–including himself–who was having trouble with a scene.[273] Established actors admired his abilities, as Maria Cooper Janis remembered about her father,Gary Cooper: "I know my father adored Tony Perkins. He thought he was one hell of an actor."[46] After his death, Perkins's art still lingered in Hollywood, especially in the Academy Award-nominated thriller filmKnives Out, which was inspired byThe Last of Sheila, according to the film's director-producerRian Johnson.[274]
Perkins was a part ofPhilippe Halsman's famous "Jump" series, in which Halsman requested all famous sitters to leap for him under the impression that while people were trained in many other things, no one was ever taught how to jump. Alongside famous Hollywood contemporaries such asEartha Kitt,Audrey Hepburn,Marilyn Monroe,Sammy Davis Jr.,Grace Kelly,Sophia Loren, and evenTab Hunter, Halsman's photo of a jumping Perkins has been widely reproduced and shared over the years.[275][276][277]
For his work, Perkins received two stars on theHollywood Walk of Fame: one for motion pictures (6821 Hollywood Blvd.) and one for television (6801 Hollywood Blvd.).[278]
It was not just his professional life that became part of Perkins's legacy. He was outspoken about politically-left causes, making him appealing to liberals. He was recognized by numerous minorities, including the ones he belonged to, as a tireless advocate for the causes he stood for, such as civil rights, feminism, and (even despite his own closeted nature) LGBTQ rights and same-sex marriage.[206][256] By the late 1960s, just as theStonewall riots hit their stride and gay rights protests began to appear all over the country, Perkins and his lover Grover Dale were seen as role models for gay professionals who wanted to have open relationships.[234]
His death from AIDS-related causes also greatly affected how he was remembered. AlongsideRock Hudson, Perkins is considered one of the most significant actors to have died from the disease.[90] There were countless tributes to him around the world, pouring in from news stations and average citizens. In New Zealand, Perkins was one of the many famous people honored in their national AIDS remembrance quilt in 1994.[279]
Although rumors had always persisted, Perkins was not confirmed as gay until a posthumous biography by Charles Winecoff entitledSplit Image: the Life of Anthony Perkins was published in 1996. The book delves deep into Perkins's personal life and his battle with his sexuality while being a poster-child for heterosexual men, something the author claimed deeply tormented him.[216] The biography's publication led to Perkins being featured in numerous gay magazines, most notablyThe Advocate.[citation needed]
In 2005, former partner Tab Hunter released the memoirTab Hunter Confidential, in which he publicly came out as a gay man.[280] In the autobiography, he admitted to his relationship with Perkins for the first time after having previously denied it to biographers. He detailed their three- to four-year affair, with its many ups and downs. "We were both drawn to each other because we were both ambitious young actors swimming in the Hollywood fishbowl," Hunter wrote, "where the waters are dark and murky and treacherous, especially if you've got a 'secret.'"[43] This returned public interest to Perkins once more, this time as both a cinematic and gay icon.[citation needed]
Nearly a decade later, Perkins was portrayed by British actorJames D'Arcy in the 2012 biographical dramaHitchcock, which starredAnthony Hopkins asAlfred Hitchcock andHelen Mirren asAlma Reville, about the filming ofPsycho. His character was featured briefly, with most of the screen time going toScarlett Johansson, who playedJanet Leigh. His homosexuality was never explicitly mentioned, but it was heavily implied.[281][282] Three years afterwards, Tab Hunter released theJeffrey Schwarz-directed documentaryTab Hunter Confidential, where he further elaborated on his life as a closeted movie star and surviving show-business. Perkins was a substantial addition in the film, whom Hunter said he had a "wonderful relationship with. I was comfortable with him. I did trust him." He also spoke for the first time about his reaction to Perkins's wife, children, andconversion therapy.[208] The film was well received by critics, and Perkins's sexuality and relationship with Hunter became a popular story that circulated through newspapers.[283]
A year followingTab Hunter Confidential's release, Perkins's son, Oz, released the Netflix-distributedI Am the Pretty Thing That Lives in the House, a horror film about a caretaker for an elderly woman.Paula Prentiss, who had starred alongside Perkins inCatch-22, was cast because of her association with the late star and was the only option his son had in mind.[284] In interviews, Oz discussed how the film was a way to connect with his deceased father and how horror (since Perkins is a horror icon) was the only way to do it.[285][286] The soundtrack for the film was composed byElvis Perkins, Perkins's second son, and "You Keep Coming Back (Like a Song)" off of Perkins's 1958From My Heart... album was a central part of the plot. In the film, the characters can also be seen watchingFriendly Persuasion.[287]
In 2018,Zachary Quinto andJ. J. Abrams announced that a new film was in the works. EntitledTab and Tony ("hesitantly," as they later reported), the film would follow the Tab Hunter/Anthony Perkins relationship from Hunter's point of view, and was based on both Hunter's documentary and memoir.[288][289][290][291] Pulitzer Prize- and Tony Award-winning writerDoug Wright was attached to create the screenplay,[289] and even after Hunter's death a month after the announcement, Quinto announced that plans to create the film were still in place.[292] In 2019,Allan Glaser, Tab Hunter's husband, who was signed onto the film as a producer, made a positive update about the film's progress and stated thatAndrew Garfield was a possible candidate to play Perkins.[293]
International Board of Motion Picture Reviewers Award for Best Actor Online Film and Television Association Award for Best Film Character Nominated—Bambi Award for Best International Actor Nominated—Bravo Otto Award for Best Actor (for film's 1961 global release, honored along withGoodbye Again, also 1961)
^abcdefghijklmDarrach, Brad (June 13, 1983)."Return of Psycho".People. Vol. 19, no. 23.Archived from the original on June 10, 2016. RetrievedJanuary 3, 2009.
^Notable Kin: An Anthology of Columns First Published in the NEHGS Nexus, 1986-1995, Volume 2 - New England Historic Genealogical Society, Boston, Massachusetts, by Carl Boyer, 3rd, 1998 pg. 118
^So You Make a Movie-Will the Public Ever See It?: Movies So You Make a Movie -- Will the Public See It? By STEPHEN FARBER. New York Times February 24, 1974: 105.
^Goodman, Mark (September 28, 1992)."One Final Mystery".People. Vol. 38, No. 13.Archived from the original on September 19, 2023. RetrievedAugust 22, 2013.
^Wilson, Scott.Resting Places: The Burial Sites of More Than 14,000 Famous Persons, 3d ed.: 2 (Kindle Locations 36782-36783). McFarland & Company, Inc., Publishers. Kindle Edition.
^"AFI's 10 Top 10 Nominees"(PDF). Archived from the original on July 16, 2011. RetrievedJanuary 23, 2022.{{cite web}}: CS1 maint: bot: original URL status unknown (link)
^abEbert, Roger (February 25, 2000)."The Trial".RogerEbert.com. Ebert Digital LLC.Archived from the original on July 13, 2018. RetrievedJuly 13, 2018.
^"Men of the Year 2016".Augustman. December 6, 2016.Archived from the original on January 23, 2022. RetrievedJanuary 22, 2022.
Hilton, Johan:Monster i garderoben: En bok om Anthony Perkins och tiden som skapade Norm Bates. Stockholm: Natur & Kultur, 2015;ISBN978-91-271-3430-0.(in Swedish)
Capua, Michelangelo "Anthony Perkins. Prigioniero della Paura." Torino, Lindau, 2003;ISBN978-8867082759
.jpg)
