Early career (1954) In 1925, Ball, then only 14, started dating Johnny DeVita, a 21-year-old local hoodlum. Her mother was unhappy with the relationship, and hoped the romance, which she was unable to influence, would burn out. After about a year, her mother tried to separate them by exploiting Ball's desire to be in show business. Despite the family's meager finances, in 1926, she enrolled Ball in the
John Murray Anderson School for the Dramatic Arts, in New York City, where
Bette Davis was a fellow student. Ball later said about that time in her life, "All I learned in drama school was how to be frightened." Ball's instructors felt she would not be successful in the entertainment business, and were unafraid to directly state this to her. In the face of this harsh criticism, Ball was determined to prove her teachers wrong and returned to New York City in 1928. That same year, she began working for
Hattie Carnegie as an in-house model. Carnegie ordered Ball to bleach her brown hair blond, and she complied. Of this time in her life, Ball said: "Hattie taught me how to slouch properly in a $1,000 hand-sewn sequin dress and how to wear a $40,000 sable coat as casually as rabbit." Her acting forays were stilled at an early stage when she became ill with
rheumatic fever and was unable to work for two years. in
Go Chase Yourself, a 1938 RKO film in which she played
second lead to Penner After an uncredited stint as a
Goldwyn Girl in
Roman Scandals (1933), starring
Eddie Cantor and
Gloria Stuart, Ball moved permanently to Hollywood to appear in films. She had many small movie roles in the 1930s as a contract player for
RKO Radio Pictures, including a two-reel comedy short with
The Three Stooges (
Three Little Pigskins, 1934) and a movie with the
Marx Brothers (
Room Service, 1938). Her first credited role came in
Chatterbox in 1936. She also appeared in several
Fred Astaire and
Ginger Rogers RKO musicals: as one of the featured models in
Roberta (1935), as the flower shop clerk in
Top Hat (1935), and in a brief
supporting role at the beginning of
Follow the Fleet (1936). Ball played a larger part as an aspiring actress alongside Ginger Rogers, who was a distant maternal cousin, and Katharine Hepburn
1940s postcard During Ball's time at MGM in the 1940s,
silent film star
Buster Keaton and director
Edward Sedgwick became her friends and comedic mentors, sharing their experiences with practical comedy and prop work. In 1940, Ball starred in
Dance, Girl, Dance and appeared as the lead in the musical
Too Many Girls, where she met and fell in love with Cuban bandleader
Desi Arnaz, who played one of her character's four bodyguards in the movie. Ball signed with
Metro-Goldwyn-Mayer in the 1940s, but never achieved major stardom there. She was known in Hollywood circles as "Queen of the Bs (B-movies)" – a title previously held by
Fay Wray and later more closely associated with
Ida Lupino and
Marie Windsor – starring in a number of
B-movies, such as
Five Came Back (1939). In 1942, Ball starred opposite
Henry Fonda in
The Big Street. MGM producer
Arthur Freed purchased the Broadway hit musical play
Du Barry Was a Lady (1943) especially for
Ann Sothern, but when she turned down the part, that role went to Ball, Sothern's real-life best friend. In 1943, Ball portrayed herself in
Best Foot Forward. In 1945, she appeared in a brief but prominent role in a dance sequence in
Ziegfeld Follies. In 1946, Ball starred in
Lover Come Back and the film noir
The Dark Corner. In 1947, she appeared in the murder mystery
Lured as Sandra Carpenter, a
taxi dancer in London.)
1950s in
I Love Lucy, 1955 ,
Desi Arnaz, and
Vivian Vance and Ball during 1957
My Favorite Husband was successful, and CBS asked Ball to develop it for television. She agreed, but insisted on working with her real-life husband, Arnaz. CBS executives were reluctant, thinking the public would not accept an Anglo-American redhead and a Cuban as a couple. CBS was initially unimpressed with the pilot episode, produced by the couple's Desilu Productions company. The pair went on the road with a
vaudeville act, in which Lucy played the zany housewife who wants to get into Cuban bandleader Arnaz's show. The tour was a hit, and CBS put
I Love Lucy into their lineup. (
My Favorite Husband was later
adapted for TV, debuting on September 12, 1953, with
Joan Caulfield in the role that Ball had on radio.)
I Love Lucy ran on CBS from October 15, 1951, to May 6, 1957, and was not only a star vehicle for Lucille Ball, but also a potential means for her to salvage her marriage to Arnaz. Their relationship had become badly strained, in part because of their hectic performing schedules, which often kept them apart, but mostly due to Desi's attraction to other women. For the production of
I Love Lucy, Ball and Arnaz wanted to remain in Los Angeles, but prime time in the western time zone was too late to air a major network series live in other time zones. Broadcasting live from California would also have meant giving most of the TV audience an inferior
kinescope picture (the live program being filmed off a TV monitor), delayed by at least a day. Sponsor
Philip Morris wanted the couple to relocate to New York, not wanting day-old kinescopes airing in major eastern markets, nor did they want to pay the extra costs that filming, processing, and editing would require. Instead, Arnaz and Ball offered to take a pay cut to remain in Hollywood, and they would finance the filming themselves on better-quality
35 mm film, on the condition that Desilu would retain the rights of each episode after it aired. CBS agreed to relinquish the post-first-broadcast rights to Desilu, not realizing they were giving up a valuable and enduring asset; broadcast executives then expected a program to be aired only once, in the radio tradition, with no thought of rebroadcasts. (Network reruns did not come into being until the summer of 1952, when
NBC aired repeats of
Groucho Marx's
You Bet Your Life in prime time.) Desi Arnaz correctly reasoned that the
I Love Lucy episodes could be sold and resold as more TV stations sprang up across America. In 1957, CBS bought back the rights for $1,000,000 ($ in today's terms), financing Ball and Arnaz's down payment for the purchase of the former RKO Radio Pictures studios, which they turned into Desilu Studios.
I Love Lucy dominated U.S. ratings for most of its run. An attempt was made to adapt the show for radio using the "Breaking the Lease" episode (in which the Ricardos and Mertzes argue, and the Ricardos threaten to move, but find themselves stuck in a firm lease) as the pilot. The resulting radio audition disc has survived, but never aired. A scene in which Lucy and Ricky practice the
tango, in the episode "Lucy Does The Tango", evoked the longest recorded studio audience laugh in the history of the show — so long that the sound editor had to cut that section of the soundtrack in half. During the show's production breaks, Lucy and Desi starred together in two feature films:
The Long, Long Trailer (1954) and
Forever, Darling (1956). Many older feature films with Ball and/or Arnaz were also re-released in the mid-1950s to capitalize on the popularity of
I Love Lucy. After
I Love Lucy ended its run in 1957, the main cast continued to appear in occasional hourlong specials under the title
The Lucy–Desi Comedy Hour until 1960. Along the way, Lucille Ball created a television dynasty and achieved several firsts. She was the first woman to head a TV production company, Desilu, which she had formed with Arnaz. After their divorce in 1960, she bought out his share and became a very actively engaged studio head. Desilu and
I Love Lucy pioneered a number of methods still in use in TV production today, such as filming before a live
studio audience with more than one camera, and distinct
sets, adjacent to each other.
1960s and 1970s '', 1969 The 1960 Broadway musical
Wildcat ended its run early when producer and star Ball could not recover from a virus and continue the show after several weeks of returned ticket sales. The show was the source of the song she made famous, "Hey, Look Me Over", which she performed with
Paula Stewart on
The Ed Sullivan Show. In 1964 Lucille Ball announced her return to network radio: "The CBS people have persuaded me to take over
Garry Moore's old radio spot. They want to call it ''Let's Talk to Lucy''. Gary [Morton] will produce the series and I'll have my sister Cleo Smith on with me frequently. We'll be talking to Hollywood personalities or anyone we run into who seems interesting." She also welcomed the opportunity to appear before the public as herself, not in her comedy character. The 10-minute weekday show made its debut on Monday, September 7, 1964, with premiere-week guests
Danny Kaye,
Bob Hope, and
Red Skelton. Ball gave up the show in August 1965, as reported by Kay Gardella in the
New York Daily News: "Lucille Ball gives her CBS Radio series ''Let's Talk to Lucy
the bounce after August 6. Her daily spot will be turned back to local stations." Ball had stockpiled enough recordings for the show to complete its run on August 27, 1965. CBS aired repeats of Let's Talk to Lucy'' through April 1967. She also made a few more movies including
Yours, Mine, and Ours (1968), and the musical
Mame (1974), and two more successful long-running sitcoms for CBS:
The Lucy Show (1962–68), which costarred Vivian Vance and Gale Gordon, and ''
Here's Lucy'' (1968–74), which also featured Gordon, as well as Lucy's real-life children, Lucie Arnaz and Desi Arnaz, Jr. She appeared on the
Dick Cavett show in 1974 and discussed her work on
I Love Lucy, and reminisced about her family history, the friends she missed from show business, and how she learned to be happy while married. She also told a story about how she helped discover an underground Japanese radio signal after accidentally picking up the signal on the fillings in her teeth. Ball's close friends in the business included perennial co-star Vivian Vance and film stars
Judy Garland,
Ann Sothern, and
Ginger Rogers, and comedic television performers
Jack Benny,
Barbara Pepper,
Ethel Merman,
Mary Wickes, and
Mary Jane Croft; all except Garland appeared at least once on her various series. Former Broadway co-stars
Keith Andes and
Paula Stewart also appeared at least once on her later sitcoms, as did
Joan Blondell,
Rich Little, and
Ann-Margret. Ball mentored actress and singer
Carole Cook, and befriended
Barbara Eden, when Eden appeared on an episode of
I Love Lucy. Ball was originally considered by
Frank Sinatra for the role of Mrs. Iselin in the Cold War thriller
The Manchurian Candidate. Director/producer
John Frankenheimer, however, had worked with
Angela Lansbury in a mother role in
All Fall Down, and insisted on having her for the part. In 1979, Ball signed a deal with
NBC under
Fred Silverman's watch after 28 years of working with
CBS in order to deal with new comedy specials, but only one was aired as part of an agreement. Ball was the lead actress in a number of comedy television specials to about 1980, including
Lucy Calls the President, which featured Vivian Vance, Gale Gordon, and Mary Jane Croft, and
Lucy Moves to NBC, a special depicting a fictionalization of her move to the
NBC television network. In 1959, Ball became a friend and mentor to
Carol Burnett. She guested on Burnett's highly successful CBS-TV special
Carol + 2 and the younger performer reciprocated by appearing on
The Lucy Show. Ball was rumored to have offered Burnett a chance to star on her own sitcom, but in truth, Burnett was offered (and declined) ''Here's Agnes'' by CBS executives. She instead chose to create
her own variety show due to a stipulation that was on an existing contract she had with CBS. The two women remained close friends until Ball's death on April 26, 1989, which was Carol's birthday. Ball sent flowers every year on Burnett's birthday. Aside from her acting career, Ball became an assistant professor at
California State University, Northridge in 1979.
1980s in 1989, four weeks before her death. Her husband, Gary Morton, is at left. During the 1980s, Ball attempted to resurrect her television career. In 1982, she hosted a two-part ''
Three's Company''
retrospective, showing
clips from the show's first five seasons, summarizing memorable plotlines, and commenting on her love of the show. In 1983, Lucille Ball and
Gary Morton partnered to set up a film and television production house at
20th Century Fox that encompassed film and television productions as well as plans to produce plays. Ball starred in a 1985 dramatic made-for-TV film about an elderly homeless woman,
Stone Pillow, which received mixed reviews, but had strong viewership. Her 1986 sitcom comeback
Life with Lucy, costarring her longtime
foil Gale Gordon and co-produced by Ball, Gary Morton, and prolific producer
Aaron Spelling, was canceled less than two months into its run by
ABC. In February 1988, Ball was named the Hasty Pudding Woman of the Year. In May 1988, Ball was hospitalized after suffering a mild heart attack. Her last public appearance, just one month before her death, was at the
1989 Academy Awards telecast, in which she and fellow presenter
Bob Hope received a standing ovation. ==Personal life==