by Rosalie Kicks, Old Sport & Editor in Chief

"Yeah, I'm a dyke. So what? Big deal!" - Patsy Kelly

I can’t recall the first motion picture that introduced me to Patsy Kelly, but if I had to take a wild guess it was most likely Rosemary’s Baby, in which she played the role of eccentric witch down the hall, Laura-Louise. Serving as a sidekick to a supporting character, Minnie Castevet (Ruth Gordon)-the wife of the Satanic coven leader in Rosemary’s Baby-may seem like a part that easily could be overlooked, but Pasty Kelly’s mesmerizing portrayal made it unforgettable. Laura-Louise will most likely never fall out of my mind space.

Patsy Kelly was born Sarah Veronica Rose Kelly on January 12, 1910. At a young age she had aspirations of being a firefighter, instead her mother would enroll her in dance lessons. Her family called her Patsy due to her affinity for mischievous antics and clumsiness. Being the youngest of five children, she often found herself as the scapegoat. Therefore the nickname felt somewhat fitting. Her mother thought that dance school would be a way to keep Patsy out of trouble and off the hairy Manhattan streets. There was also the hope to minimize her chances of being injured. At seven years of age Patsy had fallen from a fire escape; at eight she was hit by a car; at age nine she was involved in five accidents within in one week. It only took her one week as a hoofer to break her ankle.

Her career in entertainment would begin at the age of twelve in 1922 as a part of a vaudeville act. She would make it to Hollywood in 1931 and have her silver screen debut in the short film, The Grand Dame. In 1933, she would team up with Thelma Todd in a series of comedic Hal Roach shorts. It was actually Thelma whom encouraged Patsy to stay in Hollywood after she was ready to cash it in. It was said that when Thelma learned Patsy was taking the Pasadena train bound for New York, that she chased her down and convinced her to give Tinseltown another try. Inevitably, the twenty-one short flicks that Patsy made with Thelma would cement her career as a dynamic, wisecracking comedian.

Prior to reading Alonso Duralde’s book “Hollywood Pride”, I was aware that Patsy Kelly was gay but I did not realize that she was out for the majority of her career. Duralde points out that it was in the 1930s, in which Kelly informed “Motion Picture” magazine that she was shacking up with another actress (Wilma Cox) and that they had no intention of getting hitched. Sadly, in the early 1940s Patsy would find herself blackballed by the Hollywood studios due to her sexuality. It was at this time she began to work as an assistant to stage and film actress, Tallulah Bankhead, whom Kelly confirmed having an affair with.

Patsy Kelly was not only a wonderful performer that had the type of presence that ultimately led her to steal the scene, she also had an affinity for cooking and was an avid cinephile. She was known to see an average of seven or eight pictures a week. According to Nebraska State Journal Archives, she once said, “Well... there's really nothing for me to do. I just sit around wishing there were more pictures to see. But, when you see eight or ten pictures a week, the supply really runs out.". A woman after my own celluloid heart. I am really happy that Alonso chose to spotlight Patsy Kelly in his book. Below I share some of my favorite and recent watches from her filmography.

Purchase Hollywood Pride from your local bookstore or here. Check back next Monday when I discuss Anthony Perkins and The Last of Sheila (1973).

The Grand Dame (1931)
Patsy’s character: Peggy O’Rourke

Patsy would make her silver screen debut with the swift and silly Vitaphone short, The Grand Dame as a gangster’s brash and uncultured strumpet that attempts to fit in with the well-to-do. Just as the story gets going it comes to an end. However it does manage to showcase Kelly’s potential. Regardless of the short runtime and abrupt ending, I am sure Patsy was quite thrilled having the opportunity to be doted on by her co-stars (as shown above).

Babes in The Goods (1934)
Patsy’s character: Patsy Kelly

“Now, here's one Madam, I'm sure you'll like. Gay colors and all!”

I was fortunate enough to snag The Complete Hal Roach Comedy Collection: Thelma Todd and Patsy Kelly, prior to the closure of disc distributor, Twilight Time. The three disc set includes all twenty-one Todd and Kelly shorts and is anything but short of magic. One of my favorite flicks from the set is when the ladies find themselves performing live demonstrations in a department store window. Before watching this, I thought that department store windows were reserved for mannequins only. The 1930s must have been quite a time to be alive in a big city. For one never knew what they would see when peeping into a window! Babes in The Goods is not short on laughs or antics when the duo find themselves first day on the job and locked in the store window overnight.

The Girl From Missouri (1934)
Pasty’s character: Kitty Lennihan

“Aw, I'm no lady! I'm just an old-fashioned home girl - like Mae West.”

Chorus girl, Edith Chapman (Jean Harlow) is out on the prowl searching for a millionaire, ready to do what ever it takes. Fortunately, her pal, Kitty Lennihan (Patsy Kelly) is around to ensure that Edith does not completely sacrifice her honor in the process. This is a zany picture which also includes Franchot Tone as Thomas Randall Paige Jr., the bombastic son of a banker. Patsy practically steals every scene she is in. In fact, for the brief period she goes missing from the picture, I could not help but pine for her return. In the end I found myself thinking that Edith was chasing the wrong partner in this flick. Instead of going after Paige Jr., she should have been trying to get with Kitty… she may not have been rich, but her life would be a lot more entertaining.

Rosemary’s Baby (1968)
Patsy’s character: Laura-Lousie

“I can’t wait to tell Laura-Louise!”

Over the years, I have seen the relationship shared between the dynamic duo that was Minnie and Laura-Louise as a glimpse into where the friendship road will lead with my best film pal and fellow Cinematic Classic Coroner, Dr. Ashley Jane Carruthers. Much like Minnie, I have been told that I leave an impression (hopefully not of the sinister nature), posses the power to persuade, and can never wait to share news (particularly of the cinematic sort) with my bestie, Ashley Jane. I find, much like Laura-Louise, Ashley Jane has a flair for fashion and a knack for spells of the occult variety. With all of this said, the story of Rosemary’s Baby is indeed horrific. Yet I can’t but find the cult-loving, baby-stealing pair of Minnie and Laura-Louise to be quite lovable.