I’d rather drink and die. – Barbara Payton
I’ve often pointed out that the professions of actress and whore were at one time indistinguishable from one another, and that even now they are at best two branches of one stem (with a large area of overlap in porn and explicit general cinema). Furthermore, it’s not unusual for actresses in difficult circumstances to practice the more stigmatized branch of our shared profession in a more direct fashion. But generally, such deals are both highly discreet and in the “high end” price range; the case of Barbara Payton is an extreme and notable exception.
But success went to her head, and Payton eventually tired of being married to a party girl; they separated in July of 1948 and were divorced in 1950. Her self-promotion had already attracted the attention of William Goetz of Universal Studios, however, and in January of 1949 he signed her to a $100/week contract (about $1000/week today). After a couple of minor films, she won critical attention for her performance in Trapped (1949), and was highly praised for her work in Kiss Tomorrow Goodbye (1950) opposite James Cagney. The star’s brother, William Cagney, was so taken with her that he bought out her contact with Universal and got her one with Warner Brothers for $5,000/week, an unheard-of amount for such an inexperienced performer. Despite this, her career began a sharp decline by the following year, when she appeared in Bride of the Gorilla (1951) with Raymond Burr; by 1955 Hollywood was done with her. Ironically, her career was destroyed by the same thing which had first ignited it: her hard-partying lifestyle.
From the very beginning, Barbara used speed to keep her weight down, tranquilizers to sleep and alcohol for just about everything else. She was incredibly promiscuous, and was not afraid to ask for money; soon after she signed with Universal she caught the eye of Bob Hope, who gave her an allowance and kept her in a luxurious apartment. But Hope dumped her when she started demanding more money, and she took up with her drug dealer, a sometimes-movie-extra named Don Cougar; that ended sometime after Cougar beat up Payton’s elderly landlady over a rent dispute. Over the next couple of years she is known to have been involved with Howard Hughes, Guy Madison, George Raft, John Ireland, Steve Cochran, Gregory Peck and Gary Cooper, plus many others who weren’t involved in the movie industry. In 1950, Franchot Tone fell in love with her and proposed; she accepted, but began an affair with a minor actor named Tom Neal. While Tone was away she even invited Neal to live with her (in the apartment Tone was paying for); when Tone returned she kicked him out. She went back and forth between the two men until September 14th, 1951, when Neal beat Tone so severely he was hospitalized; she then married Tone on September 28th, lived with him for 53 days and then returned to Neal, who as you might expect beat her regularly as well. The two never married, but stayed together for four years; and though both their careers were badly damaged by the scandal, the straw that broke the camel’s back in racist 1950s Hollywood was Payton’s relationship with her next boyfriend, black actor Woody Strode.
Barbara Payton had always been a whore from the time she first realized that she had sexual power over men, in her mid-teens; it’s a sign of our society’s deep misunderstanding of harlotry that nobody ever really accused her of it until she lost control of her behavior and was unable to actually make a living at it any more. The most successful whores are never so labelled, and the greatest legal penalties and social stigma fall upon the least.