King, Andrea

Circumstances of Birth in France

Andrea King, birth name Georgette Andre Barry, was born on February 1, 1919 in Paris , France ^{[1] [2] [3]} . The exact circumstances of her birth are not completely clear ^{[1] [4]} .

Her mother, Lovinia Belle Hart, was born in 1885 in Cleveland , Ohio , in the family of George Hart, who was known as the inventor of a grain elevator, widely used in the Midwest ^{[5] [1] [3]} . From an early age, Belle performed on stage, and then went to New York , where she worked as a governess in the family of a major American diplomat Alonso Colt Yeats. Soon, Belle became a student and fan of Isadora Duncan , a dancer who lived in New York at the time. When Duncan left for France in 1917 at the height of the First World War , 32-year-old Belle went after her ^[5] , in order to save money on the move by recruiting as an ambulance driver-volunteer to the American Red Cross in Paris ^{[4] [3] [ 1]} . In Paris, Belle met again with Yeats, who worked at the American consulate, and they began to meet, despite the fact that the diplomat was married ^{[4] [1]} .

There are two versions of who was the father of Andrea King. Belle herself, until her death, insisted on the version that in Paris she fell in love with Georges Andre Barry, a young pilot of the Lafayette squadron , who, she later told her daughter, was her father. In 1918, they were married, and in the fall he died at the front a month before the truce, when the Germans shot down his plane. At that moment Belle was six months pregnant ^{[4] [1] [3]} . However, later, after years of searching, King did not find any documents confirming both the existence of the pilot Georges Andre Barry and his marriage with Belle ^[4] . According to film historian Daniel Babbeau, it is more likely that King's real father was Yeats, which was confirmed in 1980 by Yeats Inan’s daughter ^[4] . Journalist McLellan has the same opinion: “However, according to a more reliable version, King was the illegitimate daughter of an American diplomat whom his mother had met during the war” ^[3] . In the end, King herself was inclined toward this version ^[4] .

On February 1, 1919, Belle gave birth to Andrea, giving her the name Georgette Andre Barry. Shortly after giving birth, Belle became seriously ill with postpartum fever and was on the verge of death, but Yeats organized experimental treatment for her in a clinic under the supervision of his daughter Louis Pasteur ^{[4] [1]} .

Childhood years in the United States

Two months after giving birth, Belle and her daughter went to the US after learning about the severe illness of Father George Hart ^{[3] [1]} . As they sailed across the ocean, Father Belle died ^{[1] [4]} . Then, as King recalled, “we came to Cleveland, where we lived with my grandmother. Belle was hard to get used to living in Cleveland after the brilliance and exciting atmosphere of Paris. She wanted to move to New York to become an actress, which her mother resisted. However, she went to New York after becoming a student at Columbia University . ” For Andrea, these years and separation with her mother were hard. She stayed with her grandmother in Cleveland, and two years later with her moved to Palm Beach , Florida ^[4] .

A few years later, Belle in New York married the successful banker Douglas McKee, who was vice president of the Taille Guarantee and Trust Company, after which she was able to take the four-year-old daughter to her. The three of them settled in a large house in Forest Hills on Long Island , where in 1926 the couple had a daughter, Ann Douglas Mackey ^{[4] [4] [1] [3]} . When Andrea grew up, Belle sent her to the camp in Adirondax , which belonged to a close friend of Isadora Duncan. In the camp, Andrea first began to engage in dramatic art, singing and dancing, immediately wanting to become an actress ^[4] . Life in the banker's house did not please Andrea, and at the age of 11 she made an attempt to escape, intending to get into Hollywood. However, she was caught in the port of New York and returned home ^{[4] [1]} .

A few years later, Andrea entered the renowned Edgewood boarding school in Greenwich , Connecticut , which paid much attention to arts classes. Most of all, Andrea was passionate about dancing and dramatic art, which, according to Babbeo, "showed tremendous abilities." In 1932 she received the role of Juliet in the school Christmas production of " Romeo and Juliet " ^[4] .

After the performance, Andrea and Belle invited the uncle of one of the students, S.P. Grinecker, who turned out to be the vice president of advertising for the Schubert brothers company, who were the largest Broadway producers of that time ^{[6] [1]} . At that very moment, Grinker selected thirty teenage girls for a new production entitled Growing Pain (1933). After a successful audition, 14-year-old Andrea got an ensemble role in the play under the name Georgette McKee. The performance premiered on Broadway in November 1933, but it received mixed reviews and was closed after six weeks ^{[6] [7] [3] [1]} .

The next Broadway play by Andrea, the comedy “Fly Home” (1935) with Thomas Mitchell as a wandering father, who returns home after a long absence to the wedding of his former wife, was significantly more successful. During his stay, he re-meets his five children, whom he once abandoned. The performance was directed by Mitchell himself, Andrea played one of her daughters, a tomboy girl, and the role of one of her brothers was played by a teenager named Montgomery Clift , who became Andrea's close friend for many years ^{[6] [1] [7]} . Producer Theron Bamberger said that while listening, the beautiful Andrea captivated him so much that he took her right away: “She was so good that I took her without even reading, and Mitchell liked her so much that he asked her to grow her role. She was cheerful, uncontrollable and cheerful, but on the stage she was free, simple and childishly sincere ” ^[6] . Critics also paid attention to her game ^[1] . Thus, the famous critic Brooks Atkinson in The New York Times called the play “fun and funny,” especially responding that Andrea is “quite natural and charming” ^[8] .

The following year, Andrea played another hit comedy "The Boy Meets the Girl" (1935-1937). In this Hollywood satire, she played on the substitution for the main female role of a pregnant waitress, whose future baby two Hollywood scriptwriters turn into a child star before his birth ^{[8] [1]} . In 1939, King received the role of the naive lover of the protagonist in the hit comedy of the Chicago theater Lillian Gish “Life with Father”, which was a huge success in New York ^{[8] [1]} .

In 1940, Andrea made her film debut in the documentary drama " Bastions, which we are watching " (1940) from the March of the Time series. Combining elements of the chronicle and feature films, the film talked about the inhabitants of a typical American town during the First World War in order to show how Americans on the eve of World War II should understand past events in order to be ready to defend their current freedoms. Indicated in the credits as Georgette Mackey, Andrea played an important role as one of the city dwellers, but then returned to the stage and, until 1944, she no longer played the movie ^{[8] [3] [1]} .

In 1941, King received a role in the troupe touring the country in the Victorian thriller Angel Street (1941), which by that time had already become a hit on the London and Broadway scenes, and also released in Britain as a successful film called Gas Light ( 1940). King played her first negative role in this performance by Nancy, a daring maidservant, a cockney , who starts a love affair with her abominable employer. Both the production itself and King were successful ^[8] . In 1944, the American film “ Gas Light ” (1944) was released, in which Angela Lansbury made her debut as a servant ^[1] .

Immediately after the tour was over, King decided to try her hand at the cinema, and on the advice of Montgomery, Clift concluded an agreement with the agency Myron Selznik in New York. After several months of waiting and an unsuccessful interview at Paramount Pictures , King still achieved her goal when in January 1944 Warner Bros studio entered into a seven-year contract with it ^{[1] [9] [2]} . The first thing that studio head Jack L. Warner did after signing the contract, he changed her name from Georgette McKee to Georgia King. This name Andrea did not accept, stating that "it sounds like the name of the Queen of striptease from the southern Burlesque." Fortunately, in a short time she managed to convince Warner to change her name, and in the credits of her first film she already appeared as Andrea King ^{[9] [1] [3]} .

In 1944, King made her debut in the romantic comedy " Mr. Skiffington " (1944) with Bette Davis , who, according to King, "was one of her idols" ^[9] . It was a comedy built around Davis as a superficial, secular lady whose selfishness and vanity ruined her marriage to a good Jewish banker ( Claude Reins ). King in this picture had a brief episode as a nurse (without indication in the credits) in the office of a doctor who is visited by the heroine Davis. The film's director, Vincent Sherman, was impressed with the game King: “It was a pretty young actress who played well. I thought that she was very capable and would be able to make a great career on Warner Bros ”. According to Babbeo, “the film has become a good starting point for King. As for Davis, she acted very nobly on the set and even invited the beginning actress to her carriage for a cup of tea ” ^[10] .

In his next film, the bittersweet melodrama " The very thought of you " (1944), King received the essential role of the cynical and insensitive sister of the main character, who meets with other men while her husband fights at the front. It was not only the first significant film King, but also the first film, where in the credits it was listed as “Andrea King”. As noted by Babbeo, “despite the strong cast of the film, critics particularly emphasized the work of King” ^[10] . In particular, film critic Thomas Pryor wrote in the New York Times: “Andrea King, whom the Warners could pass for Ida Lupino if necessary, creates the poisonous image of Molly. Miss King is definitely a newcomer with a bright future. ” ^[11] The biographer of the actress Paul Myles Schneider also wrote that "King was excellent reviews about the game, which gave rise to one of the fastest ups to star status in the history of the studio" ^[1] .

In the same year, King played a cameo role in the film review “The Hollywood Store for the Troops ” (1944), as well as in two patriotic documentary short films - “We Serve with Pride” (1944) and “The Naval Nurse” (1945) where she played a major role ^[10] .

As Babbeo notes, “under the impression of the negative charisma of King in the film“ The very thought of you, ”the studio management decided to realize its full ability to play treacherous devils.” In this capacity, King played the femme fatale Lisa Dor in the drama " Hotel Berlin" (1945) ^{[10] [1]} . The film told about Germany on the eve of defeat in World War II, and, unlike most films of that time, some Germans showed it with a certain degree of sympathy, in particular, the Nazi general ( Raymond Massey ) ^[10] . The film takes place in a hotel where, among others, the anti-fascist Martin Richter ( Helmut Dantine ), disguised as a waiter, also lived in one of Berlin’s most famous actresses, Lisa Dor, who was the general's mistress. At some point, Lisa promises to help Martin, provided he helps her escape from Germany. However, in the end, because of her deception, both the general and Martin perish ^[12] . According to Babbeo, “although it was an ensemble film, it was the King that was the star of this film.” As the actress herself recalled: “I liked the work on this film. The role was excellent, as it allowed me to show everything from A to Z. " Criticism, according to Babbeo, "was also delighted with the film" ^[12] . In particular, Bosley Krauser in The New York Times wrote: “There is no doubt that Warner Bros has created an elegant and intense spectacle,” noting King as “very elegant and secular” ^[13] .

However, along with the success of the role in this picture brought King and problems in terms of her future career. According to Babbeo, it was known that King repulsed the role in the “Hotel Berlin” at Davis herself, who wanted to get this role for herself, which inevitably became the basis for the conflict ^{[14] [1]} . The clash of two actresses for the role, coupled with the fact that the popular commentator Hedda Hopper in their articles joked against each other, led to the fact that King forever became a professional rival to the legendary Davis, who had a great influence on the Warner Bros studio ^[1] .

In between the filming of the Hotel Berlin, King played a small role in the comedy Roughly speaking (1945), when, at the request of its director Michael Curtis, she replaced the actress as the daughter of the main character (played by Rosalind Russell ) ^[12] . Soon, King played the main character's wife in a military action drama “ God is my co-pilot ” (1945), becoming the only woman in the cast ^[12] . Despite the predominantly negative reviews from critics, the film became the studio's biggest financial success that year ^[14] .

Soon, Davis’s attitude toward her began to affect King’s career, due to which she lost two interesting roles ^[14] . For example, King was originally casting one of the main roles of Bessie Watty in the rural school drama Corn Green (1945) with Davis in the title role. However, according to King, Davis at that time "had such a star power that she could get everything she wanted from the studio." Davis said that King is too young and beautiful for this role, and she was removed from the film. As King recalled: “For this role I could have at least received an Oscar nomination ,” and eventually Joan Lorring, who replaced her, received this nomination ^{[14] [1]} .

Soon, again through the fault of Davis, King was deprived of another role that she really wanted to play. The studio was going to give King the role of Matty, the doomed heroine in the movie “Ethan Frome.” As the actress recalled, “I was already ready to start shooting when Davis announced her desire to play this young girl. However, the studio decided that she was too old for that. Considering that Davis was 38 at the time, and she looked even older, the studio’s refusal to give her the role of Mattie was justified. ” However, the project was frozen, and the novel was filmed only in 1993, starring Patricia Arquette and Liam Neeson ^{[14] [1]} .

In her next film, the film Noir's Shadow of a Woman (1946), King played the main role of a young wife, who begins to suspect that her charming husband ( Helmut Dantine ) is trying to eliminate her own son in the struggle for the legacy of his former wife. According to critics, the plot of the film was too reminiscent of Hitchcock 's “ Suspicion ” (1941), and the director could not achieve the necessary intensity. Variety called it "heavy melodrama with little dramatic force." At the same time, according to Babbeo, “the actors played well, and King was strong in several scenes, providing her play with a certain interest in the film” ^[14] .

A year later, a psychological horror film “ The Beast with Five Fingers ” (1946) was released, which told about the mysterious death of the famous Italian pianist. In this film, King played the principal female role of the pianist nurse, with whom he bequeathed all his possessions. According to Babbeo, when she heard the name of the film, King tried to abandon the shooting, but under the threat of being suspended from work, she was forced to agree. Critics did not promise great success, but thanks to the brilliant play of Peter Lorre as a mad astronomer who fell in love with nurse King, the film acquired “ Gran Guignard ’s character, rising from a minor horror to a first-class camp ” ^[15] . In addition, the actors were very pleased with the process itself, and King even called him one of her most enjoyable ones she did at Warner’s studio. As a result, according to Babbeo, the film brought a small profit, and today it is regarded as a cult classic ^[15] .

According to Babbeo, King played one of her best roles in Raul Walsh 's melodrama “The Man I Love ” (1946), creating the image of the hard-working sister of the main character (played by Ayda Lupino ), who brings up two children while her husband He is undergoing treatment at the hospital for the trauma he suffered during the war. As Babbeo notes, “although Lupino is in the center of attention, King succeeds in creating a thoughtful image of a compassionate woman who deserves a better fate in life.” According to King, she gladly played a normal woman after the roles of temptresses and women in danger ^[15] . She recalled: “Lupino and I were like sisters. In addition, we were similar in appearance, and perhaps that is why we were taken on the role of sisters ” ^[16] .

Despite the excellent work in this film, Jack Warner believed that King was better than bitchiness. In this capacity, he put her on the role of a woman who intended to destroy the novel of the heroes Alexis Smith and Ronald Reagan in the horse story “ The Stallion Street ” (1947). King was not interested in the role of a female devotee, especially not the main one, and she refused. Although, according to Schneider, “at that time King was the fastest growing young actress in the studio,” however, as Babbeo wrote, “since she spent only 18 months at the studio, before she could become an undisputed star, such an act was risky. Warner's vanity was piqued, and, despite a seven-year contract, King was fired ” ^{[16] [1]} .

After leaving Warner Bros studio, King began a successful career as a freelancer, returning to her studio several times ^[16] . In her first film project outside Warner Bros , a film by Robert Montgomery 's noir , The Pink Horse (1947), she played her next femme fatale, this time the cold and dangerous girlfriend of the gangster leader. Critics praised the picture, especially noting the work of director Montgomery. As for the acting, then, according to the modern film expert Craig Butler, “Montgomery is strong enough to hold interest in the film, and, in addition, he receives excellent support from Wanda Hendricks , Andrea King and Thomas Gomez ” ^[17] . As Babbeo wrote, it was one of King’s favorite films, although she noted that “people either liked him or didn’t understand him” ^[16] .

In the Warner Bros musical biopic, “ My Wild Irish Rose ” (1947), Virginia Bruce was to play one of the main roles, but when her candidacy disappeared at the last moment, the studio urgently invited King ^{[16] [1]} to this role. The film was about the famous Irish tenor, Chauns Olcott , played by Dennis Morgan , who sang most of the 20 songs. As Babbeo writes, “the delightful Arlene Dahl and King, who played their role with great feeling, played his companions on the journey of life.” Although critics mostly negatively rated the picture, it became one of the most commercially successful at the studio in 1948 ^[18] , and King Pryor called “dazzling” ^{[19] the} role of the famous singer Lillian Russell playing King.

Following this, at the Universal Studios, King played a comedy role in the romantic fantasy " Mr. Peabody and the Mermaid " (1948). She had a small but vivid role of an actress who flirts with Peabody ( William Powell ), but her character was “more mischievous than dangerous”. Although, according to Babbeo, the film as a whole was adopted coldly, nevertheless, the critic of the New York Times noted that King played his role “with ordinary skill” ^[20] .

At Paramount Studios, King played a supporting role in the soap opera “ Song for Surrender ” (1949), followed by a good role in the high-quality, low-cost film of the Metro-Goldwyn-Mayer studio's Noir “ Call 1119 ” (1950). In this film, King played the role of one of six visitors to the cafe, who was taken hostage by a vengeful madman. ^[18] As noted in the New York Times review, this “modest but strong” film was made “tensely and convincingly” thanks to the script and acting game, including King as one of the hostages who “ponders over whether she should spend the weekend with an unctuous businessman ” ^[21] .

In the independent film by Boris Ingster 's noir “ Southside 1-1000 ” (1950), King played the role of the ruthless leader of a gang of counterfeiters , who fell in love with a government agent who wanted to expose her. Critics praised the acting game King in this picture. In particular, Bob Porfirio noted that King “perfectly played the role of a she-wolf, very similar to her role in the Pink Horse, where the main character described her as a“ scented cold fish ”” ^[22] . The TV Guide review also noted that “playing a role similar to that in the Pink Horse, King is excellent as a romantic interest with an icy heart” ^[23] . Craig Butler also singled out King, who "delivers pleasure in the role of a heartless femme fatale, especially at the moment when she gets the opportunity to open up and show her claws" ^[24] .

King made her next two films at Universal Studios. However, both the historical melodrama “ The daughter of a pirate ” (1950), where she had the second-person role of the bride of one of the heroes, and the film Noir “ I was a shoplifter ” (1950), where she played the leader of a thief's gang, were, according to Babbe , “Not particularly impressive” ^[18] . King then played a supporting role in the commercially successful comedy Paramount Lemon Drop Kid (1951) with Bob Hope in the lead role and the Universal adventure film Universal The Sign of the Renegade (1951) ^[25]

A year later, King's first science fiction film “The Red Planet of Mars ” (1952) followed, where she and Peter Graves played a married couple of scientists who thought they had established contact with Mars , on which there is supposedly a utopia of the Christian plan ^[25] . According to Babbeo, "there was a lot of fantastic and incredible things in the film, which made it difficult to sell the picture." As King later said: “It seemed to me that the plot was excellent, and I was delighted with Graves. However, the studio has not invested anything in advertising, and therefore the film never went anywhere. Only after the show on television did people fall in love with him, and he became a cult ” ^[25] . Commenting on the play of actors, the New York Times columnist A.H. Weiler wrote that Graves and King in the roles of "unrestrained scientists look serious and literate, although slightly unsophisticated" ^[26] . On the other hand, Hal Ericson wrote that “after the many tough and sarcastic roles of King, it was hard to see the actress as a humbleless Christian fanatic” in this film ^[2] .

At the end of the year, King played in the Universal Universal film “The World in His Hands ” (1952), which was built around the sea adventures of the ship’s captain performed by Gregory Peck . And King, in the role of the second plan, according to Babbeo, “could only decorate the picture” ^[25] . This was followed by a modest independent adventure romantic melodrama "The Quiet Fear " (1956), which takes place in Mexico , where King played the main role ^[25] . This was followed by the insignificant independent Western Queen of the Thieves (1957), where King played the main role of an independent young woman who makes a career in the Wild West . After that, there were supporting roles on Warner Bros in a romantic western with Clark Gable and Yvonne de Carlo “ Banda of Angels ” (1957) and in a military drama with James Garner “ Rangers of Darby ” (1958) ^[25] .

In the late 1950s, King actually left the cinema, concentrating on working in television. During the 1960–1990s, she appeared in small roles in only six minor films, among them the horror film “ House of the Black Death ” (1965), the thriller “ Daddy Going to the Hunt ” (1969), the horror film “ Blackenstein ” (1973 ), the melodrama “The Color of the Night ” (1990), the criminal comedy “ The Story of a Robbery ” (1992), in which the main role was played by David Bowie , as well as the thriller “ Inevitable Grace ” (1994) ^{[2] [27]} .

From 1952 to 1990, King played 67 episodes of 41 television series. In 1952 she made her debut on television, playing together with Charles Boyer in the episode "The Officer and the Lady" of the telealmanac "Theater of Four Stars" ^[25] . A year later, King played in the court thriller for Agatha Christie's “Witness to the Prosecution”, which was released as an episode of the TV-movie “Video Theater Lux” (1953). She played the role of a cold-blooded wife, whose husband is being tried for the murder of a rich widow. Edward G. Robinson ^{[25] [1] [3]} acted as a dodgy lawyer defending her husband.

Other TV shows King played include: Fighter for the Truth (1956), Cheyenne (1956), Mike Hammer (1958-1959), Maverick (1959), Perry Mason (1959-1963). , 4 episodes), “General Electric Theater” (1960), “Sunset Strip, 77” (1960–1963, 3 episodes), “Slade Shooter” (1961), “Family Business” (1967), “Raid 1967 "(1967-1969, episode 2) and" She wrote Murder "(1990), as well as in the television movie" Colombo: Prescription - Murder "(1968) ^[28] .

Andrea King began her career in 1933 on the theater stage, playing in three Broadway performances, after which she traveled twice on long touring tours throughout the country, until in 1944 she signed a contract with Warner Bros ^[3] .

Throughout the 1940–1950s, the “beautiful and slender King” recommended herself as a reliable performer of the main and supporting roles, often acting as “bad girl” or “other woman” ^{[3] [2]} . As Babbeo wrote, “in her too short period on Warner Bros, Andrea has created a niche for herself by playing such two-faced women. She possessed cold restraint, which implied a woman of high social status or a dangerous woman. Sometimes it means both of them ” ^[5] .

Among her most memorable films in the studio are “ The very thought of you ” (1944), “ Hotel Berlin” (1945), “ The Beast with Five Fingers ” (1946), “The Man I Love ” (1947) and “ My Wild Irish Rose ”(1947) ^[3] . According to Babbeo, one of the most memorable roles of King was the role of the femme fatale in the Hotel Berlin, where she played “the insidious Nazi supporter Lisa Dorn, who, like leading screen villains, uses her female charms to seduce her victims, luring them into set trap " ^{[5] [2]} . As the critic noted, “even in lighter films, such as the musical“ My Wild Irish Rose, ”King, in the positive role of singer Lillian Russell, carried the spirit of glamor and temptation, as if corrupting the innocent Chauncey Alcott . And although it is obvious that Olcott will be better off with the innocent heroine Arlene Dahl , but it was Andrea who provided fire and sharpness to the relations ” ^[5] .

As Hal Ericson writes, although “King played a significant part of her career as fatal women, nevertheless, she sometimes played positive heroines,” particularly in films such as “ The Beast with Five Fingers ” (1946) ^[2] . In those rare cases when King received positive roles, in particular, the working sister Ayda Lupino in “The Man I Love, ” she, according to Babbeau, “showed herself to be an actress of a huge huge emotional range” ^[5] .

After his first major roles on Warner, King was viewed by critics as a potential big star, but Bette Davis’s intervention and the collapse of the studio system put an end to King’s career at the studio ^[5] . After leaving Warner Bros, King became a freelancer, playing in such noir memorable films as The Pink Horse (1947), Call 1119 (1950) and Southside 1-1000 (1950), as well as in the fantasy film Red the planet Mars ”(1952) ^[29] .

Although, as Babbeo notes, King never achieved Davis or Stanwick's star status, nevertheless, “she grew into a versatile and reliable actress who often made more of an impression than the stars” ^[5] . As the biographer of the actress Schneider said, “she never received a role that would lift her to the very top, but every time you see her on the screen, she is always remembered - and she was amazingly beautiful” ^[3] .

In 1939, in Chicago , while working in the play “Life with Father”, King met her future husband Nat Willis, who charmed her with her tall stature, beauty and openness. Nat was a descendant of George Washington and a graduate of Yale University who worked as a lawyer in Chicago. In October 1940, they were married, after which King left the performance to engage in family life ^{[1] [8]} . The husband was sympathetic to the desire of King to make a theatrical career. As King later recalled: “Even before the wedding, I told him that I could hardly live without a stage. This was said immediately and directly, and it did not become a problem for us ” ^[8] .

In November 1941, after the Japanese army attacked Pearl Harbor Net as a volunteer, he joined the Coast Guard . Having been assigned to a lawyer in New York, Nat began to work at the maritime tribunal ^[1] . In 1943, when King completed a tour of the country with the play "Angel Street", Nat was immediately assigned to an unknown place on the Pacific Islands (she later learned that he served in Guadalcanal ). After seeing her husband in San Francisco , King decided to try his hand at Hollywood ^{[1] [9]} . During World War II, she voluntarily took care of people with disabilities at the hospital ^[14] . Eighteen months later, at the end of 1945, King, who by that time had already become a movie star, was informed of his return to her husband ^[14] . The studio gave King a two-week vacation to communicate with Nath, on the condition that reporters and photographers would shoot them to make an advertisement on her husband's return. They agreed ^[1] .

In 1955, King and Nat had a daughter, Deborah Ann Willis ^{[1] [25] [3]} . In 1970, Nat was diagnosed with lung cancer, and he died the same year ^[1] .

In subsequent years, King lived in Los Angeles , continuing to play until the 1990s. In the 1970s and 1980s, King began to write children's stories. All her life she remained optimistic and had a great sense of humor ^[1] .

She had three grandchildren - Kate, Drew and Christopher Callahany ^{[1] [3]} .

Andrea King died April 22, 2003 in a dream in Woodland Hills , California . She was 84 years old ^{[1] [3]} .

An old friend of the actress Paul Myles Schneider wrote about her biographical book "More than you can express in words," which was published in 2014 ^[1] .

• Daniel Bubbeo. The Women of the Warner Brothers: The Lives and the Careers of 15 Leading Ladies, with Filmographies for Each . - McFarland, 2001. - ISBN 978-0-7864-1137-5 .
• Alain Silver (Editor), Elizabeth Ward (Editor). Film Noir: An American Style, Third Edition . - Woodstock, New York: The Overlook Press, 1992. - ISBN 978-0-87951-479-2 .

• Andrea King on IMDb website
• Andrea King on the Allmovie website
• Andrea King on Turner Classic Movies
• Andrea King on Internet Broadway Database