Tag Archives: gay actors

Gay History: Jack Larson, Gay Actor Tormented by Jimmy Olsen Role on TV’s ‘Superman,’ (Died in 2015 at 87)

He was not faster than a speeding bullet. He was not more powerful than a locomotive. He was not able to leap tall buildings in a single bound.

In the great pantheon of characters to emerge from the “Superman” universe — Lois Lane, Lex Luthor, Jor-El, General Zod — Jimmy Olsen probably ranks below even Richard Pryor’s wisecracking embezzler in the much-maligned “Superman III.” Jimmy just isn’t that cool. He’s often described as a “cub” reporter. He needs saving more than he saves. He says “Golly.” And he’s sometimes drawn as a redhead.

“Oh, I’m not going in there!” Jimmy whines when hustled into a secret prison after falling prey to the treacherous Von Klaven brothers, identical twins who steal radium, during the 1952 Superman adventure “Double Trouble.” Jimmy’s line when rescued by Man of Steel George Reeves: “Right now, you’re prettier to me than all the movie stars in the world!”

But in a franchise that’s seen its share of tragedy — George Reeves’s reported suicide, Christopher Reeve’s spinal injury — the woes of the actor who played Jimmy in the 1950s went underreported. Jack Larson, who died at 87 on Sunday, was a gifted writer and gay man whose talents and personal struggles were overshadowed by his role as Superman’s flunky.

Even worse: He knew it would turn out this way.

“If I won the Nobel Prize for Literature at 75 and died, they would still say, ‘Jack Larson, best remembered as Jimmy Olsen in the ‘Superman’ series,”’ he said in 1982.

Though Larson never won the Nobel, his swipes at literary greatness were more than the flailing of a teen star gone to seed. Born in California, Larson had dreams of making it big on Broadway as an actor and playwright. After being signed by Warner Brothers while still in high school and a stint in the Marines, the budding thespian found himself at a crossroads.

It was 1951. The old studio system was dying. Though just in his early 20s, Larson had done a few films, but was running out of work — and wanted to get to the Great White Way.

His agent came up with a solution: Play the terrible supporting role of Jimmy Olsen in “Adventures of Superman.”

“I didn’t want to do it,” Larson said, ”but my agent said, ‘Look, you want to get to New York. You don’t have any money. Nobody will ever see this show so take the money and run.”’

Larson did. For $350 an episode, he completed the show and went to the Big Apple. And he was living there when the show he had dismissed became one of the most iconic in TV history — even though it was pretty bad.

“Adventures Of Superman was frequently barely a superhero show — it was more like a dirt-cheap police procedural sprinkled with a few minutes of unconvincing special effects — but it still featured the most famous, popular superhero of all time,” the Onion’s A.V. Club wrote in 2013. “So what else was the nascent geek clan going to watch?”

Larson, meanwhile, became a would-be aesthete fixed in amber as a hapless hanger-on. With a terrible bowtie, no less.

“To me, it was a nightmare,” he said in 2006. “Everywhere I went, it was, ‘Jimmy! Jimmy! Hey, Jimmy, where’s Superman?’ Suddenly, I couldn’t take the bus or the subway anymore. It absolutely freaked me out.”

However, Larson rode the wave. He played Jimmy in 101 episodes of “Adventures of Superman” between 1952 and 1958. And after Reeves’s death — which Larson never believed was a suicide — they tried to get him to do more.

“I refused point blank,” he said. “It made me sick that George had died. He was Superman, and that was the show. I felt, ‘Why go on with it?’ I decided then to quit acting.”

Feeling typecast, he “took up the life of a playwright in New York,” he told the New York Times in 1976 — in a piece that identified him as a “bachelor.”

Larson was far from that. It seemed that one good thing had come of his time as Jimmy: a sexual awakening. While in Hollywood, he became involved with screen legend Montgomery Clift, and met his future longtime companion, director James Bridges (“The Paper Chase,” “The China Syndrome”).

“He realized, in retrospect, that some of his adolescent angst had been due to turmoil over his sexual orientation,” the Times wrote in 1998.

Jack Larson in 2011. (Fred Prouser/Reuters)

That turmoil would be given voice in “The Relativity of Icarus,” a dance piece that premiered at New York’s prestigious Joffrey Ballet in 1974. Larson wrote a poem that accompanied the work. Four decades ago, what some saw as an attempt to mask gay themes in the charged relationship between Daedalus and Icarus was met with controversy.

“It is strange in this day of liberation movements that a homosexual pas de deux has to masquerade as a duet between father and son,” the Times wrote.

Amid the “Icarus” publicity, Larson was outed — as Jimmy Olsen. But Jimmy, he found, was no longer repugnant to him. He began to work the TV nostalgia circuit, and was contemplating hosting a tribute show in 1982.

“I want to host it,” he said. ”I want very much to do it — join up my life with Jimmy Olsen. If you can’t beat ’em, join ’em.”

In the coming decades, he would produce films directed by Bridges and write more plays. And he would appear in what CNN called “winking roles” in “Superman” fare such as “Superboy,” “Lois & Clark” and the film “Superman Returns.”

His sexuality — once hidden — was now an asset.

“Gay fans are gushing over the fact that the director of the new ‘Superman Returns’ (opening June 28) is a gay man, Bryan Singer,” the Chicago Tribune wrote in 2006, “and that, besides the fact that Superman is a real hunk, a new trading card featuring scenes from the film shows the big guy — get this! — actually emerging from a closet.”

The paper, noting Larson’s sexual orientation, added: “What was fun about that show was just the ambiguity of it all. It wouldn’t have mattered if Clark was secretly in love with a co-worker named Lois or Louis Lane.”

Somehow, Larson had ended up with it all: a literary career bolstered by his status as a pop-culture footnote, and both inextricably linked to his life as a gay man.

In some ways, Jimmy had given it to him.

“Everywhere I go, I get the warmest feelings from people about Jimmy,” he said. “They love him, and I grew to feel that I could never have done anything more special than be Jimmy Olsen.”

Los Angeles: Actor and playwright Jack Larson (1928–2015) died yesterday at the age of 87. Best known for his role as Jimmy Olsen, Clark Kent’s boy-reporter sidekick in the 1950s television series “Superman,” Larson met his longtime partner, film producer James Bridges, in 1957; they had been a couple for nearly four decades when Bridges died in 1993.

For many years, Larson and Bridges shared a home in the Brentwood Heights neighborhood. Known as the Sturges House, the structure was designed in 1939 by architect Frank Lloyd Wright. “It was obvious to anyone that since we lived together we were partners,” Larson told the Los Angeles Times in 2011. “We always went places together. We never pretended.'”

Located at 449 Skyway Road, Sturges House is formally listed as a Historic-Cultural Monument by the City of Los Angeles. Larson continued living in the house until his death.

Knowing the Sturges House

I first encountered Frank Lloyd Wright’s Sturges House in courses in the History of Architecture at the University of Wisconsin, Madison, where I was a graduate student in the 1960s. This was indisputably “FLW Country.” He had been born nearby in 1867 in Richland Center, Wisconsin and had lived as a child and teenager and had gone to high school in Madison and had then matriculated as “special student” at the University of Wisconsin. Long after that he had built “Taliesin,” his great longtime home and studio in Spring Green, Wisconsin, northwest of Madison. In 1937, also in Madison, Wright had built his first so-called “Usonian” house for Herbert and Katherine Jacobs, a small, wood and brick, two bedroom, flat-roofed, moderately-priced structure that took its name from various sources, including a play on “US-ian.” It was followed, in the late 1930s and 1940s, by other Usonians in Wisconsin, and in neighboring Illinois and Michigan. Wright’s similar, though distinctive, Sturges house (1939) in the Brentwood district of Los Angeles is generally considered to be his “California Usonian.”

Selma Sturges on the roof of the residence, 1940.
Image used with permission, courtesy of the Sturges family. Photographer unknown.

When, in 1968, I received an appointment at UCLA to teach urban, architectural and cultural history, I was fortunate to live first in the 1937 Strathmore Apartments in Westwood, designed by Richard Neutra, one of Wright’s already famous former apprentices—about whom I would soon begin to write a book. At the same time, I began to explore Los Angeles architecture, including ten Neutra structures in Westwood alone and not far away, in neighboring Brentwood: Wright’s great Sturges house. Unlike the generally flat sites of the Usonians in the Middle West, I was surprised to find the Sturges residence perched high on a steep lot among rolling hills. Eager to explore this treasure, I unabashedly knocked on the door one day and was cordially welcomed by its owners, the film director James Bridges and his longtime partner, the actor and writer Jack Larson.

Bridges (1936–1993) directed such acclaimed films as: The Paper Chase (1973), The China Syndrome (1979), and Urban Cowboy (1980). Larson (1928–2015) was best known–to his eternal dismay–for his role as Jimmy Olsen, the cub reporter, in the long-developing series Adventures of Superman. He always lamented that he was not as well known for the libretto he wrote for his and Virgil Thomson’s opera Lord Byron (1972). The couple acquired the house in 1967 and lived there together until Bridges’ death in 1993. Larson continued to inhabit it alone until his death in 2015.

Jack Larson as ‘Jimmy Olsen’ and Noel Neill as ‘Lois Lane’ (Photo by ABC Photo Archives/ABC via Getty Images), c. 1951. Vintage print from the collection of Jack Larson sold to benefit The Bridges/Larson Foundation.
Film Director James Bridges on location. Vintage print from the collection of Jack Larson sold to benefit The Bridges/Larson Foundation.

Jim and Jack were the first to tell me of how the Sturgeses were told that it was medically impossible for them to have children and how, as a consolation, they decided to commission a house by Wright, whom they had long admired. It was an ideal cottage for two people, but soon after they moved in, Mrs. Sturges realized that she was, in fact, pregnant. Wright altered the house design to accommodate a nursery. But after another child came along, the couple gave up their dream house and moved around the corner to a larger residence. Their name, however, would always be attached to their Wright-designed home as it went through several owners until Bridges and Larson acquired it.

Robert Imandt photograph of the residence, c. 1946. Vintage print from the collection of Jack Larson sold to benefit The Bridges/Larson Foundation.

Built of steel, concrete, brick and wood, the house is approached from the west at the rear just off the carport at the top of the hill. Visitors could either proceed around the encircling deck to enter through the living room on the eastern side or, as most did, through the small kitchen to the west. With less square footage than the Usonians in the Middle West, the house contains a relatively large living-dining room, two small bedrooms, and one bath on the main level. Tiny stairs lead up to the roof deck and down into the windowless basement, which Bridges used as a dark room and studio. In 1939, Wright had deputized his recent Taliesin disciple, John Lautner, to complete final details of the design and to supervise construction. Both Wright and Lautner created specially designed furniture and other accouterments, such as lamps. Small cabinet spaces were cleverly concealed behind fold-out wall panels. Larson and Bridges would also enjoy pointing out various movie treasures they had acquired over the years such as the actual wrench used by Charlie Chaplin in Modern Times (1936).

Sturges Residence appears on the cover of California Arts and Architecture magazine, April 1940. Vintage magazine from the collection of Jack Larson sold to benefit The Bridges/Larson Foundation.

The house was long enjoyed by such Hollywood visitors as writer Gore Vidal and director John Houseman as well as by actors Jane Fonda and Debra Winger, who starred in Bridges’ films and continued to be friends. Jack and Jim also seemed happy to open the house to admiring architecture people such as historians Vincent Scully and Colin Rowe, museum curators Arthur Drexler and Carter Brown, and architects Richard Meier, Peter Eisenman, Richard Weinstein, Jaque Robertson and Frank Israel. The house thus had several incarnations in the public imagination, first, as it was initially published in the Forties and Fifties and again in later years after it had become so famous that it seemed indispensable to any publication on Wright or on modernist Los Angeles.

It remains a vitally significant monument in the history of both.

Pedro E. Guerrero photograph of the residence, 1947.
Vintage print from the collection of Jack Larson sold to benefit The Bridges/Larson Foundation. © 2016 Pedro E. Guerrero Archives.
Frank Lloyd Wright, The George D. Sturges Residence, Photo © Grant Mudford
Frank Lloyd Wright, The George D. Sturges Residence, Photo © Grant Mudford
Frank Lloyd Wright, The George D. Sturges Residence, Photo © Grant Mudford
Frank Lloyd Wright, The George D. Sturges Residence, Photo © Grant Mudford
Saved from savewright.org

Photo © Grant Mudford Courtesy of Los Angeles Modern Auctions (LAMA)

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