Tuesday marks the 91st birthday for Kim Novak, the star of Alfred Hitchcock’s 1958 film Vertigo, who walked away from Hollywood over five decades ago.
“She’s spending her birthday having a picnic on her property with friends and lots of fudge,” says her longtime manager and close friend Sue Cameron.
Life is sweet these days for Novak, who lives quietly on the Oregon coast, surrounded by her beloved horses.
In honor of her 91st birthday, read on for an interview from 2021 in which Novak shared why she left Hollywood and found her true self.
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Over 50 years ago, Kim Novak, the enigmatic star of Alfred Hitchcock’s Vertigo, walked away from Hollywood. The woman who had once been the No. 1 box office draw in the world put her belongings in a van and drove north, first to Carmel, California and then two decades later to Oregon, to live her life as an artist.
“I had to leave to survive,” she tells PEOPLE. “It was a survival issue.”
“I lost a sense of who I truly was and what I stood for,” says Novak in a rare interview to talk about her new book, Kim Novak : Her Art and Life. published by the Butler Museum of American Art.
“I fought all the time back in Hollywood to keep my identity so you do whatever you have to do to hold on to who you are and what you stand for,” she explains.
“I’ve never done one of those tell-all books that they wanted me to do for so long, and I thought this is the kind of book I’d like to do,” she says of her art book. “Actually, I had written my autobiography and it was almost complete but I had a house fire and the house burned down and I made no copies. I just couldn’t go through it again because I had spent so much time. But it was okay because it was a catharsis just to do it.”
After starring in Picnic (1955) with William Holden, The Man With the Golden Arm (1955) and Pal Joey (1957), opposite Frank Sinatra, and Vertigo, with Jimmy Stewart, Novak was at the height of her career but still under the control of the studio.
As she writes in her book’s introduction, “I was both dazzled and disturbed to see me being packaged as a Hollywood sex symbol. However, I did win my fight over identity. I wouldn’t allow [Columbia Pictures chief] Harry Cohn to take my bohemian roots away by denying me my family name. Novak. I stood my ground and won my first major battle.”
Cohn wanted her to change her name to Kit Marlowe, telling her that audiences would be turned off by her Eastern European roots. She refused. In the late ’50s, she defied him again when she began dating singer Sammy Davis Jr. against his wishes and she fought to live her life as an independent woman.
“There was constant pressure to be seen and not heard,” writes Novak, “especially if you had a pretty face.”
“In Hollywood a lot of people assume who you are, because of the character you play, but also just because of who they expect you to be, how they expect you to dress,” she says. “It influences you because if you’re in some gorgeous sequined gown, you can’t run along the ocean and run on the beaches.”
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“I kept feeling like I was going deeper and deeper, lost in almost like a quicksand, where it’s swallowing you up, your own personality, and I’d started to wonder who I am,” she explains. “I realized needed to save myself.”
She found peace living and painting in the Rogue River Valley of Oregon and notes, “I needed the Pacific Ocean to inspire me, the animals, the beauty.”
“I wanted to live a normal life and a life with animals,” says the actress, who had always loved drawing and painting as a young girl growing up in Chicago. She was awarded two scholarships to the Chicago Art Institute before she was spotted by a talent scout on a trip to L.A. and her life changed course.
Once she left Hollywood, Novak returned to her twin passions: art and animals. “My teachers were the animals, not just dogs and cats, but other animals, horses and llamas, whom you have to meet half way, because they’re not ready to accept humans. I had to learn to win them over,” she says. “They understand a person who’s genuine so I had to become more real and that made me rely on my inner self — and that also encouraged me to paint. Everything seemed to flow from that.”
“You learn how to count on, not how you look, which is a big thing as a movie star, especially if you were recognized because of how you look,” she adds. “That can be a difficult thing when you change — but looks had nothing to do with it.”
She met second husband, Robert Malloy, an equine veterinarian, in the late ’70s, when he paid her a house call to treat one of her Arabian horses. She called him her “soul mate.” He died last December.
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“I don’t feel 87,” says Novak. “I don’t keep tract of the time. If I did, I’d be an old lady and I’m not an old lady. I’m still riding my horse. I stay as healthy as I can.”
In 2012, Novak revealed she’d been living with bipolar disorder. “I don’t mind being open about who I am because these are all characteristics which make you who you are, especially as an artist,” she says. “Now, of course, I have medication for it but the best medicine of all is art.”
She’s proud of her favorite films, including Vertigo and Bell, Book and Candle (1958), and has fond memories, especially of her friend and costar Jimmy Stewart. Says Novak: “He didn’t let Hollywood change who he was.”
“People can remember me in movies but I want them to see me as an artist,” says Novak, whose paintings were exhibited at a 2019 retrospective at the Butler Museum in Youngstown, Ohio. “What’s great about painting is, you become the director too. No one’s telling you how to do it. You get to direct the whole thing.”
“I’ve been influenced a lot by Hitchcock in my work because he did mysteries and at first glance, I want my painting to be a mystery,” she says. “I love being the director, the producer, the actor in my paintings.”
“This is who I am. I want people to see I was not just a movie star.”
Looking back, Novak says, “I’m so glad I didn’t do the tell-all book, where you write all about your love life. That wasn’t who I was. This book tells who I am. I just needed to be free.”
Fоund it in my in-lаws drаwеr whеrе thеy hаd buttеr dishеs еtс Whаt’s this?? Fоrk thеrе fоr sсаlе..
HERE ARE SOME OF THE ANSWERS:
it’s a bone for a glass dog. they were bred in the early 19th century; but short life span made it impossible to keep them viable.
A serving knife rest, so your lovely lace tablecloth will not be stained.
Congrats on keeping the comments clean everyone!
Baby dumbbell. No one likеs a weak baby.
It’s a knife rest. These are not only for the carving knife, but one is at each place setting for resting the table knife after it’s used. It is NOT for the butter knife. The butter knife remains across the bread plate.
My grandmother had two. I don’t know about her background, buy she had many instruments that showed she entertained often.. I have a set of 12 salt cellars with tiny crystal spoons to sift the salt from the cellars over individual food. We used them at Thanksgiving and Christmas dinners.
Today none of my children know how to “play” fancy meals.
Sad tradition. If it won’t get washed in a dishwasher, they won’t keep them in their house.
No talking- no experiences other than food from a paper bag.
To lay you knife on after you cut your meat so you don’t mess up your tablecloth
Knife rest. Kind of likе a chopstick rest
Dirty knife rest keeps table cloth clean.
Lol I have one from my mom, never knew what it was for. Now I do! Thanks
Wow!! Thank you for insights!! So cool to have this group!! The knife rests sure are beautiful!!
Have one just likе this. Resting of the carving knife, if you only have one.\
I’ve never seen one, they are beautiful!
Wow! I thought I knew different types of serving utensils, but I didn’t know this one. Thank you for sharing!
We used t have one likе that, my Mom and my Grandma’s. Salt roller maybe?
I have a set of them
It’s to set a knife holder.
A knife rest is a small, often decorative, object used to keep the blade of a knife from touching the surface of a table or countertop when it’s not in use. They come in various shapes and materials, ranging from simple metal designs to more ornate versions made of silver, porcelain, or other materials. They can add a touch of elegance to a dining table while also serving a practical purpose.
Certainly! Knife rests have been a part of dining culture for centuries, originating in the 17th century in France. Back then, they were primarily made of metal or porcelain and were often adorned with intricate designs, reflecting the opulence of the time.
In addition to their decorative function, knife rests serve a practical purpose. Placing a knife directly on the table can not only damage the table surface but also transfer food residue and germs. Knife rests elevate the blade, preventing contact with the table and maintaining hygiene standards during meals.
Over time, knife rests have evolved in design and materials, catering to various tastes and aesthetics. While traditional designs still remain popular, contemporary versions featuring minimalist styles or innovative shapes have also emerged, appealing to modern sensibilities.
In formal dining settings, such as fine restaurants or elegant dinner parties, the use of knife rests adds a sophisticated touch to the table setting. They are often part of a coordinated set of tableware, complementing the overall aesthetic and enhancing the dining experience.
Beyond their practical and decorative aspects, knife rests also hold historical and cultural significance. They evoke a sense of tradition and etiquette, reminding us of bygone eras when elaborate table settings were an essential part of refined dining.
Whether used for everyday meals or special occasions, the humble knife rest continues to play a subtle yet essential role in dining etiquette and table presentation, embodying a fusion of functionality, beauty, and tradition.
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