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Fans are mourning the loss of Shelley Duvall. One of horror’s most prominent faces, the actress, died at 75 on Thursday, July 11, 2024. Duvall, who was reportedly on hospice in recent months, died in her sleep at her home in Blanco, Texas. Though an official cause of death is not available at this time, it’s reported that Duvall died from complications from diabetes.
Duvall’s partner, Dan Gilroy, shared news of her death with The Hollywood Reporter:
My dear, sweet, wonderful life partner and friend left us. Too much suffering lately, now she’s free. Fly away, beautiful Shelley
Dan Gilroy, The Hollywood Reporter
Duvall is remembered as one of the most dynamic actresses to grace the big screen. Discovered by Robert Altman, the two became frequent collaborators throughout Duvall’s storied career. From horror to comedy and everything in between, the actress brought an unforgettable energy that captivated audiences.
Here’s a look back at some of Shelley Duvall’s most memorable roles.
Suzanne Davis in Brewster McCloud (1970)
Shelley Duvall’s first role was as Suzanne Davis in Brewster McCloud. Suzanne was a tour guide who loved driving fast in her hot rod and, true to her Texan roots, worked at the Astrodome. The role cemented her relationship with Altman and the draw of her wide-eyed appearance.
L.A. Joan in Nashville (1975)
In a star-studded cast, Duvall, a relative newcomer, held her own. Amidst a reinvention, L.A. Joan—originally named Martha—was a shameless flirt. Her skimpy looks and forward ways exhausted her uncle, whom she frequently ignored. The character’s inspirational style spoke to the moment, endearing her to many for the first time.
Pam in Annie Hall (1977)
In Annie Hall, Duvall is Pam, a Rolling Stone reporter who has an introspective one-night stand with Alvy (Woody Allen). Despite a small role in the film, she stands out as a compelling character who presents a new perspective to the stuck-in-his-ways character.
Mildred “Millie” Lammoreaux in 3 Women (1977)
Many Shelley Duvall fans argue that her role as Millie in 3 Women is genuinely the best showcase of the actress’ talents. She expanded into the role of the vain, self-centered character, showing off her comedic chops while also sending home the film’s message. Her ability to undergo personality shape-shifts as the character through her interaction with others set her apart from the rest.
Wendy Torrance in The Shining (1980)
Shelley Duvall’s most recognized performance is as Wendy Torrance in The Shining, which quickly earned a spot in the horror cannon. The performance is entertainingly chilling to watch, but it all took a great emotional toll on the actress during its filming.
In subsequent years, Duvall would look back at how she pushed herself for the role, befuddled by how it was achievable. While some describe her as the poster girl for the Final Girl trope, Duvall conveys more power than most who do engage with that trope. The raw performance is truly unforgettable to any film fan.
Olive Oyl in Popeye (1980)
It’s hard to believe that Shelley Duvall tackled The Shining and Popeye in the same era. That said, her performance opposite Robin Williams‘ Popeye as Olive Oyl is beloved by audiences. Not only did she nail the appearance of the comic character, but her combination of facial expressions and physical comedy show she was perfectly slated in the role. She also hits every note, both literally and figuratively in her performance of “He Needs Me.”
Various Characters in Faerie Tale Theatre (1982-1987)
Shelley Duvall’s time as a children’s television show host isn’t the most highlighted part of her career, but it’s an important part nonetheless. The fairytale anthology series brought beloved tales to life with a cast of characters, including Duvall, dedicated to the tales.
Dixie in Roxanne (1987)
Dixie is the best kind of best friend for a protagonist to have, as seen by her bond with CD in this film. Shelley Duvall once again showed she could hold her own opposite Steve Martin. She brings a warmth to the film, and while it isn’t attention-getting, it does feel foundational in fleshing out Martin’s character.
Countess Gemini in Portrait of a Lady (1996)
Shelley Duvall’s comedic skills were on display once again. Though Countess Gemini is initially written off as a nosy gossip, she’s studying the playing field harder than those on it. The countess sees the schemers and is always a step ahead of them, while it goes largely unnoticed.
Mama in The Forest Hills (2023)
Shelley Duvall’s return to film — and ultimately, what would be her last movie — was truly unforgettable. Time away from the industry did nothing to erode the actress’ innate talents. Not only did it bring Duvall back to horror, but it also brought her forth as a guiding light for the film’s protagonist. Though not a huge role, it was a special and significant final chapter on an incredible career.
