Maria Riva
Actress
About This Interview
Maria Riva speaks of the power of television, made apparent to her when she and her mother, famed screen star Marlene Dietrich, were once approached by a fan: “I was walking down the street with my mother. And a woman comes up and practically falls on her knees and looks up at my mother as though she were in a church, kind of genuflecting in the middle of Times Square. And then she turned, got up, and looked at me and said, ‘Oh Maria! I saw you last night on TV, you were terrific! I loved it! I watched with my husband and my kids. When are you going to do your next Suspense ?’ And that’s the great difference, and the power of television. The motion picture star is far away. That’s why it's known as a star. You look up at that big screen. And you pay homage. Television comes to you.” Maria Riva was one of a group of actors who served as a contract player for the CBS network in the early 1950s, appearing on such classic anthology series as Studio One, Lux Video Theatre, and Suspense.
Riva talks about her work in the theater, and how she became an acting teacher at the Max Reinhardt Academy. She describes her early interest in TV, and how she came to make her first appearance in 1951 on the anthology series Sure as Fate. She speaks frankly about the kind of work that was expected from actors on television in the early days of the medium: “There was a saying. You played to Mrs. Glutz in the Bronx. That sounds, you know, rather insulting, to say it. But that’s how they thought of it. People who knew nothing about acting, about the profession, so-called, who would now get it for free in their home, they should be glad whatever they got. So you played to a very low standard.”
She discusses extensively the experience of appearing on “live” television, and enumerated many memorable mishaps that occurred during broadcast. For CBS’ prestige dramatic anthology Studio One, on which she appeared frequently, she describes the kinds of roles she played and the actors and directors that she worked with. She also talks about individual roles on other programs, including appearances she made on NBC following the end of her CBS contract, such as: The Buick-Berle Show; Kukla, Fran, & Ollie; and Hallmark Hall of Fame. She then comments on her decision to quit acting at the height of her career, when TV production moved to the west coast.
Additionally, Riva talks about appearing on a series of cerebral palsy telethons, being a spokesperson for Alcoa—appearing in live commercials, and her second career as a writer. B-roll consisted of several photos from her television career in the 1950s.
Maria Riva was interviewed in North Hollywoood, CA on March 17, 2009; Gary Rutkowski conducted the two-and-a-half-hour interview.
Riva talks about her work in the theater, and how she became an acting teacher at the Max Reinhardt Academy. She describes her early interest in TV, and how she came to make her first appearance in 1951 on the anthology series Sure as Fate. She speaks frankly about the kind of work that was expected from actors on television in the early days of the medium: “There was a saying. You played to Mrs. Glutz in the Bronx. That sounds, you know, rather insulting, to say it. But that’s how they thought of it. People who knew nothing about acting, about the profession, so-called, who would now get it for free in their home, they should be glad whatever they got. So you played to a very low standard.”
She discusses extensively the experience of appearing on “live” television, and enumerated many memorable mishaps that occurred during broadcast. For CBS’ prestige dramatic anthology Studio One, on which she appeared frequently, she describes the kinds of roles she played and the actors and directors that she worked with. She also talks about individual roles on other programs, including appearances she made on NBC following the end of her CBS contract, such as: The Buick-Berle Show; Kukla, Fran, & Ollie; and Hallmark Hall of Fame. She then comments on her decision to quit acting at the height of her career, when TV production moved to the west coast.
Additionally, Riva talks about appearing on a series of cerebral palsy telethons, being a spokesperson for Alcoa—appearing in live commercials, and her second career as a writer. B-roll consisted of several photos from her television career in the 1950s.
Maria Riva was interviewed in North Hollywoood, CA on March 17, 2009; Gary Rutkowski conducted the two-and-a-half-hour interview.
Related To This Video
Featured Content
Video Link to "live" commercial of Maria Riva as spokesperson on The Alcoa Hour
Video: Embeddable excerpt from Maria Riva's Archive of American Television Interview (click through to You Tube to reveal the embed code)
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Highlights
Actress Maria Riva on the Golden Age of live TV in New York in the 1950s, exemplified by such classic anthology series as Studio One (01m 04s)
Actress Maria Riva on the difference to the public between a movie star and a television actor as she noted when approached by a fan while accompanying her mother Marlene Dietrich in the 1950s (01m 33s)
Actress Maria Riva on how she became a contract player for CBS in the early 1950s, along with actress Mary Sinclair, John Newland, and (possibly) John Forsythe all of whom then worked on such CBS series of the day as Studio One and Danger (01m 43s)
Actress Maria Riva on a gaffe that happened on live TV in the 1950s when the prop gun that actor Rod Steiger was using didn't fire— prompting him to instead say: bang (01m 26s)
Actress Maria Riva on the enthusiasm for the work that director Sidney Lumet had when she worked with him on such TV series as Danger and You Are There in the 1950s (01m 01s)
Actress Maria Riva on being the spokesperson (and learning how to demonstrate the use of aluminum foil on live TV) for Alcoa on The Alcoa Hour (00m 59s)
Actress Maria Riva on how she was often cast as a poor-man's-Dietrich not only because of her association to her mother but also because she could also provide her own costuming (01m 16s)
Actress Maria Riva on guesting on Your Show of Shows (when Imogene Coca was out sick) (01m 31s)
Actress Maria Riva on helping her mother Marlene Dietrich in her later career (01m 11s)
Actress Maria Riva on a terrible mishap on live TV when an actor was injured and she discovered him unconscious and bleeding during the show (possibly on Lux Video Theatre: Cafe Ami) (03m 37s)
Actress Maria Riva on an injury she sustained during dress rehearsal on Danger, and how she went on to do the live show immediately thereafter, (likely the episode Operation Murder [airdate: 6/12/51], her only confirmed credit with actor Jerome Thor) (04m 49s)
Actress Maria Riva on donating her mother Marlene Dietrich's memorabilia to the Filmmuseum Berlin (02m 22s)
Actress Maria Riva on writing a biography of her mother Marlene Dietrich (03m 14s)
Chapters
- Chapter 1
- On her childhood, growing up as the daughter of famed screen star Marlene Dietrich; on her father Rudolf Sieber and his work for Paramount studios; on appearing as a child in the feature film The Scarlet Empress (1934) and the seriousness of filmmaking in those days; on getting her first TV set in the late '40s, and taking an interest in television production; on her husband, set designer William Riva; on working in "live" television during the 1950s in New York
- On how she became a contract player for CBS; on establishing herself as a TV star in the 1950s, and how little TV demanded of acting "talent" in the early days of the medium; on the difference to the public between a movie star and a television actor, as she noted when approached by a fan while accompanying her mother;
- On the enthusiasm director Sidney Lumet instilled in his actors; on being the spokesperson (and learning how to demonstrate the use of aluminum foil on "live" TV) for Alcoa on The Alcoa Hour; on a gaffe on "live" TV when fellow actor Rod Steiger's prop gun failed to work
- On how she didn't feel she was up to the challenge of the accent required for the Studio One show "The Education of Hyman Kaplan"; on director Paul Nickell, for whom she worked with several times on Studio One
- On how she came to give up acting when she realized production was moving to Hollywood— having commuted for a time from New York to appear on such shows as The 20th Century Fox Hour: "Operation Cicero" in the mid-1950s
- Chapter 2
- On the founding of the Max Reinhardt Academy and studying and teaching there (as well as how it changed hands and became more of a "factory" for making money); on how she was often cast as a "poor man's Dietrich" not only because of her association to her mother but also because she could also provide her own costuming
- On appearing on the cover of Life magazine with her mother, at a time when Maria was potentially the bigger star; on screen testing poorly in Hollywood; on helping Charles Laughton once on radio, when he fell one page behind, having discarded the page by accident; on the relationship she had with her mother's friends/suitors
- On helping her mother in her later career; on appearing on an array of comedic shows including Your Show of Shows and The Martha Raye Show; on working on Easter Sunday and having to celebrate the holiday with her family on Monday; on rehearsals in live TV
- On two mishaps in TV that involved injuries on the set— once where she herself was hurt during dress rehearsal and yet went on with the show; on "proposing" to her husband
- On her children: J. Michael, Peter, Paul, and David; on her second career as a writer; on the feature film Scrooged; on the Golden Age of Television; on the star system in Hollywood
- Chapter 3
- On donating her mother Marlene Dietrich's memorabilia to the Filmmuseum Berlin; on writing a biography of her mother Marlene Dietrich; on an untrue story about her mother Marlene Dietrich and John Kennedy
- B-roll: Riva offers descriptions off-screen of several photos from her television career in the 1950s




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