February 27, 2013
Her father played the organ to accompany the silent The Phantom of the Opera at Grauman’s Egyptian Theatre on Hollywood Boulevard. She watched Howard Hughes filming miniature dogfights for Hell’s Angels in a lot behind her house. The “big sister” who showed her around campus when she started at Hollywood High was Lana Turner. Orson Welles hypnotized her in his magic act at the Hollywood Canteen. Gerry Day, native daughter of Los Angeles, child of Hollywood, and a fan who parlayed her love of the movies into a career as a radio and television writer, died on February 13 at the age of 91.
A 1944 UCLA graduate, Day got her start as a newspaper reporter, filing obits and reviewing plays for the Hollywood Citizen News. A radio writing class led to spec scripts, and Day quickly became swamped with assignments for local Los Angeles programs: The First Nighter; Skippy Hollywood Theater; Theater of Famous Players. The transition to television was natural, and Day became a regular contributor to the half-hour anthologies that tried, anemically, to ape the exciting dramatic work being done live in New York. Frank Wisbar, the expatriate German director, taught her how to write teleplays for his Fireside Theater, and then Day moved over to Ford Theater at Screen Gems, working for producer Irving Starr.
A gap in her credits during the late fifties reflects a year knocking around Europe, drifting among movie folk. Back in the States, Gerry’s mother was watching television, writing to her daughter that she’d like these new horse operas that had sprung up: Rawhide, Have Gun Will Travel, Wagon Train. Ruthy Day meant that her daughter would enjoy watching them, but of course Gerry ended up writing them instead.
A city critter who loved horses and yearned to be a rancher, Day was fated to collide with television’s glut of Westerns. In 1959 she connected with Howard Christie, the genial producer of Wagon Train, who gave her a lot of leeway to write what she wanted (and used her to doctor other scripts beyond the seven or so she’s credited on). Her other key relationship was with Richard Irving, producer of the comedic Western Laredo. Day loved doing the oaters: the light-hearted romp Here Come the Brides; The High Chaparral, with its Tucson location; Tate; Temple Houston; The Virginian; Big Valley; The Outcasts; finally, fittingly, Little House on the Prairie.
Although she specialized in Westerns, Day wrote in all genres, and notched credits on some respectable dramas: Medical Center; My Friend Tony; Judd For the Defense. Peyton Place was not a particularly agreeable experience, nor was Marcus Welby (puckishly, she took a male pseudonym, “Jon Gerald,” for her episode); but Dr. Kildare and Court Martial were treasured memories. It was for Court Martial, a forgotten military drama, that she wrote her favorite script, a euthanasia story called “Judge Them Gently.”
As for the name: It wasn’t that her parents wanted a boy. It’s that there were venerated Southern family names to be preserved, and so the little girl became Gerald Lallande Day. It fit the tomboy she grew into, even though there were draft notices from the Marines and invitations to join the Playboy Club that had to be gently declined.
Gerry lived with her parents for most of her adult life, in an old bungalow in the heart of Hollywood that – apart from the traffic blasting past the tiny lawn on busy Fairfax Avenue – hadn’t changed much since her father bought it in 1937. Gerry already had cancer when I looked her up there in 2007, although it was in remission and she was feeling peppy. When I first dropped by, Gerry was wearing a pair of white slacks that Dan Dailey had picked out for her – Dan Dailey, the song-and-dance man who died in 1978.
The reason Dan Dailey had been Gerry’s personal dresser back in the day was that for a time Gerry wrote with a partner, the actress Bethel Leslie, who was Dailey’s romantic companion toward the end of his life. Day was good at writing for women, and managed on a few shows to write parts for her favorite actresses – Barbara Stanwyck, Vera Miles, and Bethel, who starred in an African Queen knockoff that Day wrote for her on Wagon Train. Day found out that Leslie was working on a memoir, and thought she had talent. They began writing together, on shows like Bracken’s World, Matt Helm, the new Dr. Kildare and the new Perry Mason, Electra Woman and Dyna Girl, Barnaby Jones. On her trips out from New York, Leslie lived in Gerry’s studio. They would split up the work: Gerry wrote in the mornings, Bethel in the afternoons, then they meshed the work together. For two years, they were staff writers together on the daytime soap The Secret Storm. “For our sins,” said Day, who detested the executive producer so much that she wouldn’t utter his name.
Day’s love for horses led her to the track. She was an unofficial bookie for the Wagon Train clan, and eventually a part owner of a racehorse, which led her into a variety of adventures that would’ve made great subplots on David Milch’s racetrack opus Luck. A devout Catholic, Day became a Eucharistic minister in her church; she also raised foster children and supported equestrian causes. And remained ever under the spell of the movies. “The other night,” she told me during my first visit, “I stayed up late to watch Rio Grande. Talk about your romance, between John Wayne and Maureen O’Hara. That was a really good film . . . .”