Tuesday Weld: Hollywood's Enigmatic Star
The Rise of a Golden Age Icon
Tuesday Weld, born Susan Ker Weld on August 27, 1943, in New York City, emerged as one of Hollywood's most compelling actresses during the 1960s and 1970s. Her career began at the remarkably young age of three when she started modeling to support her family after her father's death. By age 12, she had already appeared in television commercials and was earning enough to sustain her mother and siblings through difficult financial times.
Her breakthrough came with the television series 'The Many Loves of Dobie Gillis' (1959-1960), where she played Thalia Menninger, the beautiful and materialistic teenage love interest. This role established her as a teen icon, but Weld had ambitions far beyond being typecast as a pretty blonde. She deliberately chose challenging roles that showcased her dramatic range and willingness to take risks that other actresses of her generation avoided.
The 1960s saw Weld transition from television to serious film work. Her performance in 'Lord Love a Duck' (1966) demonstrated her comedic timing and dramatic depth, playing a high school student with dark ambitions. Critics began to recognize that beneath the blonde beauty was an actress of considerable talent and intelligence. She worked alongside major directors and actors, earning respect for her professionalism and ability to inhabit complex characters.
By the early 1970s, Tuesday Weld had established herself as a serious dramatic actress. Her role in 'Play It as It Lays' (1972) earned her critical acclaim and showcased her ability to portray psychological complexity. She received an Academy Award nomination for Best Supporting Actress for her haunting performance in 'Looking for Mr. Goodbar' (1977), playing the troubled sister of Diane Keaton's character. This nomination cemented her status as one of Hollywood's most talented performers, even as she remained selective about her projects and famously turned down roles in films like 'Bonnie and Clyde' and 'True Grit'.
| Year | Film Title | Role | Recognition |
|---|---|---|---|
| 1966 | Lord Love a Duck | Barbara Ann Greene | Critical acclaim |
| 1968 | Pretty Poison | Sue Ann Stepanek | Golden Globe nomination |
| 1972 | Play It as It Lays | Maria Wyeth Lang | Golden Globe nomination |
| 1977 | Looking for Mr. Goodbar | Katherine Dunn | Academy Award nomination |
| 1984 | Once Upon a Time in America | Carol | BAFTA Award |
| 1993 | Falling Down | Beth Travino | Final major role |
Tuesday Weld and Elvis Presley: A Brief Romance
The relationship between Tuesday Weld and Elvis Presley remains one of Hollywood's most discussed romances from the early 1960s. The two met in 1962 when Weld was just 18 years old and already a rising star. Elvis, then at the height of his fame, was immediately attracted to the young actress's beauty and intelligence. Their relationship lasted approximately one year, during which they were frequently photographed together at various Hollywood events and private gatherings.
According to various biographies, including those documented by Elvis historians, Weld was one of the few women who genuinely challenged Elvis intellectually. She was known for her sharp wit and refusal to be intimidated by his fame. Friends of both stars reported that Elvis was serious about Weld, even discussing marriage at one point. However, Weld ultimately ended the relationship, reportedly because she felt Elvis's lifestyle and the demands of his career were incompatible with what she wanted for her own life and career.
In later interviews, Weld spoke sparingly about her time with Elvis, maintaining a dignified privacy about their relationship. She did acknowledge that he was an important person in her life during that period, but she had no regrets about ending things. This relationship occurred during a pivotal time for both stars—Elvis was transitioning from his army service back into full-time entertainment, while Weld was establishing herself as a serious actress rather than just another teen starlet. For more context on Elvis's life during this period, the Graceland archives provide extensive documentation.
Career Highlights and Notable Performances
Tuesday Weld's performance in 'Pretty Poison' (1968) stands as one of her most memorable roles. She played Sue Ann Stepanek, a seemingly innocent cheerleader who turns out to be a sociopathic manipulator. The film was ahead of its time in its psychological complexity, and Weld's performance earned her a Golden Globe nomination. Roger Ebert later called it one of the most underrated films of the 1960s, with Weld's performance being particularly chilling in its subtlety.
'Looking for Mr. Goodbar' (1977) represented the pinnacle of Weld's critical recognition. Playing Katherine, the troubled sister of the main character, she brought depth and vulnerability to a role that could have been one-dimensional. Her Academy Award nomination was well-deserved, and many critics felt she should have won. The film dealt with dark themes of sexuality, violence, and family dysfunction, and Weld's performance grounded the film's emotional core. You can read more about the film's cultural impact through the American Film Institute's archives.
Her role in Sergio Leone's epic 'Once Upon a Time in America' (1984) introduced her to international audiences and showed her ability to work within different filmmaking traditions. Playing Carol, the love interest of Robert De Niro's character across multiple decades, Weld brought warmth and complexity to a film known for its sprawling narrative and operatic scope. She won the BAFTA Award for Best Supporting Actress for this performance, recognition from the British film industry that highlighted her international appeal.
Throughout her career, Weld appeared in approximately 40 films and numerous television productions. She worked with directors like Elia Kazan, Frank Perry, and Richard Brooks, and alongside actors including Anthony Perkins, Steve McQueen, and Gregory Peck. Her selectivity about roles meant she appeared in fewer films than many of her contemporaries, but the quality of her work remained consistently high. For comprehensive filmography information, the Internet Movie Database provides detailed records.
Personal Life and Family Legacy
Tuesday Weld's personal life was marked by three marriages and one daughter, Natasha Harz, born in 1966 from her marriage to screenwriter Claude Harz. Natasha has largely stayed out of the public eye, respecting her mother's preference for privacy. Weld's second marriage was to actor Dudley Moore from 1975 to 1980, a relationship that attracted significant media attention given Moore's rising fame during that period. They had one son together, Patrick H. Moore, born in 1976.
Her relationship with Dudley Moore was particularly significant in Hollywood circles. Moore was transitioning from his comedy partnership with Peter Cook to serious film roles, and the couple was frequently seen at industry events. However, the marriage struggled under the pressures of two demanding careers and Moore's well-documented personal demons. Their divorce in 1980 was relatively amicable, and both maintained respect for each other in subsequent interviews. Moore later spoke fondly of Weld in his autobiography, noting her intelligence and the genuine connection they shared.
Weld's third marriage was to Israeli concert violinist Pinchas Zukerman from 1985 to 1998. This relationship represented her most sustained attempt at a private life away from Hollywood's spotlight. During this marriage, she significantly reduced her acting work, appearing in only a handful of projects. The couple eventually divorced, and Weld retreated even further from public life. By the late 1990s, she had essentially retired from acting, with her last notable appearance being in the 1993 film 'Falling Down' alongside Michael Douglas.
Regarding Tuesday Weld's net worth, estimates from 2022 placed it at approximately $5 million, though exact figures are difficult to verify given her private nature. This figure reflects her decades-long career in film and television, though it's worth noting that Weld was never motivated primarily by financial gain. She famously turned down several roles that would have been extremely lucrative, including the female lead in 'Bonnie and Clyde,' which could have significantly increased her earnings and profile. Her daughter Natasha Harz has maintained her mother's preference for privacy, with very little public information available about her life or career. Our FAQ page provides more detailed answers about Weld's family and personal choices.
| Years | Spouse | Profession | Children |
|---|---|---|---|
| 1965-1971 | Claude Harz | Screenwriter | Natasha Harz (b. 1966) |
| 1975-1980 | Dudley Moore | Actor/Comedian | Patrick H. Moore (b. 1976) |
| 1985-1998 | Pinchas Zukerman | Concert Violinist | None |